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
15 @c .{Reference Manual}
17 @node Reference Manual
18 @chapter Reference Manual
21 <!--- @@WEB-TITLE@@=Reference Manual --->
24 This document describes GNU LilyPond and its input format. The last
25 revision of this document was made for LilyPond 1.7.10. It assumes
26 that you already know a little bit about LilyPond input (how to
27 make an input file, how to create sheet music from that input file,
28 etc). New users are encouraged to study the tutorial before reading
34 * Easier music entry::
49 * Contemporary notation::
55 @c FIXME: Note entry vs Music entry at top level menu is confusing.
61 Notes constitute the most basic elements of LilyPond input, but they do
62 not form valid input on their own without a @code{\score} block. However,
63 for the sake of brevity and simplicity we will generally omit
64 @code{\score} blocks and @code{\paper} declarations in this manual.
70 * Chromatic alterations::
75 * Automatic note splitting ::
77 * Easy Notation note heads ::
85 A note is printed by specifying its pitch and then its duration.
86 @lilypond[fragment,verbatim]
95 @cindex Note specification
97 @cindex entering notes
99 The verbose syntax for pitch specification is
101 @cindex @code{\pitch}
103 \pitch @var{scmpitch}
106 where @var{scmpitch} is a pitch scheme object.
108 In Note and Chord mode, pitches may be designated by names. The default
109 names are the Dutch note names. The notes are specified by the letters
110 @code{a} through @code{g}, while the octave is formed with notes ranging
111 from @code{c} to @code{b}. The pitch @code{c} is an octave below
112 middle C and the letters span the octave above that C. Here's an example
113 which should make things more clear:
115 @lilypond[fragment,verbatim]
117 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
120 @cindex note names, Dutch
122 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
123 name and a flat is formed by adding @code{-es}. Double sharps and double
124 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
125 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
126 both forms are accepted.
128 LilyPond has predefined sets of note names for various other languages.
129 To use them, simply include the language specific init file. For
130 example: @code{\include "english.ly"}. The available language files and
131 the note names they define are:
136 Note Names sharp flat
137 nederlands.ly c d e f g a bes b -is -es
138 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave.
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
162 @node Chromatic alterations
163 @subsection Chromatic alterations
165 Normally accidentals are printed automatically, but you may also
166 print them manually. A reminder accidental
167 @cindex reminder accidental
169 can be forced by adding an exclamation mark @code{!}
170 after the pitch. A cautionary accidental
171 @cindex cautionary accidental
172 @cindex parenthesized accidental
173 (an accidental within parentheses) can be obtained by adding the
174 question mark `@code{?}' after the pitch.
176 @lilypond[fragment,verbatim]
177 cis' cis' cis'! cis'?
181 The automatic production of accidentals can be tuned in many
182 ways. For more information, refer to @ref{Accidentals}.
189 Rests are entered like notes, with a ``note name'' of `@code{r}':
191 @lilypond[singleline,verbatim]
195 Whole bar rests, centered in middle of the bar, are specified using
196 @code{R} (capital R); see @ref{Multi measure rests}. See also
199 For some music, you may wish to explicitly specify the rest's vertical
200 position. This can be achieved by entering a note with the @code{\rest}
201 keyword appended. Rest collision testing will leave these rests alone.
203 @lilypond[singleline,verbatim]
213 @cindex Invisible rest
216 An invisible rest (also called a `skip') can be entered like a note
217 with note name `@code{s}' or with @code{\skip @var{duration}}:
219 @lilypond[singleline,verbatim]
223 @c FIXME: in Lyrics mode, we have " " and _
225 In Lyrics mode, you can make invisible syllables by entering `@code{" "}'
227 @lilypond[singleline,verbatim]
229 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
230 \notes\relative c'' { a2 a4 a a2 a4 a }
233 In this case, syllables containing a space will be printed. In the
234 case that you really need an invisible space (i.e. something taking up
235 time, but not space), you should use @code{\skip}.
237 Note that the @code{s} syntax is only available in Note mode and Chord
238 mode. In other situations, you should use the @code{\skip} command,
239 which will work outside of those two modes:
241 @lilypond[singleline,verbatim]
244 { \time 4/8 \skip 2 \time 4/4 }
245 \notes\relative c'' { a2 a1 }
250 The skip command is merely an empty musical placeholder. It doesn't
251 produce any output, not even transparent output.
257 @subsection Durations
261 @cindex @code{\duration}
264 In Note, Chord, and Lyrics mode, durations are designated by numbers
265 and dots: durations are entered as their reciprocal values. For example,
266 a quarter note is entered using a @code{4} (since it's a 1/4 note), while
267 a half note is entered using a @code{2} (since it's a 1/2 note). For notes
268 longer than a whole you must use identifiers.
269 @c FIXME: what's an identifier? I don't think it's been introduced yet.
270 @c and if it has, I obviously skipped that part. - Graham
274 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
276 r1 r2 r4 r8 r16 r32 r64 r64
279 @lilypond[noindent,noquote]
281 \notes \relative c'' {
283 a1 a2 a4 a8 a16 a32 a64 a64
285 r1 r2 r4 r8 r16 r32 r64 r64
290 \remove "Clef_engraver"
291 \remove "Staff_symbol_engraver"
292 \remove "Time_signature_engraver"
293 \consists "Pitch_squash_engraver"
300 If the duration is omitted then it is set to the previously entered
301 duration. At the start of parsing, a quarter note is assumed. The
302 duration can be followed by dots (`@code{.}') in order to obtain dotted
306 @lilypond[fragment,verbatim,center]
307 a' b' c''8 b' a'4 a'4. b'4.. c'8.
312 You can alter the length of duration by a fraction @var{N/M}
313 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
314 won't affect the appearance of the notes or rests produced.
316 @lilypond[fragment,verbatim]
317 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
320 Durations can also be produced through GUILE extension mechanism.
321 @lilypond[verbatim,fragment]
322 c'\duration #(ly:make-duration 2 1)
328 Dot placement for chords is not perfect. In some cases, dots overlap:
341 A tie connects two adjacent note heads of the same pitch. The tie in
342 effect extends the length of a note. Ties should not be confused with
343 slurs, which indicate articulation, or phrasing slurs, which indicate
344 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
346 @lilypond[fragment,verbatim,center]
347 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
350 When a tie is applied to a chord, all note heads (whose pitches match) are
351 connected. If you try to tie together chords that have no common pitches,
352 no ties will be created.
354 If you want less ties created for a chord, you can set
355 @code{Voice.sparseTies} to true. In this case, a single tie is used
356 for every tied chord.
357 @lilypond[fragment,verbatim,center]
358 \property Voice.sparseTies = ##t
359 <<c' e' g'>> ~ <<c' e' g'>>
362 In its meaning a tie is just a way of extending a note duration, similar
363 to the augmentation dot: the following example are two ways of notating
364 exactly the same concept.
366 @lilypond[fragment, singleline]
367 \time 3/4 c'2. c'2 ~ c'4
369 If you need to tie notes over bars, it may be easier to use
370 @ref{Automatic note splitting}.
372 See also @seeinternals{Tie}.
377 At present, the tie is represented as a separate event, temporally
378 located in between the notes. Tying only a subset of the note heads
379 of a chord is not supported in a simple way. It can be achieved by
380 moving the tie-engraver into the Thread context and turning on and off
383 Switching staves when a tie is active will not work.
385 @node Automatic note splitting
386 @subsection Automatic note splitting
387 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
389 LilyPond can automatically converting long notes to tied notes. This
390 is done by replacing the @code{Note_heads_engraver} by the
391 @code{Completion_heads_engraver}.
393 @lilypond[verbatim,noindent,noquote]
395 \notes\relative c'{ \time 2/4
396 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
400 \remove "Note_heads_engraver"
401 \consists "Completion_heads_engraver"
405 This engraver splits all running notes at the bar line, and inserts
406 ties. One of its uses is to debug complex scores: if the measures are
407 not entirely filled, then the ties exactly show how much each measure
412 Not all durations (especially those containing tuplets) can be
413 represented exactly; the engraver will not insert tuplets.
420 @cindex @code{\times}
422 Tuplets are made out of a music expression by multiplying all durations
425 @cindex @code{\times}
427 \times @var{fraction} @var{musicexpr}
430 The duration of @var{musicexpr} will be multiplied by the fraction.
431 In the sheet music, the fraction's denominator will be printed over
432 the notes, optionally with a bracket. The most common tuplet is the
433 triplet in which 3 notes have the length of 2, so the notes are 2/3
434 of their written length:
436 @lilypond[fragment,verbatim,center]
437 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
440 The property @code{tupletSpannerDuration} specifies how long each bracket
441 should last. With this, you can make lots of tuplets while typing
442 @code{\times} only once, saving you lots of typing.
444 @lilypond[fragment, relative, singleline, verbatim]
445 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
446 \times 2/3 { c'8 c c c c c }
449 The format of the number is determined by the property
450 @code{tupletNumberFormatFunction}. The default prints only the
451 denominator, but if you set it to the Scheme function
452 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
456 @cindex @code{tupletNumberFormatFunction}
457 @cindex tuplet formatting
459 See also @seeinternals{TupletBracket}.
463 Nested tuplets are not formatted automatically. In this case, outer
464 tuplet brackets should be moved automatically.
466 @node Easy Notation note heads
467 @subsection Easy Notation note heads
469 @cindex easy notation
472 A entirely different type of note head is the "easyplay" note head: a
473 note head that includes a note name. It is used in some publications by
474 Hal-Leonard Inc. music publishers.
476 @lilypond[singleline,verbatim,26pt]
478 \notes { c'2 e'4 f' | g'1 }
479 \paper { \translator { \EasyNotation } }
483 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
484 probably will want to print it with magnification or a large font size to
485 make it more readable. To print with magnification, you must create a dvi
486 (with @file{ly2dvi}) and then enlarge it with something like @file{dvips -x
487 2000 file.dvi}. See @file{man dvips} for details. To print with a larger
488 font, see @ref{Font Size}.
494 If you view the result with Xdvi, then staff lines will show through
495 the letters. Printing the PostScript file obtained with ly2dvi does
496 produce the correct result.
499 @node Easier music entry
500 @section Easier music entry
503 * Graphical interfaces::
507 * Skipping corrected music::
510 When entering music with LilyPond, it is easy to introduce errors. This
511 section deals with tricks and features that help you enter music, and
512 find and correct mistakes.
514 @node Graphical interfaces
515 @subsection Graphical interfaces
518 @cindex graphical interface
525 One way to avoid entering notes using the keyboard is to use a
526 graphical user interface. The following programs are known to have
527 a lilypond export option:
531 Denemo was once intended as
532 a LilyPond graphical user interface. It run on Gnome/GTK.
535 @uref{http://denemo.sourceforge.net/}
539 Noteedit, a graphical score editor that runs under KDE/Qt.
541 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,}
545 RoseGarden was once the inspiration for naming LilyPond. Nowadays it
546 has been rewritten from scratch and supports LilyPond export as of
550 @uref{http://rosegarden.sf.net/}
554 Another option is to enter the music using your favorite
555 sequencer/notation editor, and then export it as MIDI or MusicXML.
556 You can then import it in lilypond by using either midi2ly or
558 xml2ly. midi2ly is described in @ref{Invoking midi2ly}. @code{xml2ly}
560 is a tool to convert from the MusicXML music representation format
561 (@uref{http://www.musicxml.org}) to LilyPond format. @code{xml2ly} is
562 described at @uref{http://www.nongnu.org/xml2ly/}.
566 @node Relative octaves
567 @subsection Relative octaves
569 @cindex relative octave specification
571 Octaves are specified by adding @code{'} and @code{,} to pitch names.
572 When you copy existing music, it is easy to accidentally put a pitch in
573 the wrong octave and hard to find such an error. To prevent these
574 errors, LilyPond features octave entry.
576 @cindex @code{\relative}
578 \relative @var{startpitch} @var{musicexpr}
581 The octave of notes that appear in @var{musicexpr} are calculated as
582 follows: If no octave changing marks are used, the basic interval
583 between this and the last note is always taken to be a fourth or less
584 (This distance is determined without regarding alterations; a
585 @code{fisis} following a @code{ceses} will be put above the
588 The octave changing marks @code{'} and @code{,} can be added to raise or
589 lower the pitch by an extra octave. Upon entering relative mode, an
590 absolute starting pitch must be specified that will act as the
591 predecessor of the first note of @var{musicexpr}.
593 Entering music that changes octave frequently is easy in relative mode.
594 @lilypond[fragment,singleline,verbatim,center]
600 And octave changing marks are used for intervals greater than a fourth.
601 @lilypond[fragment,verbatim,center]
606 If the preceding item is a chord, the first note of the chord is used
607 to determine the first note of the next chord. However, other notes
608 within the second chord are determined by looking at the immediately
611 @lilypond[fragment,verbatim,center]
618 @cindex @code{\notes}
620 The pitch after the @code{\relative} contains a note name. To parse
621 the pitch as a note name, you have to be in note mode, so there must
622 be a surrounding @code{\notes} keyword (which is not
625 The relative conversion will not affect @code{\transpose},
626 @code{\chords} or @code{\relative} sections in its argument. If you
627 want to use relative within transposed music, you must place an
628 additional @code{\relative} inside the @code{\transpose}.
633 @subsection Bar check
637 @cindex @code{barCheckSynchronize}
641 Whenever a bar check is encountered during interpretation, a warning
642 message is issued if it doesn't fall at a measure boundary. This can
643 help you find errors in the input. Depending on the value of
644 @code{barCheckSynchronize}, the beginning of the measure will be
645 relocated, so this can also be used to shorten measures.
647 A bar check is entered using the bar symbol, @code{|}:
649 \time 3/4 c2 e4 | g2.
654 @cindex skipTypesetting
656 Failed bar checks are most often caused by entering incorrect
657 durations. Incorrect durations often completely garble up the score,
658 especially if it is polyphonic, so you should start correcting the score
659 by scanning for failed bar checks and incorrect durations. To speed up
660 this process, you can use @code{skipTypesetting} (See @ref{Skipping
663 @c . {Point and click}
664 @node Point and click
665 @subsection Point and click
666 @cindex poind and click
668 Point and click lets you find notes in the input by clicking on them in
669 the Xdvi window. This makes it very easy to find input that causes some
670 error in the sheet music.
672 To use it, you need the following software
674 @item A dvi viewer that supports src specials.
676 @item Xdvi, version 22.36 or newer. Available from
677 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
679 Note that most @TeX{} distributions ship with xdvik, which is always
680 a few versions behind the official Xdvi. To find out which xdvi you
681 are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
682 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
683 newer. Enable option @emph{Inverse search} in the menu @emph{Settings}.
692 @item An editor with a client/server interface (or a lightweight GUI
698 @item Emacs. Emacs is an extensible text-editor. It is available from
699 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
702 @c move this elsewhere?
704 LilyPond also comes with support files for emacs: lilypond-mode for
705 emacs provides indentation, autocompletion, syntax coloring, handy
706 compile short-cuts and reading Info documents of lilypond inside emacs.
707 If lilypond-mode is not installed on your platform,
708 then refer to the installation instructions for more information.
712 @cindex lilypond-mode for emacs
713 @cindex syntax coloring
715 @item XEmacs. Xemacs is very similar to emacs.
719 @item NEdit. NEdit runs under Windows, and Unix.
720 It is available from @uref{http://www.nedit.org}.
724 @item GVim. GVim is a GUI variant of VIM, the popular VI
725 clone. It is available from @uref{http://www.vim.org}.
734 Xdvi must be configured to find the @TeX{} fonts and music
735 fonts. Refer to the Xdvi documentation for more information.
737 To use point-and-click, add one of these lines to the top of your .ly
740 #(ly:set-point-and-click 'line)
742 @cindex line-location
744 When viewing, Control-Mousebutton 1 will take you to the originating
745 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
748 If you correct large files with point-and-click, be sure to start
749 correcting at the end of the file. When you start at the top, and
750 insert one line, all following locations will be off by a line.
753 For using point-and-click with emacs, add the following
754 In your emacs startup file (usually @file{~/.emacs}),
759 Make sure that the environment variable @var{XEDITOR} is set to
761 emacsclient --no-wait +%l %f
763 @cindex @var{XEDITOR}
764 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
765 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
767 For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or
768 use this argument with xdvi's @code{-editor} option.
771 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
772 use this argument with xdvi's @code{-editor} option.
774 If can also make your editor jump to the exact location of the note
775 you clicked. This is only supported on Emacs and VIM. Users of Emacs version
776 20 must apply the patch @file{emacsclient.patch}. Users of version 21
777 must apply @file{server.el.patch} (version 21.2 and earlier). At the
778 top of the @code{ly} file, replace the @code{set-point-and-click} line
779 with the following line,
781 #(ly:set-point-and-click 'line-column)
783 @cindex line-colomn-location
784 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}. Vim
785 users can set @var{XEDITOR} to @code{gvim --remote +:%l:norm%c| %f}.
791 When you convert the @TeX{} file to PostScript using @code{dvips}, it
792 will complain about not finding @code{src:X:Y} files. These complaints
793 are harmless, and can be ignored.
795 @node Skipping corrected music
796 @subsection Skipping corrected music
798 The property @code{Score.skipTypesetting} can be used to switch on and
799 off typesetting completely during the interpretation phase. When
800 typesetting is switched off, the music is processed much more quickly.
801 You can use this to skip over the parts of a score that you have already
804 @lilypond[fragment,singleline,verbatim]
806 \property Score.skipTypesetting = ##t
808 \property Score.skipTypesetting = ##f
816 @section Staff notation
818 This section deals with music notation that occurs on staff level,
819 such as keys, clefs and time signatures.
821 @cindex Staff notation
833 @subsection Staff symbol
836 @cindex adjusting staff symbol
837 @cindex StaffSymbol, using \property
838 @cindex staff lines, setting number of
841 The lines of the staff symbol are formed by the
842 @internalsref{StaffSymbol} object. This object is created at the moment
843 that their context is created. You can not change the appearance of
844 the staff symbol by using @code{\override} or @code{\set}. At the
845 moment that @code{\property Staff} is interpreted, a Staff context is
846 made, and the StaffSymbol is created before any @code{\override} is
847 effective. You can deal with this either overriding properties in a
848 @code{\translator} definition, or by using @code{\outputproperty}.
853 If you end a staff half way a piece, the staff symbol may not end
854 exactly on the barline.
859 @subsection Key signature
864 Setting or changing the key signature is done with the @code{\key}
867 @code{\key} @var{pitch} @var{type}
870 @cindex @code{\minor}
871 @cindex @code{\major}
872 @cindex @code{\minor}
873 @cindex @code{\ionian}
874 @cindex @code{\locrian}
875 @cindex @code{\aeolian}
876 @cindex @code{\mixolydian}
877 @cindex @code{\lydian}
878 @cindex @code{\phrygian}
879 @cindex @code{\dorian}
881 Here, @var{type} should be @code{\major} or @code{\minor} to get
882 @var{pitch}-major or @var{pitch}-minor, respectively.
883 The standard mode names @code{\ionian},
884 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
885 @code{\phrygian}, and @code{\dorian} are also defined.
887 This command sets the context property @code{Staff.keySignature}.
888 Non-standard key signatures can be specified by setting this property
891 The printed signature is a @internalsref{KeySignature} object, typically
892 created in @internalsref{Staff} context.
894 @cindex @code{keySignature}
901 The clef can be set or changed with the @code{\clef} command:
902 @lilypond[fragment,verbatim]
903 \key f\major c''2 \clef alto g'2
906 Supported clef-names include
907 @c Moved standard clefs to the top /MB
909 @item treble, violin, G, G2
918 G clef on 1st line, so-called French violin clef
933 By adding @code{_8} or @code{^8} to the clef name, the clef is
934 transposed one octave down or up, respectively. Note that you have to
935 enclose @var{clefname} in quotes if you use underscores or digits in the
941 The object for this symbol is @internalsref{Clef}.
944 This command is equivalent to setting @code{clefGlyph},
945 @code{clefPosition} (which controls the Y position of the clef),
946 @code{centralCPosition} and @code{clefOctavation}. A clef is created
947 when any of these properties are changed.
950 @c . {Time signature}
952 @subsection Time signature
953 @cindex Time signature
957 The time signature is set or changed by the @code{\time}
959 @lilypond[fragment,verbatim]
960 \time 2/4 c'2 \time 3/4 c'2.
963 The actual symbol that's printed can be customized with the @code{style}
964 property. Setting it to @code{#'()} uses fraction style for 4/4 and
968 The object for this symbol is @internalsref{TimeSignature}. There are
969 many more options for its layout. They are selected through the
970 @code{style} object property. See @file{input/test/time.ly} for more
973 This command sets the property @code{timeSignatureFraction},
974 @code{beatLength} and @code{measureLength} in the @code{Timing}
975 context, which is normally aliased to @internalsref{Score}. The property
976 @code{timeSignatureFraction} determine where bar lines should be
977 inserted, and how automatic beams should be generated. Changing the
978 value of @code{timeSignatureFraction} also causes a time signature
979 symbol to be printed.
981 More options are available through the Scheme function
982 @code{set-time-signature}. In combination with the
983 @internalsref{Measure_grouping_engraver}, it will create
984 @internalsref{MeasureGrouping} signs. Such signs ease reading
985 rhythmically complex modern music. In the following example, the 9/8
986 measure is subdivided in 2, 2, 2 and 3. This is passed to
987 @code{set-time-signature} as the third argument @code{(2 2 2 3)}.
990 \score { \notes \relative c'' {
991 #(set-time-signature 9 8 '(2 2 2 3))
992 g8 g d d g g a8-[-( bes g-]-) |
993 #(set-time-signature 5 8 '(3 2))
998 \translator { \StaffContext
999 \consists "Measure_grouping_engraver"
1008 @cindex partial measure
1009 @cindex measure, partial
1010 @cindex shorten measures
1011 @cindex @code{\partial}
1013 Partial measures, for example in upbeats, are entered using the
1014 @code{\partial} command:
1015 @lilypond[fragment,verbatim]
1016 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
1019 The syntax for this command is
1021 \partial @var{duration}
1023 This is internally translated into
1025 \property Timing.measurePosition = -@var{length of duration}
1028 The property @code{measurePosition} contains a rational number
1029 indicating how much of the measure has passed at this point.
1032 @node Unmetered music
1033 @subsection Unmetered music
1035 Bar lines and bar numbers are calculated automatically. For unmetered
1036 music (e.g. cadenzas), this is not desirable. The commands
1037 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
1040 @lilypond[fragment,relative,singleline,verbatim]
1048 The property @code{Score.timing} can be used to switch off this
1053 @subsection Bar lines
1057 @cindex measure lines
1060 Bar lines are inserted automatically, but if you need a special type
1061 of barline, you can force one using the @code{\bar} command:
1062 @lilypond[fragment,verbatim] c4 \bar "|:" c4
1065 The following bar types are available
1066 @lilypond[fragment, relative, singleline, verbatim]
1078 You are encouraged to use @code{\repeat} for repetitions. See
1081 In scores with many staves, the barlines are automatically placed at
1082 top level, and they are connected between different staves of a
1083 @internalsref{StaffGroup}:
1084 @lilypond[fragment, verbatim]
1085 < \context StaffGroup <
1086 \context Staff = up { e'4 d'
1089 \context Staff = down { \clef bass c4 g e g } >
1090 \context Staff = pedal { \clef bass c2 c2 } >
1093 The objects that are created at @internalsref{Staff} level. The name is
1094 @internalsref{BarLine}.
1096 The command @code{\bar @var{bartype}} is a short cut for
1097 doing @code{\property Score.whichBar = @var{bartype}}
1098 Whenever @code{whichBar} is set to a string, a bar line of that type is
1099 created. @code{whichBar} is usually set automatically: at the start of
1100 a measure it is set to @code{defaultBarType}. The contents of
1101 @code{repeatCommands} is used to override default measure bars.
1103 @code{whichBar} can also be set directly, using @code{\property} or
1104 @code{\bar }. These settings take precedence over the automatic
1105 @code{whichBar} settings.
1108 @cindex Bar_line_engraver
1110 @cindex repeatCommands
1111 @cindex defaultBarType
1120 The easiest way to enter such fragments with more than one voice on a
1121 staff is to split chords using the separator @code{\\}. You can use
1122 it for small, short-lived voices (make a chord of voices) or for
1125 @lilypond[verbatim,fragment]
1126 \context Voice = VA \relative c'' {
1127 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
1131 The separator causes @internalsref{Voice} contexts to be instantiated,
1132 bearing the names @code{"1"}, @code{"2"}, etc.
1134 Sometimes, it is necessary to instantiate these contexts by hand: For
1135 Instantiate a separate Voice context for each part, and use
1136 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
1137 and horizontal shift for each part.
1140 @lilypond[singleline, verbatim]
1142 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1143 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1144 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1147 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1148 ties, slurs and stems, and set shift directions.
1150 If you want more than four voices, you can also manually set
1151 horizontal shifts and stem directions, as is shown in the following example:
1152 @lilypond[fragment, verbatim]
1153 \context Staff \notes\relative c''<
1154 \context Voice=one {
1155 \shiftOff \stemUp e4
1157 \context Voice=two {
1158 \shiftOn \stemUp cis
1160 \context Voice=three {
1161 \shiftOnn \stemUp ais
1163 \context Voice=four {
1164 \shiftOnnn \stemUp fis
1170 Normally, note heads with a different number of dots are not merged, but
1171 if you set the object property @code{merge-differently-dotted}, they are:
1172 @lilypond[verbatim,fragment,singleline]
1175 \property Staff.NoteCollision \override
1176 #'merge-differently-dotted = ##t
1178 } \\ { [g'8. f16] [g'8. f'16] }
1182 Similarly, you can merge half note heads with eighth notes, by setting
1183 @code{merge-differently-headed}:
1184 @lilypond[fragment, relative=2,verbatim]
1187 \property Staff.NoteCollision
1188 \override #'merge-differently-headed = ##t
1189 c8 c4. } \\ { c2 c2 } >
1192 LilyPond also vertically shifts rests that are opposite of a stem.
1194 @lilypond[singleline,fragment,verbatim]
1195 \context Voice < c''4 \\ r4 >
1198 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1202 Resolving collisions is a very intricate subject, and LilyPond only
1203 handles a few situations. When it can not cope, you are advised to use
1204 @code{force-hshift} of the @internalsref{NoteColumn} object and pitched
1205 rests to override typesetting decisions.
1210 Beams are used to group short notes into chunks that are aligned with
1211 the metrum. They are inserted automatically in most cases.
1213 @lilypond[fragment,verbatim, relative=2]
1214 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1217 If you're not satisfied with the automatic beaming, you can enter the
1218 beams explicitly. If you have beaming patterns that differ from the
1219 defaults, you can also set the patterns for automatic beamer.
1221 See also @internalsref{Beam}.
1224 @cindex Automatic beams
1225 @subsection Manual beams
1226 @cindex beams, manual
1230 In some cases it may be necessary to override LilyPond's automatic
1231 beaming algorithm. For example, the auto beamer will not beam over
1232 rests or bar lines, If you want that, specify the begin and end point
1233 manually using a @code{[} before the first beamed note and a @code{]}
1234 after the last note:
1236 @lilypond[fragment,relative,verbatim]
1238 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1242 @cindex @code{stemLeftBeamCount}
1244 Normally, beaming patterns within a beam are determined automatically.
1245 When this mechanism fouls up, the properties
1246 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1247 be used to control the beam subdivision on a stem. If you set either
1248 property, its value will be used only once, and then it is erased.
1250 @lilypond[fragment,relative,verbatim]
1253 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1256 @cindex @code{stemRightBeamCount}
1259 The property @code{subdivideBeams} can be set in order to subdivide
1260 all 16th or shorter beams at beat positions. This accomplishes the
1261 same effect as twiddling with @code{stemLeftBeamCount} and
1262 @code{stemRightBeamCount}, but it take less typing.
1266 c16-[ c c c c c c c-]
1267 \property Voice.subdivideBeams = ##t
1268 c16-[ c c c c c c c-]
1269 c32-[ c c c c c c c c c c c c c c c-]
1270 \property Score.beatLength = #(ly:make-moment 1 8)
1271 c32-[ c c c c c c c c c c c c c c c-]
1273 @lilypond[noindent,noquote]
1275 \notes \relative c' {
1276 c16-[ c c c c c c c-]
1277 \property Voice.subdivideBeams = ##t
1278 c16-[ c c c c c c c-]
1279 c32-[ c c c c c c c c c c c c c c c-]
1280 \property Score.beatLength = #(ly:make-moment 1 8)
1281 c32-[ c c c c c c c c c c c c c c c-]
1285 @cindex subdivideBeams
1287 Kneed beams are inserted automatically, when a large gap between two
1288 adjacent beamed notes is detected. This behavior can be tuned through
1289 the object property @code{auto-knee-gap}.
1291 @cindex beams, kneed
1293 @cindex auto-knee-gap
1296 @c TODO -> why this ref? Document?
1297 @cindex @code{neutral-direction}
1303 Auto knee beams can not be used together with hara kiri staves.
1307 The Automatic beamer does not put @strong{unfinished} beams on the
1308 last notes of a score.
1310 Formatting of ties is a difficult subject. LilyPond often does not
1311 give optimal results.
1314 * Setting automatic beam behavior ::
1318 @no de Beam typography
1319 @sub section Beam typography
1321 One of the strong points of LilyPond is how beams are formatted. Beams
1322 are quantized, meaning that the left and right endpoints beams start
1323 exactly on staff lines. Without quantization, small wedges of white
1324 space appear between the beam and staff line, and this looks untidy.
1326 Beams are also slope-damped: melodies that go up or down should also
1327 have beams that go up or down, but the slope of the beams should be
1328 less than the slope of the notes themselves.
1330 Some beams should be horizontal. These are so-called concave beams.
1332 [TODO: some pictures.]
1335 @c . {Automatic beams}
1336 @node Setting automatic beam behavior
1337 @subsection Setting automatic beam behavior
1339 @cindex @code{autoBeamSettings}
1340 @cindex @code{(end * * * *)}
1341 @cindex @code{(begin * * * *)}
1342 @cindex automatic beams, tuning
1343 @cindex tuning automatic beaming
1345 In normal time signatures, automatic beams can start on any note but can
1346 only end in a few positions within the measure: beams can end on a beat,
1347 or at durations specified by the properties in
1348 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1349 are defined in @file{scm/auto-beam.scm}.
1351 The value of @code{autoBeamSettings} is changed using
1352 @code{\override} and unset using @code{\revert}:
1354 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1355 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1357 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1358 whether the rule applies to begin or end-points. The quantity
1359 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1360 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1361 signature (wildcards, `@code{* *}' may be entered to designate all time
1364 For example, if you want automatic beams to end on every quarter note,
1365 you can use the following:
1367 \property Voice.autoBeamSettings \override
1368 #'(end * * * *) = #(ly:make-moment 1 4)
1370 Since the duration of a quarter note is 1/4 of a whole note, it is
1371 entered as @code{(ly:make-moment 1 4)}.
1373 The same syntax can be used to specify beam starting points. In this
1374 example, automatic beams can only end on a dotted quarter note.
1376 \property Voice.autoBeamSettings \override
1377 #'(end * * * *) = #(ly:make-moment 3 8)
1379 In 4/4 time signature, this means that automatic beams could end only on
1380 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1381 3/8 has passed within the measure).
1383 You can also restrict rules to specific time signatures. A rule that
1384 should only be applied in @var{N}/@var{M} time signature is formed by
1385 replacing the second asterisks by @var{N} and @var{M}. For example, a
1386 rule for 6/8 time exclusively looks like
1388 \property Voice.autoBeamSettings \override
1389 #'(begin * * 6 8) = ...
1392 If you want a rule to apply to certain types of beams, you can use the
1393 first pair of asterisks. Beams are classified according to the shortest
1394 note they contain. For a beam ending rule that only applies to beams
1395 with 32nd notes (and no shorter notes), you would use @code{(end 1
1399 @c Automatic beams can not be put on the last note in a score.
1401 If a score ends while an automatic beam has not been ended and is still
1402 accepting notes, this last beam will not be typeset at all.
1404 @cindex automatic beam generation
1406 @cindex @code{Voice.autoBeaming}
1409 For melodies that have lyrics, you may want to switch off
1410 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1416 It is not possible to specify beaming parameters for beams with mixed
1417 durations, that differ from the beaming parameters of all separate
1418 durations, i.e., you'll have to specify manual beams to get:
1420 @lilypond[singleline,fragment,relative,noverbatim]
1421 \property Voice.autoBeamSettings
1422 \override #'(end * * * *) = #(ly:make-moment 3 8)
1423 \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
1425 It is not possible to specify beaming parameters that act differently in
1426 different parts of a measure. This means that it is not possible to use
1427 automatic beaming in irregular meters such as @code{5/8}.
1430 @section Accidentals
1432 This section describes how to change the way that LilyPond automatically
1433 inserts accidentals before the running notes.
1436 * Using the predefined accidental macros::
1437 * Defining your own accidental typesettings::
1440 @node Using the predefined accidental macros
1441 @subsection Using the predefined accidental macros
1442 The constructs for describing the accidental typesetting rules are
1443 quite hairy, so non-experts should stick to the macros defined in
1444 @file{ly/property-init.ly}.
1445 @cindex @file{property-init.ly}
1447 The macros operate on the ``Current'' context (see @ref{Context properties}). This
1448 means that the macros shuold normally be invoked right after the
1449 creation of the context in which the accidental typesetting described
1450 by the macro is to take effect. I.e. if you want to use
1451 piano-accidentals in a pianostaff then you issue
1452 @code{\pianoAccidentals} first thing after the creation of the piano
1456 \notes \relative c'' <
1457 \context Staff = sa @{ cis4 d e2 @}
1458 \context GrandStaff <
1460 \context Staff = sb @{ cis4 d e2 @}
1461 \context Staff = sc @{ es2 c @}
1463 \context Staff = sd @{ es2 c @}
1467 @lilypond[singleline]
1469 \notes \relative c'' <
1470 \context Staff = sa { cis4 d e2 }
1471 \context GrandStaff <
1473 \context Staff = sb { cis4 d e2 }
1474 \context Staff = sc { es2 c }
1476 \context Staff = sd { es2 c }
1481 minimumVerticalExtent = #'(-4.0 . 4.0)
1489 @item \defaultAccidentals
1490 @cindex @code{\defaultAccidentals}
1491 This is the default typesetting behaviour. It should correspond
1492 to 18th century common practice: Accidentals are
1493 remembered to the end of the measure in which they occur and
1494 only on their own octave.
1496 @item \voiceAccidentals
1497 @cindex @code{\voiceAccidentals}
1498 The normal behaviour is to remember the accidentals on
1500 This macro, however, typesets accidentals individually for each
1502 Apart from that the rule is similar to
1503 @code{\defaultAccidentals}.
1505 Warning: This leads to some weird and often unwanted results
1506 because accidentals from one voice DO NOT get cancelled in other
1508 @lilypond[singleline,relative,fragment,verbatim]
1511 \context Voice=va { \voiceOne es g }
1512 \context Voice=vb { \voiceTwo c, e }
1515 Hence you should only use @code{\voiceAccidentals}
1516 if the voices are to be read solely by
1517 individual musicians. if the staff should be readable also
1518 by one musician/conductor then you should use
1519 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1522 @item \modernAccidentals
1523 @cindex @code{\modernAccidentals}
1524 This rule should correspond to the common practice in the 20th
1526 The rule is a bit more complex than @code{\defaultAccidentals}:
1527 You get all the same accidentals, but temporary
1528 accidentals also get cancelled in other octaves. Further more,
1529 in the same octave, they also get cancelled in the following measure:
1530 @lilypond[singleline,fragment,verbatim]
1532 cis' c'' cis'2 | c'' c'
1535 @item \modernCautionaries
1536 @cindex @code{\modernCautionaries}
1537 This rule is similar to @code{\modernAccidentals}, but the
1538 ``extra'' accidentals (the ones not typeset by
1539 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1540 (i.e. in reduced size):
1541 @lilypond[singleline,fragment,verbatim]
1543 cis' c'' cis'2 | c'' c'
1546 @item \modernVoiceAccidentals
1547 @cindex @code{\modernVoiceAccidentals}
1548 Multivoice accidentals to be read both by musicians playing one voice
1549 and musicians playing all voices.
1551 Accidentals are typeset for each voice, but they ARE cancelled
1552 across voices in the same @internalsref{Staff}.
1554 @item \modernVoiceCautionaries
1555 @cindex @code{\modernVoiceCautionaries}
1556 The same as @code{\modernVoiceAccidentals}, but with the
1557 extra accidentals (the ones not typeset by
1558 @code{\voiceAccidentals}) typeset as cautionaries.
1559 Notice that even though all accidentals typeset by
1560 @code{\defaultAccidentals} ARE typeset by this macro then some
1561 of them are typeset as cautionaries.
1563 @item \pianoAccidentals
1564 @cindex @code{\pianoAccidentals}
1565 20th century practice for piano notation. Very similar to
1566 @code{\modernAccidentals} but accidentals also get cancelled
1567 across the staves in the same @internalsref{GrandStaff} or
1568 @internalsref{PianoStaff}.
1570 @item \pianoCautionaries
1571 @cindex @code{\pianoCautionaries}
1572 As @code{\pianoAccidentals} but with the extra accidentals
1573 typeset as cautionaries.
1576 @cindex @code{\noResetKey}
1577 Same as @code{\defaultAccidentals} but with accidentals lasting
1578 ``forever'' and not only until the next measure:
1579 @lilypond[singleline,fragment,verbatim,relative]
1584 @item \forgetAccidentals
1585 @cindex @code{\forgetAccidentals}
1586 This is sort of the opposite of @code{\noResetKey}: Accidentals
1587 are not remembered at all - and hence all accidentals are
1588 typeset relative to the key signature, regardless of what was
1589 before in the music:
1590 @lilypond[singleline,fragment,verbatim,relative]
1592 \key d\major c4 c cis cis d d dis dis
1596 @node Defining your own accidental typesettings
1597 @subsection Defining your own accidental typesettings
1599 This section must be considered gurus-only, and hence it must be
1600 sufficient with a short description of the system and a reference to
1601 the internal documentation.
1603 The idea of the algorithm is to try several different rules and then
1604 use the rule that gives the highest number of accidentals.
1605 Each rule cosists of
1608 In which context is the rule applied. I.e. if context is
1609 @internalsref{Score} then all staves share accidentals, and if
1610 context is @internalsref{Staff} then all voices in the same
1611 staff share accidentals, but staves don't - like normally.
1613 Whether the accidental changes all octaves or only the current
1616 Over how many barlines the accidental lasts.
1617 If lazyness is @code{-1} then the accidental is forget
1618 immidiately, and if lazyness is @code{#t} then the accidental
1622 As described in the internal documentation of
1623 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1624 @code{autoCautionaries} contain lists of rule descriptions. Notice
1625 that the contexts must be listed from in to out - that is
1626 @internalsref{Thread} before @internalsref{Voice},
1627 @internalsref{Voice} before @internalsref{Staff}, etc.
1628 see the macros in @file{ly/property-init.ly} for examples of how the
1633 Currently the simultaneous notes are considered to be entered in
1634 sequential mode. This means that in a chord the accidentals are
1635 typeset as if the notes in the chord happened one at a time - in the
1636 order in which they appear in the input file.
1638 Of course this is only a problem when you have simultainous notes
1639 which accidentals should depend on each other.
1640 Notice that the problem only occurs when using non-default accidentals
1641 - as the default accidentals only depend on other accidentals on the
1642 same staff and same pitch and hence cannot depend on other
1645 This example shows two examples of the same music giving different
1646 accidentals depending on the order in which the notes occur in the
1649 @lilypond[singleline,fragment,verbatim]
1650 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1651 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2 | <<cis' c''>> r | <<c'' cis'>> r |
1654 The only solution is to manually insert the problematic
1655 accidentals using @code{!} and @code{?}.
1657 @node Expressive marks
1658 @section Expressive marks
1667 * Analysis brackets::
1674 A slur indicates that notes are to be played bound or @emph{legato}.
1675 They are entered using parentheses:
1676 @lilypond[fragment,verbatim,center]
1677 f'-( g'-)-( a'-) [a'8 b'-(-] a'4 g'2 f'4-)
1678 <<c' e'>>2-( <<b d'>>2-)
1681 See also @seeinternals{Slur}.
1683 Slurs avoid crossing stems, and are generally attached to note heads.
1684 However, in some situations with beams, slurs may be attached to stem
1685 ends. If you want to override this layout you can do this through the
1686 object property @code{attachment} of @internalsref{Slur} in
1687 @internalsref{Voice} context It's value is a pair of symbols, specifying
1688 the attachment type of the left and right end points.
1690 @lilypond[fragment,relative,verbatim]
1692 \property Voice.Stem \set #'length = #5.5
1694 \property Voice.Slur \set #'attachment = #'(stem . stem)
1698 If a slur would strike through a stem or beam, the slur will be moved
1699 away upward or downward. If this happens, attaching the slur to the
1700 stems might look better:
1702 @lilypond[fragment,relative,verbatim]
1705 \property Voice.Slur \set #'attachment = #'(stem . stem)
1710 Similarly, the curvature of a slur is adjusted to stay clear of note
1711 heads and stems. When that would increase the curvature too much, the
1712 slur is reverted to its default shape. The threshold for this
1713 decision is in @internalsref{Slur}'s object property @code{beautiful}.
1714 It is loosely related to the enclosed area between the slur and the
1715 notes. Usually, the default setting works well, but in some cases you
1716 may prefer a curved slur when LilyPond decides for a vertically moved
1717 one. You can indicate this preference by increasing the
1718 @code{beautiful} value:
1720 @lilyp ond[verbatim,singleline,relative]
1722 c16-( a' f' a a f a, c,-)
1723 c-( a' f' a a f d, c-)
1724 \property Voice.Slur \override #'beautiful = #5.0
1725 c-( a' f' a a f d, c-)
1731 Producing nice slurs is a difficult problem, and LilyPond currently
1732 uses a simple, empiric method to produce slurs. In some cases, the
1733 results of this method are ugly.
1736 This is reflected by the
1737 @code{beautiful} property, which it is an arbitrary parameter in the
1738 slur formatter. Useful values can only be determined by trial and
1742 @cindex Adjusting slurs
1744 @node Phrasing slurs
1745 @subsection Phrasing slurs
1747 @cindex phrasing slurs
1748 @cindex phrasing marks
1750 A phrasing slur (or phrasing mark) connects chords and is used to
1751 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1754 @lilypond[fragment,verbatim,center,relative]
1755 \time 6/4 c' \( d ( e-) f ( e-) d-\)
1758 Typographically, the phrasing slur behaves almost exactly like a normal
1759 slur. See also @seeinternals{PhrasingSlur}. But although they behave
1760 similarily to normal slurs, phrasing slurs count as different objects.
1761 A @code{\slurUp} will have no effect on a phrasing slur; instead, you
1762 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1763 @code{\phrasingSlurBoth}.
1765 Note that the commands
1766 @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth} will only affect
1767 normal slurs and not phrasing slurs.
1770 @subsection Breath marks
1772 Breath marks are entered using @code{\breathe}. See also
1773 @seeinternals{BreathingSign}.
1775 @lilypond[fragment,relative]
1784 @cindex beats per minute
1785 @cindex metronome marking
1787 Metronome settings can be entered as follows:
1789 @cindex @code{\tempo}
1791 \tempo @var{duration} = @var{perminute}
1794 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1799 The tempo setting is not printed, but is only used in the MIDI
1800 output. You can trick lily into producing a metronome mark,
1801 though. Details are in @ref{Text markup}.
1806 @subsection Text spanners
1807 @cindex Text spanners
1809 Some textual indications, e.g. rallentando or accelerando, often extend
1810 over many measures. This is indicated by following the text with a
1811 dotted line. You can create such texts using text spanners. The syntax
1817 LilyPond will respond by creating a @internalsref{TextSpanner} object (typically
1818 in @internalsref{Voice} context). The string to be printed, as well as the
1819 style is set through object properties.
1821 An application---or rather, a hack---is to fake octavation indications.
1822 @lilypond[fragment,relative,verbatim]
1823 \relative c' { a''' b c a
1824 \property Voice.TextSpanner \set #'type = #'dotted-line
1825 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1826 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1827 \property Staff.centralCPosition = #-13
1828 a\startTextSpan b c a \stopTextSpan }
1832 @node Analysis brackets
1833 @subsection Analysis brackets
1835 @cindex phrasing brackets
1836 @cindex musicological analysis
1837 @cindex note grouping bracket
1839 Brackets are used in musical analysis to indicate structure in musical
1840 pieces. LilyPond supports a simple form of nested horizontal brackets.
1841 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1842 @internalsref{Staff} context. A bracket is started with
1843 @code{\groupOpen} and closed with @code{\groupClose}. This produces
1844 @internalsref{HorizontalBracket} objects.
1846 @lilypond[singleline,verbatim]
1847 \score { \notes \relative c'' {
1848 c4-\groupOpen-\groupOpen
1851 c4-\groupClose-\groupClose
1853 \paper { \translator {
1854 \StaffContext \consists "Horizontal_bracket_engraver"
1872 @subsection Articulations
1873 @cindex Articulations
1875 @cindex articulations
1879 A variety of symbols can appear above and below notes to indicate
1880 different characteristics of the performance. They are added to a note
1881 by adding a dash and the the character signifying the
1882 articulation. They are demonstrated here.
1883 @lilypond[singleline]
1885 \notes \context Voice {
1886 \property Voice.TextScript \set #'font-family = #'typewriter
1887 \property Voice.TextScript \set #'font-shape = #'upright
1893 c''4-^_"c-\\^{ }" s4
1899 The script is automatically placed, but if you need to force
1900 directions, you can use @code{_} to force them down, or @code{^} to
1902 @lilypond[fragment, verbatim]
1907 Other symbols can be added using the syntax
1908 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1909 using @code{^} and @code{_}.
1913 @cindex staccatissimo
1922 @cindex organ pedal marks
1931 @cindex prallmordent
1935 @cindex thumb marking
1942 \property Score.LyricText \override #'font-family =#'typewriter
1943 \property Score.LyricText \override #'font-shape = #'upright
1944 \context Staff \notes {
1945 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1946 c''-\stopped c''-\staccato c''-\tenuto c''-\portato
1948 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1949 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1950 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1951 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1952 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1953 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1955 \context Lyrics \lyrics {
1956 accent__ marcato__ staccatissimo__ fermata
1957 stopped__ staccato__ tenuto__ portato
1959 downbow__ lheel__ rheel__ ltoe
1960 rtoe__ turn__ open__ flageolet
1961 reverseturn__ trill__ prall__ mordent
1962 prallprall__ prallmordent__ uprall__ downprall
1963 upmordent__ downmordent__ pralldown__ prallup__
1964 lineprall__ thumb__ segno__ coda
1977 Fingering instructions can also be entered in this shorthand. For
1978 finger changes, use markup texts:
1980 @lilypond[verbatim, singleline, fragment]
1981 c'4-1 c'4-2 c'4-3 c'4-4
1982 c^\markup { \fontsize #-3 \number "2-3" }
1985 @cindex finger change
1990 See also @seeinternals{Script} and @seeinternals{Fingering}.
1994 All of these note ornaments appear in the printed output but have no
1995 effect on the MIDI rendering of the music.
1997 Unfortunately, there is no support for adding fingering instructions or
1998 ornaments to individual note heads. Some hacks exist, though. See
1999 @file{input/test/script-horizontal.ly}.
2004 @subsection Text scripts
2005 @cindex Text scripts
2007 In addition, it is possible to place arbitrary strings of text or markup
2008 text (see @ref{Text markup}) above or below notes by using a string:
2011 By default, these indications do not influence the note spacing, but
2012 by using the command @code{\fatText}, the widths will be taken into
2015 @lilypond[fragment,singleline,verbatim] \relative c' {
2016 c4^"longtext" \fatText c4_"longlongtext" c4 }
2019 It is possible to use @TeX{} commands in the strings, but this should be
2020 avoided because it makes it impossible for LilyPond to compute the
2021 exact length of the string, which may lead to collisions. Also, @TeX{}
2022 commands won't work with direct PostScript output.
2023 @c (see @ref{PostScript output}).
2025 Text scripts are created in form of @internalsref{TextScript} objects, in
2026 @internalsref{Voice} context.
2028 @ref{Text markup} describes how to change the font or access
2029 special symbols in text scripts.
2034 @subsection Grace notes
2038 @cindex @code{\grace}
2042 Grace notes are ornaments that are written out
2043 @lilypond[relative=2,verbatim,ifragment] c4 \grace c16 c4 \grace {
2047 In normal notation, grace notes are supposed to take up no logical
2048 time in a measure. Such an idea is practical for normal notation, but
2049 is not strict enough to put it into a program. The model that LilyPond
2050 uses for grace notes internally is that all timing is done in two
2053 Every point in musical time consists of two rational numbers: one
2054 denotes the logical time, one denotes the grace timing. The above
2055 example is shown here with timing tuples.
2058 \score { \notes \relative c''{
2059 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2060 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2062 \paper { linewidth = 8.\cm }
2066 The advantage of this approach is that you can use almost any lilypond
2067 construction together with grace notes, for example slurs and clef
2068 changes may appear halfway in between grace notes:
2070 @lilypond[relative=2,verbatim,fragment]
2071 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
2074 The placement of these grace notes is synchronized between different
2075 staves, using this grace timing.
2077 @lilypond[relative=2,verbatim,fragment]
2078 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
2079 \context Staff = SB { c4 \grace { g8 b } c4 } >
2083 Unbeamed eighth notes and shorter by default have a slash through the
2084 stem. This can be controlled with object property @code{stroke-style} of
2085 @internalsref{Stem}. The change in formatting is accomplished by
2086 inserting @code{\startGraceMusic} before handling the grace notes, and
2087 @code{\stopGraceMusic} after finishing the grace notes.
2088 You can add to these definitions to globally change grace note
2089 formatting. The standard definitions are in @file{ly/grace-init.ly}.
2091 [TODO discuss Scheme functionality.]
2094 Notice how the @code{\override} is carefully matched with a @code{\revert}.
2099 @lilypond[fragment,verbatim]
2100 \relative c'' \context Voice {
2101 \grace c8 c4 \grace { [c16 c16] } c4
2103 \property Voice.Stem \override #'stroke-style = #'()
2105 \property Voice.Stem \revert #'stroke-style
2112 If you want to end a note with a grace note, then the standard trick
2113 is to put the grace notes before a phantom ``space note'', e.g.
2114 @lilypond[fragment,verbatim, relative=2]
2117 { s2 \grace { [c16 d] } } >
2122 A @code{\grace} section has some default values, and LilyPond will
2123 use those default values unless you specify otherwise inside the
2124 @code{\grace} section. For example, if you specify \slurUp
2125 @emph{before} your @code{\grace} section, a slur which starts inside
2126 the @code{\grace} won't be forced up, even if the slur ends outside
2127 of the @code{\grace}. Note the difference between the first and
2128 second bars in this example:
2130 @lilypond[fragment,verbatim]
2131 \relative c'' \context Voice {
2150 Grace notes can not be used in the smallest size (@file{paper11.ly}).
2152 Grace note synchronization can also lead to surprises. Staff notation,
2153 such as key signatures, barlines, etc. are also synchronized. Take
2154 care when you mix staves with grace notes and staves without.
2156 @lilypond[relative=2,verbatim,fragment]
2157 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2158 \context Staff = SB { c4 \bar "|:" d4 } >
2161 Grace sections should only be used within sequential music
2162 expressions. Nesting, juxtaposing, or ending sequential music with a
2163 grace section is not supported, and might produce crashes or other
2168 @subsection Glissando
2171 @cindex @code{\glissando}
2173 A glissando line can be requested by attaching a @code{\glissando} to
2176 @lilypond[fragment,relative,verbatim]
2182 Printing of an additional text (such as @emph{gliss.}) must be done
2183 manually. See also @seeinternals{Glissando}.
2189 @subsection Dynamics
2202 @cindex @code{\ffff}
2212 Absolute dynamic marks are specified using an identifier after a
2213 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2214 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2215 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2216 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2218 @lilypond[verbatim,singleline,fragment,relative]
2219 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2225 @cindex @code{\decr}
2226 @cindex @code{\rced}
2232 A crescendo mark is started with @code{\cr} and terminated with
2233 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
2234 started with @code{\decr} and terminated with @code{\rced}. There are
2235 also shorthands for these marks. A crescendo can be started with
2236 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2237 can be terminated with @code{\!}. Note that @code{\!} must go before
2238 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2239 after the last note. Because these marks are bound to notes, if you
2240 want several marks during one note, you have to use spacer notes.
2242 @lilypond[fragment,verbatim,center]
2243 c'' \< \! c'' d'' \decr e'' \rced
2244 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2246 This may give rise to very short hairpins. Use @code{minimum-length}
2247 in Voice.HairPin to lengthen these, e.g.
2250 \property Staff.Hairpin \override #'minimum-length = #5
2253 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2254 is an example how to do it:
2256 @lilypond[fragment,relative=2,verbatim]
2257 c4 \cresc c4 \endcresc c4
2264 You can also supply your own texts:
2265 @lilypond[fragment,relative,verbatim]
2267 \property Voice.crescendoText = "cresc. poco"
2268 \property Voice.crescendoSpanner = #'dashed-line
2275 Dynamics are objects of @internalsref{DynamicText} and
2276 @internalsref{Hairpin}. Vertical positioning of these symbols is
2277 handled by the @internalsref{DynamicLineSpanner} object. If you want to
2278 adjust padding or vertical direction of the dynamics, you must set
2279 properties for the @internalsref{DynamicLineSpanner} object. Predefined
2280 identifiers to set the vertical direction are \dynamicUp and
2283 @cindex direction, of dynamics
2284 @cindex @code{\dynamicDown}
2285 @cindex @code{\dynamicUp}
2293 @cindex @code{\repeat}
2295 To specify repeats, use the @code{\repeat} keyword. Since repeats
2296 should work differently when played or printed, there are a few
2297 different variants of repeats.
2301 Repeated music is fully written (played) out. Useful for MIDI
2302 output, and entering repetitive music.
2305 This is the normal notation: Repeats are not written out, but
2306 alternative endings (voltas) are printed, left to right.
2309 Alternative endings are written stacked. This has limited use but may be
2310 used to typeset two lines of lyrics in songs with repeats, see
2311 @file{input/star-spangled-banner.ly}.
2317 Make beat or measure repeats. These look like percent signs.
2323 * Repeats and MIDI::
2324 * Manual repeat commands::
2326 * Tremolo subdivisions::
2331 @subsection Repeat syntax
2333 The syntax for repeats is
2336 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2339 If you have alternative endings, you may add
2340 @cindex @code{\alternative}
2342 \alternative @code{@{} @var{alternative1}
2344 @var{alternative3} @dots{} @code{@}}
2346 where each @var{alternative} is a music expression.
2348 Normal notation repeats are used like this:
2349 @lilypond[fragment,verbatim]
2351 \repeat volta 2 { c'4 d' e' f' }
2352 \repeat volta 2 { f' e' d' c' }
2355 With alternative endings:
2356 @lilypond[fragment,verbatim]
2358 \repeat volta 2 {c'4 d' e' f'}
2359 \alternative { {d'2 d'} {f' f} }
2362 Folded repeats look like this:
2365 @lilypond[fragment,verbatim]
2367 \repeat fold 2 {c'4 d' e' f'}
2368 \alternative { {d'2 d'} {f' f} }
2372 If you don't give enough alternatives for all of the repeats, then
2373 the first alternative is assumed to be repeated often enough to equal
2374 the specified number of repeats.
2376 @lilypond[fragment,verbatim]
2380 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2381 \alternative { { g4 g g } { a | a a a a | b2. } }
2386 @node Repeats and MIDI
2387 @subsection Repeats and MIDI
2389 @cindex expanding repeats
2391 For instructions on how to unfoldi repeats for MIDI output, see
2392 the example file @file{input/test/unfold-all-repeats.ly}.
2397 Notice that timing information is not remembered at the start of an
2398 alternative, so you have to reset timing information after a repeat,
2399 e.g. using a bar-check (See @ref{Bar check}), setting
2400 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2401 are also not repeated.
2403 It is possible to nest @code{\repeat}s, although this probably is only
2404 meaningful for unfolded repeats.
2406 Folded repeats offer little more over simultaneous music.
2408 @node Manual repeat commands
2409 @subsection Manual repeat commands
2411 @cindex @code{repeatCommands}
2413 The property @code{repeatCommands} can be used to control the layout of
2414 repeats. Its value is a Scheme list of repeat commands, where each repeat
2422 @item (volta . @var{text})
2423 Print a volta bracket saying @var{text}. The text can be specified as
2424 a text string or as a markup text, see @ref{Text markup}. Do not
2425 forget to change the font, as the default number font does not contain
2426 alphabetic characters.
2428 Stop a running volta bracket
2431 @lilypond[verbatim, fragment]
2433 \property Score.repeatCommands = #'((volta "93") end-repeat)
2435 \property Score.repeatCommands = #'((volta #f))
2440 Repeats brackets are @internalsref{VoltaBracket} objects.
2442 @node Tremolo repeats
2443 @subsection Tremolo repeats
2444 @cindex tremolo beams
2446 To place tremolo marks between notes, use @code{\repeat} with tremolo
2448 @lilypond[verbatim,center,singleline]
2450 \context Voice \notes\relative c' {
2451 \repeat "tremolo" 8 { c16 d16 }
2452 \repeat "tremolo" 4 { c16 d16 }
2453 \repeat "tremolo" 2 { c16 d16 }
2454 \repeat "tremolo" 4 c16
2459 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2460 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2461 entered without @code{@{} and @code{@}}.
2465 Only powers of two and undotted notes are supported repeat counts.
2467 @node Tremolo subdivisions
2468 @subsection Tremolo subdivisions
2469 @cindex tremolo marks
2470 @cindex @code{tremoloFlags}
2472 Tremolo marks can be printed on a single note by adding
2473 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2474 A @var{length} value of 8 gives one line across the note stem. If the
2475 length is omitted, then then the last value (stored in
2476 @code{Voice.tremoloFlags}) is used.
2478 @lilypond[verbatim,fragment,center]
2479 c'2:8 c':32 | c': c': |
2485 Tremolos in this style do not carry over into the MIDI output.
2488 @node Measure repeats
2489 @subsection Measure repeats
2491 @cindex percent repeats
2492 @cindex measure repeats
2494 In the @code{percent} style, a note pattern can be repeated. It is
2495 printed once, and then the pattern is replaced with a special sign.
2496 Patterns of a one and two measures are replaced by percent-like signs,
2497 patterns that divide the measure length are replaced by slashes.
2499 @lilypond[verbatim,singleline]
2500 \context Voice { \repeat "percent" 4 { c'4 }
2501 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2505 The signs are represented by these objects: @internalsref{RepeatSlash} and
2506 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2510 You can not nest percent repeats, e.g. by filling in the first measure
2511 with slashes, and repeating that measure with percents.
2513 @node Rhythmic music
2514 @section Rhythmic music
2516 Sometimes you might want to show only the rhythm of a melody. This can
2517 be done with the rhythmic staff. All pitches of notes on such a staff
2518 are squashed, and the staff itself looks has a single staff line:
2520 @lilypond[fragment,relative,verbatim]
2521 \context RhythmicStaff {
2523 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2528 * Percussion staves::
2531 @node Percussion staves
2532 @subsection Percussion staves
2535 To typeset more than one piece of percussion to be played by the same
2536 musician one typically uses a multiline staff where each staff
2537 position refers to a specific piece of percussion.
2539 LilyPond is shipped with a bunch of scheme functions which allows you
2540 to do this fairly easily.
2542 The system is based on the general midi drum-pitches.
2543 In order to use the drum pitches you include
2544 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2545 variable @code{drum-pitch-names} - which definition can be read in
2546 @file{scm/drums.scm}. You see that each piece of percussion has a full
2547 name and an abbreviated name - and you may freely select whether to
2548 refer to the full name or the abbreviation in your music definition.
2550 To typeset the music on a staff you apply the scheme function
2551 @code{drums->paper} to the percussion music. This function takes a
2552 list of percussion instrument names, notehead scripts and staff
2553 positions (that is: pitches relative to the C-clef) and uses this to
2554 transform the input music by moving the pitch, changing the notehead
2555 and (optionally) adding a script:
2556 @lilypond[singleline,verbatim]
2557 \include "drumpitch-init.ly"
2558 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2559 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2561 \apply #(drums->paper 'drums) \context Staff <
2563 \context Voice = up { \voiceOne \up }
2564 \context Voice = down { \voiceTwo \down }
2569 In the above example the music was transformed using the list @code{'drums}.
2570 Currently the following lists are defined in @file{scm/drums.scm}:
2573 To typeset a typical drum kit on a five-line staff.
2576 \include "drumpitch-init.ly"
2577 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2578 bd sn ss tomh tommh tomml toml tomfh tomfl }
2579 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2580 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2583 \apply #(drums->paper 'drums) \context Staff <
2587 \context Lyrics \nam
2590 linewidth = 100.0\mm
2593 \remove Bar_engraver
2594 \remove Time_signature_engraver
2595 minimumVerticalExtent = #'(-4.0 . 5.0)
2599 \remove Stem_engraver
2605 Notice that the scheme supports six different toms.
2606 If you are using fewer toms then you simply select the toms that produce
2607 the desired result - i.e. to get toms on the three middle lines you
2608 use @code{tommh}, @code{tomml} and @code{tomfh}.
2610 Because the general midi contain no rimshots we use the sidestick for
2611 this purpose instead.
2613 To typeset timbales on a two line staff.
2614 @lilypond[singleline]
2615 \include "drumpitch-init.ly"
2616 nam = \lyrics { timh ssh timl ssl cb }
2617 mus = \notes { timh ssh timl ssl cb s16 }
2620 \apply #(drums->paper 'timbales) \context Staff <
2624 \context Lyrics \nam
2629 \remove Bar_engraver
2630 \remove Time_signature_engraver
2631 StaffSymbol \override #'line-count = #2
2632 StaffSymbol \override #'staff-space = #2
2633 minimumVerticalExtent = #'(-3.0 . 4.0)
2637 \remove Stem_engraver
2644 To typeset congas on a two line staff.
2645 @lilypond[singleline]
2646 \include "drumpitch-init.ly"
2647 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2648 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2651 \apply #(drums->paper 'congas) \context Staff <
2655 \context Lyrics \nam
2660 \remove Bar_engraver
2661 \remove Time_signature_engraver
2662 StaffSymbol \override #'line-count = #2
2663 StaffSymbol \override #'staff-space = #2
2664 minimumVerticalExtent = #'(-3.0 . 4.0)
2668 \remove Stem_engraver
2674 To typeset bongos on a two line staff.
2675 @lilypond[singleline]
2676 \include "drumpitch-init.ly"
2677 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2678 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2681 \apply #(drums->paper 'bongos) \context Staff <
2685 \context Lyrics \nam
2690 \remove Bar_engraver
2691 \remove Time_signature_engraver
2692 StaffSymbol \override #'line-count = #2
2693 StaffSymbol \override #'staff-space = #2
2694 minimumVerticalExtent = #'(-3.0 . 4.0)
2698 \remove Stem_engraver
2704 To typeset all kinds of simple percussion on one line staves.
2705 @lilypond[singleline]
2706 \include "drumpitch-init.ly"
2707 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2708 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2711 \apply #(drums->paper 'percussion) \context Staff <
2715 \context Lyrics \nam
2720 \remove Bar_engraver
2721 \remove Time_signature_engraver
2722 StaffSymbol \override #'line-count = #1
2723 minimumVerticalExtent = #'(-2.0 . 3.0)
2727 \remove Stem_engraver
2734 If you don't like any of the predefined lists you can define your own
2735 list at the top of your file:
2737 @lilypond[singleline, verbatim]
2739 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2740 (snare default #f ,(ly:make-pitch 0 1 0))
2741 (hihat cross #f ,(ly:make-pitch 0 5 0))
2742 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2743 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2745 \include "drumpitch-init.ly"
2746 up = \notes { hh8 hh hh hh hhp4 hhp }
2747 down = \notes { bd4 sn bd toml8 toml }
2749 \apply #(drums->paper 'mydrums) \context Staff <
2751 \context Voice = up { \voiceOne \up }
2752 \context Voice = down { \voiceTwo \down }
2757 To use a modified existing list instead of building your own from
2758 scratch you can append your modifications to the start of the existing
2762 #(define mydrums (append `(
2763 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2764 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2768 @c FIXME: Too many levels of headers when using subsubsections.
2769 @c Perhaps junk subsection ``Percussion staves''
2770 @subsubsection Percussion staves with normal staves
2771 When you include @file{drumpitch-init.ly} then the default pitches
2772 are overridden so that you after the inclusion cannot use the common
2773 dutch pitch names anymore. Hence you might wan't to reinclude
2774 @file{nederlands.ly} after the drum-pattern-definitions:
2775 @lilypond[singleline,verbatim]
2776 \include "drumpitch-init.ly"
2777 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2778 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2779 \include "nederlands.ly"
2780 bass = \notes \transpose c c,, { a4. e8 r e g e }
2783 \apply #(drums->paper 'drums) \context Staff = drums <
2785 \context Voice = up { \voiceOne \up }
2786 \context Voice = down { \voiceTwo \down }
2788 \context Staff = bass { \clef "F_8" \bass }
2793 @subsubsection Percussion midi output
2794 In order to produce correct midi output you need to produce two score
2795 blocks - one for the paper and one for the midi.
2796 To use the percussion channel you set the property @code{instrument}
2797 to @code{'drums}. Because the drum-pitches themself are similar to the
2798 general midi pitches all you have to do is to insert the voices with
2799 none of the scheme functions to get the correct midi output:
2803 \apply #(drums->paper 'mydrums) \context Staff <
2805 \context Voice = up @{ \voiceOne \up @}
2806 \context Voice = down @{ \voiceTwo \down @}
2812 \property Staff.instrument = #'drums
2821 This scheme is to be considered a temporary implementation. Even
2822 though the scheme will probably keep on working then the future might
2823 bring some other way of typesetting drums, and probably
2824 there will be made no great efforts in keeping things downwards
2829 @section Piano music
2831 Piano music is an odd type of notation. Piano staves are two normal
2832 staves coupled with a brace. The staves are largely independent, but
2833 sometimes voices can cross between the two staves. The
2834 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2835 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2836 other pianistic peculiarities.
2840 * Automatic staff changes::
2841 * Manual staff switches::
2844 * Voice follower lines::
2849 There is no support for putting chords across staves. You can get
2850 this result by increasing the length of the stem in the lower stave so
2851 it reaches the stem in the upper stave, or vice versa. An example is
2852 included with the distribution as @file{input/test/stem-cross-staff.ly}.
2854 @cindex cross staff stem
2855 @cindex stem, cross staff
2858 @c fixme: should have hyperlinks as well.
2863 @c . {Automatic staff changes}
2864 @node Automatic staff changes
2865 @subsection Automatic staff changes
2866 @cindex Automatic staff changes
2868 Voices can switch automatically between the top and the bottom
2869 staff. The syntax for this is
2871 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2873 The autochanger switches on basis of pitch (central C is the turning
2874 point), and it looks ahead skipping over rests to switch rests in
2875 advance. Here is a practical example:
2877 @lilypond[verbatim,singleline]
2878 \score { \notes \context PianoStaff <
2879 \context Staff = "up" {
2880 \autochange Staff \context Voice = VA < \relative c' {
2881 g4 a b c d r4 a g } > }
2882 \context Staff = "down" {
2887 Spacer rests are used to prevent the bottom staff from
2888 terminating too soon.
2891 @node Manual staff switches
2892 @subsection Manual staff switches
2894 @cindex manual staff switches
2895 @cindex staff switch, manual
2897 Voices can be switched between staves manually, using the following command:
2899 \translator Staff = @var{staffname} @var{music}
2901 The string @var{staffname} is the name of the staff. It switches the
2902 current voice from its current staff to the Staff called
2903 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2911 Piano pedal instruction can be expressed using
2912 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2913 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2915 The symbols that are printed can be modified by setting
2916 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2917 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2918 @internalsref{SustainPedal}, for example, for more information.
2920 Pedals can also be indicated by a sequence of brackets, by setting the
2921 @code{pedal-type} property of SustainPedal objects:
2923 @lilypond[fragment,verbatim]
2924 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2925 c''4 \sustainDown d''4 e''4 a'4
2926 \sustainUp \sustainDown
2927 f'4 g'4 a'4 \sustainUp
2930 A third style of pedal notation is a mixture of text and brackets,
2931 obtained by setting @code{pedal-type} to @code{mixed}:
2933 @lilypond[fragment,verbatim]
2934 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2935 c''4 \sustainDown d''4 e''4 c'4
2936 \sustainUp \sustainDown
2937 f'4 g'4 a'4 \sustainUp
2940 The default '*Ped' style for sustain and damper pedals corresponds to
2941 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2942 for a sostenuto pedal:
2944 @lilypond[fragment,verbatim]
2945 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2948 For fine-tuning of the appearance of a pedal bracket, the properties
2949 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2950 @code{PianoPedalBracket} objects (see the detailed documentation of
2951 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2952 may be extended to the end of the note head.
2954 @lilypond[fragment,verbatim]
2955 \property Staff.PianoPedalBracket \override
2956 #'shorten-pair = #'(0 . -1.0)
2957 c''4 \sostenutoDown d''4 e''4 c'4
2958 f'4 g'4 a'4 \sostenutoUp
2962 @subsection Arpeggio
2965 @cindex broken arpeggio
2966 @cindex @code{\arpeggio}
2968 You can specify an arpeggio sign on a chord by attaching an
2969 @code{\arpeggio} to a chord.
2972 @lilypond[fragment,relative,verbatim]
2973 <<c e g c>>-\arpeggio
2976 When an arpeggio crosses staves in piano music, you attach an arpeggio
2977 to the chords in both staves, and set
2978 @code{PianoStaff.connectArpeggios}.
2980 @lilypond[fragment,relative,verbatim]
2981 \context PianoStaff <
2982 \property PianoStaff.connectArpeggios = ##t
2983 \context Voice = one { <<c' e g c>>-\arpeggio }
2984 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio}
2988 This command creates @internalsref{Arpeggio} objects. Cross staff arpeggios
2989 are @code{PianoStaff.Arpeggio}.
2991 To add an arrow head to explicitly specify the direction of the
2992 arpeggio, you should set the arpeggio object property
2993 @code{arpeggio-direction}.
2995 @lilypond[fragment,relative,verbatim]
2997 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2998 <<c e g c>>-\arpeggio
2999 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3000 <<c e g c>>-\arpeggio
3004 A square bracket on the left indicates that the player should not
3005 arpeggiate the chord. To draw these brackets, set the
3006 @code{molecule-callback} property of @code{Arpeggio} or
3007 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3008 @code{\arpeggio} statements within the chords as before.
3010 @lilypond[fragment,relative,verbatim]
3011 \context PianoStaff <
3012 \property PianoStaff.connectArpeggios = ##t
3013 \property PianoStaff.Arpeggio \override
3014 #'molecule-callback = \arpeggioBracket
3015 \context Voice = one { <<c' e g c>>-\arpeggio }
3016 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
3023 It is not possible to mix connected arpeggios and unconnected
3024 arpeggios in one PianoStaff at the same time.
3028 @node Voice follower lines
3029 @subsection Voice follower lines
3031 @cindex follow voice
3032 @cindex staff switching
3035 @cindex @code{followVoice}
3037 Whenever a voice switches to another staff a line connecting the notes
3038 can be printed automatically. This is enabled if the property
3039 @code{PianoStaff.followVoice} is set to true:
3041 @lilypond[fragment,relative,verbatim]
3042 \context PianoStaff <
3043 \property PianoStaff.followVoice = ##t
3044 \context Staff \context Voice {
3046 \translator Staff=two
3049 \context Staff=two {\clef bass \skip 1*2 }
3053 The associated object is @internalsref{VoiceFollower}.
3057 @section Vocal music
3059 For a discussion of how to put lyrics into a score, see section
3060 @code{Printing lyrics} in the tutorial.
3062 [TODO: Move lyrics section from tutorial to here?]
3064 See also the sections on @ref{Slurs} and @ref{Breath marks}.
3066 [TODO: Move slurs / breath marks section to here?]
3068 [TODO: Write subsection upon usage of ChoirStaff.]
3070 For entering quotes in Lyrics mode, use the following
3072 "\"God\"" is "`King'"
3075 You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
3076 lyrics. This can confuse the LilyPond -- for example, this might put
3077 (empty) lyrics under rests. To remedy this, use @code{\skip}.
3088 The term @emph{ambitus} denotes a range of pitches for a given voice in
3089 a part of music. It also may denote the pitch range that a musical
3090 instrument is capable of playing. Most musical instruments have their
3091 ambitus standardized (or at least there is agreement upon the minimal
3092 ambitus of a particular type of instrument), such that a composer or
3093 arranger of a piece of music can easily meet the ambitus constraints of
3094 the targeted instrument. However, the ambitus of the human voice
3095 depends on individual physiological state, including education and
3096 training of the voice. Therefore, a singer potentially has to check for
3097 each piece of music if the ambitus of that piece meets his individual
3098 capabilities. This is why the ambitus of a piece may be of particular
3099 value to vocal performers.
3101 The ambitus is typically notated on a per-voice basis at the very
3102 beginning of a piece, e.g. nearby the initial clef or time signature of
3103 each staff. The range is graphically specified by two noteheads, that
3104 represent the minimum and maximum pitch. Some publishers use a textual
3105 notation: they put the range in words in front of the corresponding
3106 staff. Lilypond currently only supports the graphical ambitus notation.
3108 To apply, simply add the @internalsref{Ambitus_engraver} to the
3109 @internalsref{Voice} context, as shown in the below example:
3111 @lilypond[singleline,verbatim]
3112 upper = \notes \relative c {
3115 as'' c e2 bes f cis d4 e f2 g
3117 lower = \notes \relative c {
3120 e'4 b g a c es fis a cis b a g f e d2
3123 \context ChoirStaff {
3125 \context Staff = one { \upper }
3126 \context Staff = three { \lower }
3132 \consists Ambitus_engraver
3138 The shape of the note heads to use can be changed via the
3139 @code{note-head-style} property, which holds the glyph name of the note
3140 head (see also @ref{Ancient note heads}). The vertical line between the
3141 upper and lower head can be switched on or off via the @code{join-heads}
3147 \consists Ambitus_engraver
3148 Ambitus \set #'note-head-style = #'noteheads-2mensural
3149 Ambitus \set #'join-heads = ##f
3153 By default, the ambitus grob is put before the clef. You can control
3154 this behaviour through the @code{breakAlignOrder} property of the score
3155 context by redefining the order, e.g. with the following addition to the
3161 breakAlignOrder = #'(
3179 Tablature notation is used for notating music for plucked string
3180 instruments. It notates pitches not by using note heads, but by
3181 indicating on which string and fret a note must be played. LilyPond
3182 offers limited support for tablature.
3185 * Tablatures basic::
3186 * Non-guitar tablatures::
3187 * Tablature in addition to normal staff::
3190 @node Tablatures basic
3191 @subsection Tablatures basic
3192 @cindex Tablatures basic
3194 Tablature can be typeset with Lilypond by using the
3195 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
3196 tablature is a recent feature in Lilypond, most of the guitar special
3197 effects such as bend are not yet supported.
3199 With the @internalsref{TabStaff}, the string number associated to a note
3200 is given as a backslash followed by the string number, e.g. @code{c4\3} for a C
3201 quarter on the third string. By default, string 1 is the highest one, and the
3202 tuning defaults to the standard guitar tuning (with 6 strings).
3204 @lilypond[fragment,verbatim]
3213 If you do not specify a string number then lilypond automatically selects one.
3214 The selection is controlled by the translator property @code{minimumFret}. -- LilyPond
3215 simply selects the first string that does not give a fret number less than
3216 @code{minimumFret}. Default is 0.
3218 Notice that LilyPond does not handle chords in any special way, and hence
3219 the automatic string selector may easily select the same string to two notes in a chord.
3222 e8 fis gis a b cis' dis' e'
3223 \property TabStaff.minimumFret = #8
3224 e8 fis gis a b cis' dis' e'
3226 @lilypond[noindent,noquote]
3229 e8 fis gis a b cis' dis' e'
3230 \property TabStaff.minimumFret = #8
3231 e8 fis gis a b cis' dis' e'
3234 \context StaffGroup <
3235 \context Staff { \clef "G_8" \frag }
3236 \context TabStaff { \frag }
3241 @node Non-guitar tablatures
3242 @subsection Non-guitar tablatures
3243 @cindex Non-guitar tablatures
3245 There are many ways to customize Lilypond tablatures.
3247 First you can change the number of strings, by setting the number of
3248 lines in the @internalsref{TabStaff} (the @code{line-count} property
3249 of TabStaff can only be changed using @code{\outputproperty}, for more
3250 information, see @ref{Tuning per object}. You can change the strings
3251 tuning. A string tuning is given as a Scheme list with one integer
3252 number for each string, the number being the pitch of an open string.
3254 (The numbers specified for stringTuning are the numbers of semitons
3255 to subtract --- or add --- starting the specified pitch by default
3256 middle C, in string order: thus the notes are e, a, d & g)
3258 @lilypond[fragment,verbatim]
3261 \outputproperty #(make-type-checker 'staff-symbol-interface)
3263 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3266 a,4 c' a e' e c' a e'
3271 Finally, it is possible to change the Scheme function to format the
3272 tablature note text. The default is @var{fret-number-tablature-format},
3273 which uses the fret number, but for some instruments that may not use
3274 this notation, just create your own tablature-format function. This
3275 function takes three argument: the string number, the string tuning and
3279 @node Tablature in addition to normal staff
3280 @subsection Tablature in addition to normal staff
3281 @cindex Tablature in addition to normal staff
3283 It is possible to typeset both tablature and a "normal" staff, as
3284 commonly done in many parts.
3286 A common trick for that is to put the notes in a variables, and to hide
3287 the fingering information (which correspond to the string number) for
3291 @c @lily pond[verbatim]
3298 \context StaffGroup <
3300 % Hide fingering number
3301 \property Staff.Fingering \override #'transparent = ##t
3306 \property Staff.Stem \override #'direction = #1
3320 LilyPond has support for both entering and printing chords.
3321 @lilypond[verbatim,singleline]
3322 twoWays = \notes \transpose c c' {
3332 < \context ChordNames \twoWays
3333 \context Voice \twoWays > }
3336 This example also shows that the chord printing routines do not try to
3337 be intelligent. If you enter @code{f bes d}, it does not interpret
3338 this as an inversion.
3340 As you can see chords really are a set of pitches. They are internally
3341 stored as simultaneous music expressions. This means you can enter
3342 chords by name and print them as notes, enter them as notes and print
3343 them as chord names, or (the most common case) enter them by name, and
3348 * Printing named chords::
3353 @subsection Chords mode
3356 Chord mode is a mode where you can input sets of pitches using common
3357 names. It is introduced by the keyword @code{\chords}.
3358 In chords mode, a chord is entered by the root, which is entered
3359 like a common pitch, for example,
3360 @lilypond[fragment,verbatim]
3363 is the notation for an E-flat major chord.
3368 Other chords may be entered
3369 by suffixing a colon, and introducing a modifier, and optionally, a
3371 @lilypond[fragment,verbatim]
3372 \chords { e1:m e1:7 e1:m7 }
3374 The first number following the root is taken to be the `type' of the
3375 chord, thirds are added to the root until it reaches the specified
3376 number, for example.
3377 @lilypond[fragment,verbatim]
3378 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3381 @cindex root of chord
3382 @cindex additions, in chords
3383 @cindex removals, in chords
3385 More complex chords may also be constructed adding separate steps
3386 to a chord. Additions are added after the number following
3387 the colon, and are separated by dots. For example
3389 @lilypond[verbatim,fragment]
3390 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3392 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3393 to the number, for example:
3394 @lilypond[verbatim,fragment]
3395 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3397 Removals are specified similarly, and are introduced by a caret. They
3398 must come after the additions.
3399 @lilypond[verbatim,fragment]
3400 \chords { c^3 c:7^5 c:9^3.5 }
3403 Modifiers can be used to change pitches. The following modifiers are
3407 Minor chord. Lowers the 3rd and (if present) the 7th step.
3409 Diminished chord. Lowers the 3rd, 5th and (if present) the 7th step
3411 Augmented chord. Raises the 5th step.
3413 Major 7th chord. Raises the 7th step, if present.
3415 Suspended 4th or 2nd. This modifier removes the 3rd step. Append
3416 either @code{2} or @code{4} to add the 2nd or 4th step to the chord.
3418 Modifiers can be mixed with additions.
3419 @lilypond[verbatim,fragment]
3420 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3423 @cindex modifiers, in chords.
3430 Since the unaltered 11 does sound well when combined with the
3431 unaltered 3, the 11 is removed in this case, unless it is added
3432 explicitly). For example,
3433 @lilypond[fragment,verbatim]
3434 \chords { c:13 c:13.11 c:m13 }
3439 An inversion (putting one pitch of the chord on the bottom), as well
3440 as bass notes, can be specified by appending
3441 @code{/}@var{pitch} to the chord.
3442 @lilypond[fragment,verbatim,center]
3443 \chords { c1 c/g c/f }
3446 If you do not want to remove the bass note from the chord, but rather
3447 add the note, then you can use @code{/+}@var{pitch}.
3449 @lilypond[fragment,verbatim,center]
3450 \chords { c1 c/+g c/+f }
3453 The chords mode is a mode similar to @code{\lyrics}, @code{\notes}
3454 etc. Most of the commands continue to work, for example, @code{r} and
3455 @code{\skip} can be used to insert spaces, and @code{\property} to
3456 change various settings.
3462 Each step can only be present in a chord once. The following
3463 simply produces the augmented chord, since @code{5+} is interpreted
3466 @lilypond[verbatim,fragment]
3467 \chords { c:5.5-.5+ }
3470 In chord mode, dashes and carets are used to indicate chord additions
3471 and subtractions, so articulation scripts can not be entered.
3477 @c . {Printing named chords}
3478 @node Printing named chords
3479 @subsection Printing named chords
3481 @cindex printing chord names
3485 For displaying printed chord names, use the @internalsref{ChordNames} context.
3486 The chords may be entered either using the notation described above, or
3487 directly using simultaneous music.
3489 @lilypond[verbatim,singleline]
3491 \chords {a1 b c} <<d f g>> <<e g b>>
3495 \context ChordNames \scheme
3496 \context Staff \transpose c c' \scheme
3501 You can make the chord changes stand out by setting
3502 @code{ChordNames.chordChanges} to true. This will only display chord
3503 names when there's a change in the chords scheme and at the start of a
3508 c1:m c:m \break c:m c:m d
3512 \context ChordNames {
3513 \property ChordNames.chordChanges = ##t
3515 \context Staff \transpose c c' \scheme
3517 \paper{linewidth= 9.\cm}
3521 LilyPond examines chords specified as lists of notes to determine a name
3522 to give the chord. LilyPond will not try to identify chord inversions or
3523 an added bass note, which may result in strange chord names when chords
3524 are entered as a list of pitches:
3526 @lilypond[verbatim,center,singleline]
3535 \context ChordNames \scheme
3536 \context Staff \scheme
3541 The default chord name layout is a system for Jazz music, proposed by
3542 Klaus Ignatzek (See @ref{Literature}).
3544 [TODO: add description for banter other jazz.]
3546 The Ignatzek chord name formatting can be tuned in a number of ways
3547 through the following properties:
3549 @item chordNameExceptions
3550 This is a list that contains the chords that have special formatting.
3552 @lilypond[verbatim,singleline]
3553 chExceptionMusic = \notes { <<c f g bes>>1-\markup { \super "7" "wahh" }}
3554 chExceptions = #(append
3555 (sequential-music-to-chord-exceptions chExceptionMusic)
3558 \score { \context ChordNames
3561 \property ChordNames.chordNameExceptions = #chExceptions
3565 Putting the exceptions list encoded as
3567 \notes @{ <<c f g bes>>1-\markup @{ \super "7" "wahh" @} @}
3569 into the property takes a little manoeuvring. The following code
3570 transforms @code{chExceptionMusic} (which is a sequential music)
3571 into a list of exceptions.
3573 (sequential-music-to-chord-exceptions chExceptionMusic)
3578 ... ignatzekExceptions)
3580 adds the new exceptions to the default ones, which are defined in
3581 @file{ly/chord-modifier-init.ly}.
3583 @item majorSevenSymbol
3584 This property contains the markup object used for the 7th step, when
3585 it is major. Predefined options are @code{whiteTriangleMarkup},
3586 @code{blackTriangleMarkup}. The following uses another popular shorthand.
3587 @lilypond[fragment,verbatim]
3588 \context ChordNames \chords {
3590 \property ChordNames.majorSevenSymbol = \markup { "j7" }
3593 @item chordNameSeparator
3594 Different parts of a chord name are normally separated by a
3595 slash. By setting @code{chordNameSeparator}, you can specify other
3597 @lilypond[fragment,verbatim]
3598 \context ChordNames \chords {
3600 \property ChordNames.chordNameSeparator = \markup { "|" }
3610 @section Writing parts
3612 Orchestral music involves some special notation, both in the full score,
3613 as in the individual parts. This section explains how to tackle common
3614 problems in orchestral music.
3621 * Instrument names::
3623 * Multi measure rests::
3624 * Automatic part combining::
3625 * Hara kiri staves::
3626 * Sound output for transposing instruments::
3629 @c . {Rehearsal marks}
3630 @node Rehearsal marks
3631 @subsection Rehearsal marks
3632 @cindex Rehearsal marks
3634 @cindex @code{\mark}
3636 To print a rehearsal mark, use the @code{\mark} command.
3637 @lilypond[fragment,verbatim]
3648 As you can see, the mark is incremented automatically if you use
3649 @code{\mark \default}. The value to use is stored in the property
3650 @code{rehearsalMark} is used and automatically incremented. The object
3651 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3652 @code{input/test/boxed-molecule.ly} if you need boxes around the
3655 The @code{\mark} command can also be used to put signs like coda,
3656 segno and fermatas on a barline. The trick is to use the text markup
3657 mechanism to access the fermata symbol.
3658 @lilypond[fragment,verbatim,relative=1]
3659 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3664 The problem is that marks that occur at a line break are typeset only
3665 at the beginning of the next line, opposite to what you want for the
3666 fermata. This can be corrected by the following property setting
3668 \property Score.RehearsalMark \override
3669 #'break-visibility = #begin-of-line-invisible
3675 @cindex barlines, putting symbols on
3679 @subsection Bar numbers
3683 @cindex measure numbers
3684 @cindex currentBarNumber
3686 Bar numbers are printed by default at the start of the line. The
3687 number itself is a property that can be set by modifying the
3688 @code{currentBarNumber} property, although that is usually not
3691 \property Score.currentBarNumber = #217
3694 To typeset Bar Numbers at regular intervals instead of at the beginning of each line,
3695 you need to change the grob property @code{break-visibility} as well as the translator
3696 property @code{barNumberVisibility}, as illustrated in the following example which also
3697 adds a box around the bar numbers:
3699 \property Score.BarNumber \override #'break-visibility =
3700 #end-of-line-invisible
3701 \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
3702 \property Score.BarNumber \override #'molecule-callback =
3703 #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
3704 \property Score.BarNumber \override #'font-relative-size = #0
3706 @lilypond[noindent,noquote]
3708 \context Staff \notes \transpose c c'' {
3709 \property Score.BarNumber \override #'break-visibility = #end-of-line-invisible
3710 \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
3711 \property Score.BarNumber \override #'molecule-callback =
3712 #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
3713 \property Score.BarNumber \override #'font-relative-size = #0
3715 \repeat unfold 16 c1 \bar "|."
3720 If you would like the bar numbers to appear at regular intervals, but
3721 not starting from measure zero, you can use the context function,
3722 @code{set-bar-number-visibility}, to automatically set
3723 @code{barNumberVisibility} so that the bar numbers appear at regular
3724 intervals, starting from the @code{\applycontext}:
3727 resetBarnum = \context Score \applycontext
3728 #(set-bar-number-visibility 4)
3730 \property Score.BarNumber \override #'break-visibility =
3731 #end-of-line-invisible
3732 \mark "A" \resetBarnum
3733 \repeat unfold 10 c1
3734 \mark \default \resetBarnum
3737 @lilypond[noindent,noquote]
3738 resetBarnum = \context Score \applycontext
3739 #(set-bar-number-visibility 4)
3742 \notes \transpose c c'' {
3743 \property Score.BarNumber \override #'break-visibility =#end-of-line-invisible
3744 \property Score.RehearsalMark \override #'padding = #2.5
3745 \mark "A" \resetBarnum
3746 \repeat unfold 10 c1
3747 \mark \default \resetBarnum
3755 See also @seeinternals{BarNumber}.
3759 Barnumbers can collide with the StaffGroup, if there is one at the
3760 top. To solve this, You have to twiddle with the
3761 @internalsref{padding} property of @internalsref{BarNumber} if your
3762 score starts with a @internalsref{StaffGroup}.
3764 @node Instrument names
3765 @subsection Instrument names
3767 In scores, the instrument name is printed before the staff. This can
3768 be done by setting @code{Staff.instrument} and
3769 @code{Staff.instr}. This will print a string before the start of the
3770 staff. For the first start, @code{instrument} is used, for the next
3771 ones @code{instr} is used.
3773 @lilypond[verbatim,singleline]
3774 \property Staff.instrument = "ploink " { c''4 }
3777 You can also use markup texts to construct more complicated instrument
3781 @lilypond[verbatim,singleline]
3783 \notes \context Staff = treble {
3784 \property Staff.instrument
3785 = \markup { \column << "Clarinetti" { "in B" \smaller \musicglyph #"accidentals--1" } >> }
3788 \paper { linewidth= 8.0\cm }
3795 When you put a name on a grand staff or piano staff the width of the
3796 brace is not taken into account. You must add extra spaces to the end of
3797 the name to avoid a collision.
3800 @subsection Transpose
3802 @cindex transposition of pitches
3803 @cindex @code{\transpose}
3805 A music expression can be transposed with @code{\transpose}. The syntax
3808 \transpose @var{from} @var{to} @var{musicexpr}
3811 This means that @var{musicexpr} is transposed to by the interval
3812 between @var{from} is @var{to}.
3814 @code{\transpose} distinguishes between enharmonic pitches: both
3815 @code{\transpose c cis} or @code{\transpose c des} will transpose up
3816 half a tone. The first version will print sharps and the second
3817 version will print flats.
3819 @lilypond[singleline, verbatim]
3820 mus =\notes { \key d \major cis d fis g }
3821 \score { \notes \context Staff {
3824 \transpose c g' \mus
3825 \transpose c f' \mus
3829 If you want to use both @code{\transpose} and @code{\relative}, then
3830 you must use @code{\transpose} first. @code{\relative} will have no
3831 effect music that appears inside a @code{\transpose}.
3833 @c . {Multi measure rests}
3834 @node Multi measure rests
3835 @subsection Multi measure rests
3836 @cindex Multi measure rests
3840 Multi measure rests are entered using `@code{R}'. It is specifically
3841 meant for full bar rests and for entering parts: the rest can expand to
3842 fill a score with rests, or it can be printed as a single multimeasure
3843 rest This expansion is controlled by the property
3844 @code{Score.skipBars}. If this is set to true, Lily will not expand
3845 empty measures, and the appropriate number is added automatically.
3847 @lilypond[fragment,verbatim]
3848 \time 4/4 r1 | R1 | R1*2
3849 \property Score.skipBars = ##t R1*17 R1*4
3852 The @code{1} in @code{R1} is similar to the duration notation used for
3853 notes. Hence, for time signatures other than 4/4, you must enter other
3854 durations. This can be done with augmentation dots, or with
3857 @lilypond[fragment,verbatim]
3858 \property Score.skipBars = ##t
3865 Notice that a @code{R} spanning a single measure is printed as a whole
3866 rest centered in the measure, regardless of the time signature.
3868 [ add note about breves.]
3871 @cindex text on multi-measure rest
3872 @cindex script on multi-measure rest
3873 @cindex fermata on multi-measure rest
3875 Texts can be added to multi-measure rests by using the
3876 @var{note}-@code{markup} syntax. An identifier
3877 is provided for a fermata.
3879 @lilypond[verbatim,fragment]
3881 R2._\markup { \roman "Ad lib" }
3884 By default, the multi-measure rest uses the number font, which does
3885 not contain any letters. This is the reason for the explicit
3886 @code{\roman} in the above example.
3888 @cindex whole rests for a full measure
3890 The object for this object is @internalsref{MultiMeasureRest}, and
3891 @internalsref{MultiMeasureRestNumber}.
3895 Only one text can be put on a multi-measure rest with
3896 @var{note}-@var{text} syntax, since this is internally converted to
3897 setting @code{#'text} in @internalsref{MultiMeasureRestNumber}. It is
3898 not possible to use fingerings (e.g. @code{R1-4}) to put numbers over
3899 multi-measure rests.
3902 @cindex condensing rests
3904 Currently, there is no way to automatically condense multiple rests
3905 into a single multimeasure rest. Multi measure rests do not take part
3909 @node Automatic part combining
3910 @subsection Automatic part combining
3911 @cindex automatic part combining
3912 @cindex part combiner
3915 Automatic part combining is used to merge two parts of music onto a
3916 staff in an intelligent way. It is aimed primarily at typesetting
3917 orchestral scores. When the two parts are identical for a period of
3918 time, only one is shown. In places where the two parts differ, they
3919 are typeset as separate voices, and stem directions are set
3920 automatically. Also, solo and @emph{a due} parts can be identified
3923 The syntax for part combining is
3926 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3928 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3929 combined into one context of type @var{context}. The music expressions
3930 must be interpreted by contexts whose names should start with @code{one}
3933 The most useful function of the part combiner is to combine parts into
3934 one voice, as common for wind parts in orchestral scores:
3936 @lilypond[verbatim,singleline,fragment]
3938 \context Voice=one \partcombine Voice
3939 \context Thread=one \relative c'' {
3942 \context Thread=two \relative c'' {
3948 Notice that the first @code{g} appears only once, although it was
3949 specified twice (once in each part). Stem, slur and tie directions are
3950 set automatically, depending whether there is a solo or unisono. The
3951 first part (with context called @code{one}) always gets up stems, and
3952 `solo', while the second (called @code{two}) always gets down stems and
3955 If you just want the merging parts, and not the textual markings, you
3956 may set the property @var{soloADue} to false.
3958 @lilypond[verbatim,singleline,fragment]
3960 \property Staff.soloADue = ##f
3961 \context Voice=one \partcombine Voice
3962 \context Thread=one \relative c'' {
3965 \context Thread=two \relative c'' {
3971 There are a number of other properties that you can use to tweak the
3972 behavior of part combining, refer to the automatically generated
3973 documentation of @reng{Thread_devnull_engraver} and
3974 @reng{Voice_devnull_engraver}. Look at the documentation of the
3975 responsible engravers, @code{Thread_devnull_engraver},
3976 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3980 In @code{soloADue} mode, when the two voices play the same notes on and
3981 off, the part combiner may typeset @code{a2} more than once in a
3984 @lilypond[fragment,singleline]
3986 \context Voice=one \partcombine Voice
3987 \context Thread=one \relative c'' {
3990 \context Thread=two \relative c'' {
3996 @cindex @code{Thread_devnull_engraver}
3997 @cindex @code{Voice_engraver}
3998 @cindex @code{A2_engraver}
4000 @node Hara kiri staves
4001 @subsection Hara kiri staves
4003 In orchestral scores, staff lines that only have rests are usually removed.
4004 This saves some space. LilyPond also supports this through the hara
4005 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
4006 the Japanese Samourai warriors.} staff. This staff commits suicide when
4007 it finds itself to be empty after the line-breaking process. It will
4008 not disappear when it contains normal rests, you must use multi measure
4011 The hara kiri staff is specialized version of the @internalsref{Staff}
4012 context. It is available as the context identifier
4013 @code{\HaraKiriStaffContext}. Observe how the second staff in this
4014 example disappears in the second line.
4018 \notes \relative c' <
4019 \context Staff = SA { e4 f g a \break c1 }
4020 \context Staff = SB { c4 d e f \break R1 }
4024 \translator { \HaraKiriStaffContext }
4029 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4030 @internalsref{ChordNames} and @internalsref{FiguredBass}, hara-kiri is
4031 switched on by default.
4034 @node Sound output for transposing instruments
4035 @subsection Sound output for transposing instruments
4037 When you want to make a MIDI file from a score containing transposed
4038 and untransposed instruments, you have to instruct LilyPond the pitch
4039 offset (in semitones) for the transposed instruments. This is done
4040 using the @code{transposing} property. It does not affect printed
4043 @cindex @code{transposing}
4046 \property Staff.instrument = #"Cl. in B-flat"
4047 \property Staff.transposing = #-2
4053 @node Ancient notation
4054 @section Ancient notation
4056 @cindex Vaticana, Editio
4057 @cindex Medicaea, Editio
4063 * Ancient note heads::
4071 @node Ancient note heads
4072 @subsection Ancient note heads
4074 To get a longa note head, you have to use mensural note heads. This
4075 is accomplished by setting the @code{style} property of the
4076 NoteHead object to @code{mensural}. There is also a note head style
4077 @code{baroque} which gives mensural note heads for @code{\longa} and
4078 @code{\breve} but standard note heads for shorter notes.
4080 @lilypond[fragment,singleline,verbatim]
4081 \property Voice.NoteHead \set #'style = #'mensural
4086 @subsection Ancient clefs
4088 LilyPond supports a variety of clefs, many of them ancient.
4090 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4091 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4094 The following table shows all ancient clefs that are supported via the
4095 @code{\clef} command. Some of the clefs use the same glyph, but differ
4096 only with respect to the line they are printed on. In such cases, a
4097 trailing number in the name is used to enumerate these clefs. Still,
4098 you can manually force a clef glyph to be typeset on an arbitrary line,
4099 as described in section @ref{Clef}. The note printed to the right side
4100 of each clef denotes the @code{c'} with respect to the clef.
4104 @c --- This should go somewhere else: ---
4105 @c @item modern style G clef (glyph: @code{clefs-G})
4108 @c @code{treble}, @code{violin}, @code{G}, @code{G2}, @code{french}
4110 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "G" c'}
4112 @c @item modern style F clef (glyph: @code{clefs-F})
4115 @c @code{varbaritone}, @code{bass}, @code{F}, @code{subbass}
4117 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "F" c'}
4119 @c @item modern style C clef (glyph: @code{clefs-C})
4122 @c @code{soprano}, @code{mezzosoprano}, @code{alto}, @code{C},
4123 @c @code{tenor}, @code{baritone}
4125 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "C" c'}
4127 @item modern style mensural C clef (glyph: @code{clefs-neo_mensural_c'})
4130 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4131 @code{neo_mensural_c3}, @code{neo_mensural_c4}
4133 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "neo_mensural_c2" c'}
4135 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c1})
4141 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c1" c'}
4143 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c2})
4149 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c2" c'}
4151 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c3})
4157 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c3" c'}
4159 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c4})
4165 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c4" c'}
4167 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c5})
4173 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c5" c'}
4175 @item petrucci style mensural F clef (glyph: @code{clefs-petrucci_f})
4180 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_f" c'}
4182 @item petrucci style mensural G clef (glyph: @code{clefs-petrucci_g})
4187 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_g" c'}
4189 @item historic style mensural C clef (glyph: @code{clefs-mensural_c'})
4192 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4195 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_c2" c'}
4197 @item historic style mensural F clef (glyph: @code{clefs-mensural_f})
4202 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_f" c'}
4204 @item historic style mensural G clef (glyph: @code{clefs-mensural_g})
4209 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_g" c'}
4211 @item Editio Vaticana style do clef (glyph: @code{clefs-vaticana_do})
4214 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3}
4216 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_do2" c'}
4218 @item Editio Vaticana style fa clef (glyph: @code{clefs-vaticana_fa})
4221 @code{vaticana_fa1}, @code{vaticana_fa2}
4223 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_fa2" c'}
4225 @item Editio Medicaea style do clef (glyph: @code{clefs-medicaea_do})
4228 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3}
4230 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_do2" c'}
4232 @item Editio Medicaea style fa clef (glyph: @code{clefs-medicaea_fa})
4235 @code{medicaea_fa1}, @code{medicaea_fa2}
4237 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_fa2" c'}
4239 @item historic style hufnagel do clef (glyph: @code{clefs-hufnagel_do})
4242 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3}
4244 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do2" c'}
4246 @item historic style hufnagel fa clef (glyph: @code{clefs-hufnagel_fa})
4249 @code{hufnagel_fa1}, @code{hufnagel_fa2}
4251 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_fa2" c'}
4253 @item historic style hufnagel combined do/fa clef (glyph: @code{clefs-hufnagel_do_fa})
4256 @code{hufnagel_do_fa}
4258 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do_fa" c'}
4260 @c --- This should go somewhere else: ---
4261 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4264 @c @code{percussion}
4266 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4268 @c @item modern style tab clef (glyph: @code{clefs-tab})
4273 @c @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4277 @emph{Modern style} means ``as is typeset in current editions of
4278 transcribed mensural music''.
4280 @emph{Petrucci style} means ``inspired by printings published by the
4281 famous engraver Petrucci (1466-1539)''.
4283 @emph{Historic style} means ``as was typeset or written in contemporary
4284 historic editions (other than those of Petrucci)''.
4286 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4288 Petrucci used C clefs with differently balanced left-side vertical
4289 beams, depending on which staffline it was printed.
4292 @subsection Custodes
4297 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4298 staff context symbol that appears at the end of a staff line. It
4299 anticipates the pitch of the first note(s) of the following line and
4300 thus helps the player or singer to manage line breaks during
4301 performance, thus enhancing readability of a score.
4303 @lilypond[verbatim,noquote]
4306 \property Staff.Custos \set #'style = #'mensural
4311 \consists Custos_engraver
4317 Custodes were frequently used in music notation until the 17th century.
4318 There were different appearances for different notation styles.
4319 Nowadays, they have survived only in special forms of musical notation
4320 such as via the @emph{editio vaticana} dating back to the beginning of
4323 For typesetting custodes, just put a @code{Custos_engraver} into the
4324 @internalsref{Staff} context when declaring the @code{\paper} block. In this
4325 block, you can also globally control the appearance of the custos symbol
4326 by setting the custos @code{style} property. Currently supported styles
4327 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4334 \consists Custos_engraver
4335 Custos \override #'style = #'mensural
4340 The property can also be set locally, for example in a @code{\notes}
4345 \property Staff.Custos \override #'style = #'vaticana
4346 c'1 d' e' d' \break c' d' e' d'
4351 @subsection Ligatures
4355 @c TODO: Should double check if I recalled things correctly when I wrote
4356 @c down the following paragraph by heart.
4357 In musical terminology, a ligature is a coherent graphical symbol that
4358 represents at least two different notes. Ligatures originally appeared
4359 in the manuscripts of Gregorian chant notation roughly since the 9th
4360 century as an allusion to the accent symbols of greek lyric poetry to
4361 denote ascending or descending sequences of notes. Both, the shape and
4362 the exact meaning of ligatures changed tremendously during the following
4363 centuries: In early notation, ligatures where used for monophonic tunes
4364 (Gregorian chant) and very soon denoted also the way of performance in
4365 the sense of articulation. With upcoming multiphony, the need for a
4366 metric system arised, since multiple voices of a piece have to be
4367 synchronized some way. New notation systems were invented, that used
4368 the manifold shapes of ligatures to now denote rhythmical patterns
4369 (e.g. black mensural notation, mannered notation, ars nova). With the
4370 invention of the metric system of the white mensural notation, the need
4371 for ligatures to denote such patterns disappeared. Nevertheless,
4372 ligatures were still in use in the mensural system for a couple of
4373 decades until they finally disappeared during the late 16th / early 17th
4374 century. Still, ligatures have survived in contemporary editions of
4375 Gregorian chant such as the Editio Vaticana from 1905/08.
4377 Syntactically, ligatures are simply enclosed by @code{\[} and @code{\]}.
4378 Some ligature styles (such as Editio Vaticana) may need additional input
4379 syntax specific for this particular type of ligature. By default, the
4380 @internalsref{LigatureBracket} engraver just marks the start and end of
4381 a ligature by small square angles:
4383 @lilypond[singleline,verbatim]
4385 \notes \transpose c c' {
4393 To select a specific style of ligatures, a proper ligature engraver has
4394 to be added to the @internalsref{Voice} context, as explained in the
4395 following subsections. Currently, Lilypond only supports white mensural
4396 ligatures with certain limitations. Support for Editio Vaticana will be
4397 added in the future.
4400 * White mensural ligatures::
4403 @node White mensural ligatures
4404 @subsubsection White mensural ligatures
4406 @cindex Mensural ligatures
4407 @cindex White mensural ligatures
4409 Lilypond has limited support for white mensural ligatures. The
4410 implementation is still experimental; it currently may output strange
4411 warnings or even crash in some cases or produce weird results on more
4412 complex ligatures. To engrave white mensural ligatures, in the paper
4413 block the @internalsref{MensuralLigature} engraver has to be put into
4414 the @internalsref{Voice} context (and you probably want to remove the
4415 @internalsref{LigatureBracket} engraver). There is no additional input
4416 language to describe the shape of a white mensural ligature. The shape
4417 is rather determined solely from the pitch and duration of the enclosed
4418 notes. While this approach may take a new user quite a while to get
4419 accustomed, it has a great advantage: this way, lily has full musical
4420 information about the ligature. This is not only required for correct
4421 MIDI output, but also allows for automatic transcription of the
4426 @lilypond[singleline,verbatim]
4428 \notes \transpose c c' {
4429 \property Score.timing = ##f
4430 \property Score.defaultBarType = "empty"
4431 \property Voice.NoteHead \set #'style = #'neo_mensural
4432 \property Staff.TimeSignature \set #'style = #'neo_mensural
4434 \[ g\longa c\breve a\breve f\breve d'\longa \]
4436 \[ e1 f1 a\breve g\longa \]
4441 \remove Ligature_bracket_engraver
4442 \consists Mensural_ligature_engraver
4448 Without replacing @code{Ligature_bracket_engraver} with
4449 @code{Mensural_ligature_engraver}, the same music transcribes to the
4452 @lilypond[singleline,verbatim]
4454 \notes \transpose c c' {
4455 \property Score.timing = ##f
4456 \property Score.defaultBarType = "empty"
4457 \property Voice.NoteHead \set #'style = #'neo_mensural
4458 \property Staff.TimeSignature \set #'style = #'neo_mensural
4460 \[ g\longa c\breve a\breve f\breve d'\longa \]
4462 \[ e1 f1 a\breve g\longa \]
4468 @subsection Figured bass
4470 @cindex Basso continuo
4472 LilyPond has limited support for figured bass:
4474 @lilypond[verbatim,fragment]
4476 \context FiguredBass
4481 \context Voice { c4 g8 }
4485 The support for figured bass consists of two parts: there is an input
4486 mode, introduced by @code{\figures}, where you can enter bass figures
4487 as numbers, and there is a context called @internalsref{FiguredBass}
4488 that takes care of making @internalsref{BassFigure} objects.
4490 In figures input mode, a group of bass figures is delimited by
4491 @code{<} and @code{>}. The duration is entered after the @code{>}.
4496 \context FiguredBass
4500 Accidentals are added to the numbers if you alterate them by
4501 appending @code{-}, @code{!} and @code{+}.
4507 \context FiguredBass
4508 \figures { <4- 6+ 7!> }
4511 Spaces or dashes may be inserted by using @code{_}. Brackets are
4512 introduced with @code{[} and @code{]}.
4518 \context FiguredBass
4519 \figures { < [4 6] 8 [_ 12]> }
4522 Although the support for figured bass may superficially resemble chord
4523 support, it works much simpler: in figured bass simply stores the
4524 numbers, and then prints the numbers you entered. There is no
4525 conversion to pitches, and no realizations of the bass are played in
4529 @c . {Contemporary notation}
4530 @node Contemporary notation
4531 @section Contemporary notation
4538 @subsection Clusters
4542 In musical terminology, a @emph{cluster} denotes a range of
4543 simultaneously sounding pitches that may change over time. The set of
4544 available pitches to apply usually depends on the accoustic source.
4545 Thus, in piano music, a cluster typically consists of a continous range
4546 of the semitones as provided by the piano's fixed set of a chromatic
4547 scale. In choral music, each singer of the choir typically may sing an
4548 arbitrary pitch within the cluster's range that is not bound to any
4549 diatonic, chromatic or other scale. In electronic music, a cluster
4550 (theoretically) may even cover a continuous range of pitches, thus
4551 resulting in coloured noise, such as pink noise.
4553 Clusters can be notated in the context of ordinary staff notation by
4554 engraving simple geometrical shapes that replace ordinary notation of
4555 notes. Ordinary notes as musical events specify starting time and
4556 duration of pitches; however, the duration of a note is expressed by the
4557 shape of the note head rather than by the horizontal graphical extent of
4558 the note symbol. In contrast, the shape of a cluster geometrically
4559 describes the development of a range of pitches (vertical extent) over
4560 time (horizontal extent). Still, the geometrical shape of a cluster
4561 covers the area in wich any single pitch contained in the cluster would
4562 be notated as an ordinary note. From this point of view, it is
4563 reasonable to specify a cluster as the envelope of a set of notes. This
4564 is exactly how to construct a cluster with lilypond.
4566 @lilypond[singleline,verbatim]
4568 \context PianoStaff <
4569 \context Voice = voiceI { % same as voiceII, but with ordinary notes
4570 \notes \relative c' {
4572 a4 <e4 d'4> | \break
4573 < g8 a8 > < e8 a8 > a4 c1 < d4 b4 > e4 |
4577 \context Voice = voiceII { % same as voiceI, but with cluster notation
4578 \notes \relative c' {
4580 % hide notes, accidentals, etc.
4581 \property Thread.NoteHead \set #'transparent = ##t
4582 \property Voice.Stem \set #'transparent = ##t
4583 \property Voice.Beam \set #'transparent = ##t
4584 \property Staff.Accidental \set #'transparent = ##t
4586 \property Voice.Cluster \set #'padding = #0.01
4587 \property Voice.Cluster \set #'shape = #'ramp
4591 a4 <e4 d'4> | \break
4592 < g8 a8 > < e8 a8 > a4 c1 < d4 b4 > e4 |
4593 c4 \stopCluster a4 f4 g4 a4
4600 Note that the second voice differs from the first one only by the
4601 additional keywords @code{\startCluster} and @code{\stopCluster} and the
4602 fact that notes, accidentals, etc. are hidden. A future version of
4603 lilypond may automatically hide notes, accidentals, etc. within the
4606 Also note that a music expression like @code{< @{ g8 e8 @} a4 >} is
4607 illegal; in such a case, you can instead use the expression @code{< g8
4610 By default, cluster engraver is in the voice context. This allows
4611 putting ordinary notes and clusters together in the same staff, even
4612 simultaneously. However, in such a case no attempt is made to
4613 automatically avoid collisions between ordinary notes and clusters.
4615 The geometrical shape can be further controlled with grob properties
4616 @code{padding} and @code{shape}. @code{padding} adds to the vertical
4617 extent of the shape (top and bottom) and is expressed in units of
4618 staffspace. Since the pitch range of a single pitch is infinitely
4619 small, if padding is set to @code{0.0}, this possibly results in an
4620 invisible shape, if you,for example, say @code{ \startCluster c d e
4621 \endCluster}. The default value for @code{padding} therefore is
4622 @code{0.25}, such that a single pitch roughly shows the same height as a
4623 note head. Property @code{shape} controls how the overall shape of the
4624 cluster is constructed from the set of notes. Currently supported
4625 values are @code{leftsided-stairs}, @code{rightsided-stairs},
4626 @code{centered-stairs}, and @code{ramp}.
4628 @c . {Tuning output}
4630 @section Tuning output
4632 LilyPond tries to take as much formatting as possible out of your
4633 hands. Nevertheless, there are situations where it needs some help, or
4634 where you want to override its decisions. In this section we discuss
4635 ways to do just that.
4637 Formatting is internally done by manipulating so called objects (graphic
4638 objects). Each object carries with it a set of properties (object
4639 properties) specific to that object. For example, a stem object has
4640 properties that specify its direction, length and thickness.
4642 The most direct way of tuning the output is by altering the values of
4643 these properties. There are two ways of doing that: first, you can
4644 temporarily change the definition of a certain type of object, thus
4645 affecting a whole set of objects. Second, you can select one specific
4646 object, and set a object property in that object.
4649 * Tuning groups of objects ::
4650 * Tuning per object ::
4655 @node Tuning groups of objects
4656 @subsection Tuning groups of objects
4658 @cindex object description
4660 A object definition is a Scheme association list, that is stored in a
4661 context property. By assigning to that property (using plain
4662 @code{\property}), you can change the resulting objects.
4664 @lilypond[verbatim, fragment]
4665 c'4 \property Voice.NoteHead = #'() c'4
4667 This mechanism is fairly crude, since you can only set, but not modify,
4668 the definition of an object. Also, it will thoroughly confuse LilyPond.
4670 The definition of an object is actually a list of default object
4671 properties. For example, the definition of the Stem object (available
4672 in @file{scm/grob-description.scm}), includes the following definitions for
4677 (beamed-lengths . (0.0 2.5 2.0 1.5))
4678 (Y-extent-callback . ,Stem::height)
4682 You can add a property on top of the existing definition, or remove a
4683 property, thus overriding the system defaults:
4685 c'4 \property Voice.Stem \override #'thickness = #4.0
4686 c'4 \property Voice.Stem \revert #'thickness
4689 You should balance @code{\override} and @code{\revert}. If that's too
4690 much work, you can use the @code{\set} shorthand. It performs a revert
4691 followed by an override. The following example gives exactly the same
4692 result as the previous one.
4694 c'4 \property Voice.Stem \set #'thickness = #4.0
4695 c'4 \property Voice.Stem \set #'thickness = #0.8
4698 If you use @code{\set}, you must explicitly restore the default.
4701 Formally the syntax for these constructions is
4703 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
4704 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
4705 \property @var{context}.@var{grobname} \revert @var{symbol}
4707 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
4708 and @var{grobname} are strings and @var{value} is a Scheme expression.
4711 If you revert a setting which was not set in the first place, then it
4712 has no effect. However, if the setting was set as a system default, it
4713 may remove the default value, and this may give surprising results,
4714 including crashes. In other words, @code{\override} and @code{\revert},
4715 must be carefully balanced.
4717 These are examples of correct nesting of @code{\override}, @code{\set},
4720 A clumsy but correct form:
4722 \override \revert \override \revert \override \revert
4725 Shorter version of the same:
4727 \override \set \set \revert
4730 A short form, using only @code{\set}. This requires you to know the
4733 \set \set \set \set @var{to default value}
4736 If there is no default (i.e. by default, the object property is unset),
4739 \set \set \set \revert
4742 For the digirati, the object description is an Scheme association
4743 list. Since a Scheme list is a singly linked list, we can treat it as a
4744 stack, and @code{\override} and @code{\revert} are just push and pop
4745 operations. This pushing and popping is also used for overriding
4746 automatic beaming settings.
4750 LilyPond will hang or crash if @var{value} contains cyclic references.
4751 The backend is not very strict in type-checking object properties. If you
4752 @code{\revert} properties that are expected to be set by default,
4758 @node Tuning per object
4759 @subsection Tuning per object
4762 Tuning a single object is most often done with @code{\property}. The
4765 \once \property @dots{}
4768 applies a setting only during one moment in the score: notice how the
4769 original setting for stem thickness is restored automatically in the
4772 @lilypond[verbatim, fragment, relative=1]
4774 \once \property Voice.Stem \set #'thickness = #4
4780 @cindex \outputproperty
4782 A second way of tuning objects is the more arcane @code{\outputproperty}
4783 feature. The syntax is as follows:
4785 \outputproperty @var{predicate} @var{symbol} = @var{value}
4787 Here @code{predicate} is a Scheme function taking a object argument, and
4788 returning a boolean. This statement is processed by the
4789 @code{Output_property_engraver}. It instructs the engraver to feed all
4790 objects that it sees to @var{predicate}. Whenever the predicate returns
4791 true, the object property @var{symbol} will be set to @var{value}.
4793 This command is only single shot, in contrast to @code{\override} and
4796 You will need to combine this statement with @code{\context} to select
4797 the appropriate context to apply this to.
4799 In the following example, all note heads occurring at current staff
4800 level, are shifted up and right by setting their @code{extra-offset}
4803 @lilypond[fragment,verbatim,singleline]
4805 \context Staff \outputproperty
4806 #(make-type-checker 'note-head-interface)
4807 #'extra-offset = #'(0.5 . 0.75)
4811 @cindex @code{extra-offset}
4813 In this example, the predicate checks the @code{text} object property, to
4814 shift only the `m.d.' text, but not the fingering instruction "2".
4815 @lilypond[verbatim,singleline]
4816 #(define (make-text-checker text)
4817 (lambda (grob) (equal? text (ly:get-grob-property grob 'text))))
4820 \notes\relative c''' {
4821 \property Voice.Stem \set #'direction = #1
4822 \outputproperty #(make-text-checker "m.d.")
4823 #'extra-offset = #'(-3.5 . -4.5)
4831 If possible, avoid this feature: the semantics are not very clean, and
4832 the syntax and semantics are up for rewrite.
4837 @node Font selection
4838 @subsection Font selection
4840 The most common thing to change about the appearance of fonts is
4841 their size. The font size of a @internalsref{Voice},
4842 @internalsref{Staff} or @internalsref{Thread} context, can be easily
4843 changed by setting the @code{fontSize} property for that context:
4844 @lilypond[fragment,relative=1]
4845 c4 c4 \property Voice.fontSize = #-1
4848 This command will not change the size of variable symbols, such as
4849 beams or slurs. You can use this command to get smaller symbol for
4850 cue notes, but that involves some more subtleties. An elaborate
4851 example of those is in @file{input/test/cue-notes.ly}.
4859 The font used for printing a object can be selected by setting
4860 @code{font-name}, e.g.
4862 \property Staff.TimeSignature
4863 \set #'font-name = #"cmr17"
4865 You may use any font which is available to @TeX{}, such as foreign
4866 fonts or fonts that do not belong to the Computer Modern font family.
4867 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
4868 can also be adjusted with a more fine-grained mechanism. By setting
4869 the object properties described below, you can select a different font.
4870 All three mechanisms work for every object that supports
4871 @code{font-interface}.
4875 A symbol indicating the general class of the typeface. Supported are
4876 @code{roman} (Computer Modern), @code{braces} (for piano staff
4877 braces), @code{music} (the standard music font), @code{ancient} (the
4878 ancient notation font) @code{dynamic} (font for dynamic signs) and
4882 A symbol indicating the shape of the font, there are typically several
4883 font shapes available for each font family. Choices are @code{italic},
4884 @code{caps} and @code{upright}
4887 A symbol indicating the series of the font. There are typically several
4888 font series for each font family and shape. Choices are @code{medium}
4891 @item font-relative-size
4892 A number indicating the size relative the standard size. For example,
4893 with 20pt staff height, relative size -1 corresponds to 16pt staff
4894 height, and relative size +1 corresponds to 23 pt staff height.
4896 @item font-design-size
4897 A number indicating the design size of the font.
4899 This is a feature of the Computer Modern Font: each point size has a
4900 slightly different design. Smaller design sizes are relatively wider,
4901 which enhances readability.
4904 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
4905 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
4906 to override default setting, which are always present. For example:
4908 \property Lyrics.LyricText \override #'font-series = #'bold
4909 \property Lyrics.LyricText \override #'font-family = #'typewriter
4910 \property Lyrics.LyricText \override #'font-shape = #'*
4913 @cindex @code{font-style}
4915 There are also pre-cooked font selection qualifiers. These are
4916 selected through the object property @code{font-style}. For example,
4917 the style @code{finger} selects family @code{number} and relative size
4918 @code{-3}. Styles available include @code{volta}, @code{finger},
4919 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
4920 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
4921 tables for selecting fonts are located in @file{scm/font.scm}. Refer
4922 to this file for more information.
4924 @cindex magnification
4926 The size of the font may be scaled with the object property
4927 @code{font-magnification}. For example, @code{2.0} blows up all
4928 letters by a factor 2 in both directions.
4932 Relative size is not linked to any real size.
4934 There is no style sheet provided for other fonts besides the @TeX{}
4935 family, and the style sheet can not be modified easily.
4937 @cindex font selection
4938 @cindex font magnification
4939 @cindex @code{font-interface}
4943 @subsection Text markup
4948 @cindex typeset text
4950 LilyPond has an internal mechanism to typeset texts. You can access it
4951 with the keyword @code{\markup}. Within markup mode, you can enter texts
4952 similar to lyrics: simply enter them, surrounded by spaces.
4955 @lilypond[verbatim,fragment,relative=1]
4956 c1^\markup { hello }
4957 c1_\markup { hi there }
4958 c1^\markup { hi \bold there, is \italic anyone home? }
4961 @cindex font switching
4963 The line of the example demonstrates font switching commands. Notice
4964 that the command only apply to the first following word; enclose a set
4965 of texts with braces to apply a command to more words.
4967 \markup @{ \bold @{ hi there @} @}
4969 For clarity, you can also do this for single arguments, e.g.
4971 \markup @{ is \italic @{ anyone @} home @}
4974 @cindex font size, texts
4977 The following size commands set abolute sizes
4993 You can also make letter larger or smaller relative to their neighbors,
4994 with the commands @code{\larger} and @code{\smaller}.
4998 @cindex font style, for texts
5004 The following font change commands are defined:
5007 This changes to the font used for dynamic signs. Note that this font
5008 doesn't contain all characters of the alphabet.
5010 This changes to the font used for time signatures. It only contains
5011 numbers and a few punctuation marks.
5016 @cindex raising text
5017 @cindex lowering text
5019 @cindex translating text
5024 Raising and lowering texts can be done with @code{\super} and
5027 @lilypond[verbatim,fragment,relative=1]
5028 c1^\markup { E "=" mc \super "2" }
5033 If you want to give an explicit amount for lowering or raising, use
5034 @code{\raise}. This command takes a Scheme valued argument,
5035 @lilypond[verbatim,fragment,relative=1]
5036 c1^\markup { C \small \raise #1.0 { "9/7+" }}
5038 The argument to @code{\raise} is the vertical displacement amount,
5039 measured in (global) staff spaces.
5041 Other commands taking single arguments include
5044 @item \bracket, \hbracket
5045 Bracket the argument markup.
5049 This is converted to a musical symbol, e.g. @code{\musicglyph
5050 #"accidentals-0"} will select the natural sign from the music font.
5051 See @ref{The Feta font} for a complete listing of the possible glyphs.
5053 This produces a single character, e.g. @code{\char #65} produces the
5056 @item \hspace #@var{amount}
5058 This produces a invisible object taking horizontal space.
5060 \markup @{ A \hspace #2.0 B @}
5062 will put extra space between A and B. Note that lilypond
5063 inserts space before and after @code{\hspace}.
5065 @item \fontsize #@var{size}
5067 This sets the relative font size, eg.
5069 A \fontsize #2 @{ B C @} D
5073 This will enlarge the B and the C by two steps.
5074 @item \translate #(cons @var{x} @var{y})
5076 This translates an object. It's first argument is a cons of numbers
5078 A \translate #(cons 2 -3) @{ B C @} D
5080 This moves `B C' 2 spaces to the right, and 3 down.
5082 @item \magnify #@var{mag}
5084 This sets the font magnification for the its argument. In the following
5085 example, the middle A will be 10% larger.
5087 A \magnify #1.1 @{ A @} A
5091 @item \override #(@var{key} . @var{value})
5093 This overrides a formatting property for its argument. The argument
5094 should be a key/value pair, e.g.
5096 m \override #'(font-family . math) m m
5100 In markup mode you can compose expressions, similar to mathematical
5101 expressions, XML documents and music expressions. The braces group
5102 notes into horizontal lines. Other types of lists also exist: you can
5103 stack expressions grouped with @code{<<}, and @code{>>} vertically with
5104 the command @code{\column}. Similarly, @code{\center} aligns texts by
5107 @lilypond[verbatim,fragment,relative=1]
5108 c1^\markup { \column << a bbbb c >> }
5109 c1^\markup { \center << a bbbb c >> }
5110 c1^\markup { \line << a b c >> }
5115 The markup mechanism is very flexible and extensible. Refer to
5116 @file{scm/new-markup.scm} for more information on extending the markup
5120 @cindex metronome mark
5122 One practical application of complicated markup is to fake a metronome
5126 eighthStem = \markup \combine
5127 \musicglyph #"flags-stem"
5128 \translate #'(0.0 . 3.5) \musicglyph #"flags-u3"
5129 eighthNote = \markup
5130 \override #'(word-space . 0.0)
5131 { \musicglyph #"noteheads-2"
5132 \translate #'(-0.05 . 0.1) \eighthStem }
5135 \notes\relative c'' {
5136 a1^\markup { \magnify #0.9 \eighthNote " = 64" }
5145 LilyPond does not account for kerning in its text formatting, so it
5146 spaces texts slightly too wide.
5148 Syntax errors for markup mode are confusing.
5152 @section Global layout
5154 The global layout determined by three factors: the page layout, the
5155 line breaks and the spacing. These all influence each other: The
5156 choice of spacing determines how densely each system of music is set,
5157 where line breaks breaks are chosen, and thus ultimately how many
5158 pages a piece of music takes. In this section we will explain how the
5159 lilypond spacing engine works, and how you can tune its results.
5161 Globally spoken, this procedure happens in three steps: first,
5162 flexible distances (``springs'') are chosen, based on durations. All
5163 possible line breaking combination are tried, and the one with the
5164 best results---a layout that has uniform density and requires as
5165 little stretching or cramping as possible---is chosen. When the score
5166 is processed by @TeX{}, page are filled with systems, and page breaks
5167 are chosen whenever the page gets full.
5170 * Vertical spacing::
5171 * Horizontal spacing::
5178 @node Vertical spacing
5179 @subsection Vertical spacing
5181 @cindex vertical spacing
5182 @cindex distance between staves
5183 @cindex staff distance
5184 @cindex between staves, distance
5185 @cindex staffs per page
5188 The height of each system is determined automatically by lilypond, to
5189 keep systems from bumping into each other, some minimum distances are
5190 set. By changing these, you can put staves closer together, and thus
5191 put more systems onto one page.
5193 Normally staves are stacked vertically. To make
5194 staves maintain a distance, their vertical size is padded. This is
5195 done with the property @code{minimumVerticalExtent}. It takes a pair
5196 of numbers, so if you want to make it smaller from its, then you could
5199 \property Staff.minimumVerticalExtent = #'(-4 . 4)
5201 This sets the vertical size of the current staff to 4 staff-space on
5202 either side of the center staff line. The argument of
5203 @code{minimumVerticalExtent} is interpreted as an interval, where the
5204 center line is the 0, so the first number is generally negative. you
5205 could also make the staff larger at the bottom by setting it to
5206 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
5208 Vertical aligment of staves is handled by the
5209 @internalsref{VerticalAlignment} object, which lives at
5210 @internalsref{Score} level.
5212 The piano staves are handled a little differently: to make cross-staff
5213 beaming work correctly, it necessary that the distance between staves
5214 is fixed. This is also done with a @internalsref{VerticalAlignment}
5215 object, created in @internalsref{PianoStaff}, but a forced distance is
5216 set. This is done with the object property #'forced-distance. If you
5217 want to override this, use a @code{\translator} block as follows:
5221 VerticalAlignment \override #'forced-distance = #9
5224 This would bring the staves together at a distance of 9 staff spaces,
5225 and again this is measured from the center line of each staff.
5229 @node Horizontal spacing
5230 @subsection Horizontal Spacing
5232 The spacing engine translates differences in durations into
5233 stretchable distances (``springs'') of differing lengths. Longer
5234 durations get more space, shorter durations get less. The basis for
5235 assigning spaces to durations, is that the shortest durations get a
5236 fixed amount of space, and the longer durations get more: doubling a
5237 duration adds a fixed amount of space to the note.
5239 For example, the following piece contains lots of half, quarter and
5240 8th notes, the eighth note is followed by 1 note head width. The The
5241 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
5242 @lilypond[fragment, verbatim, relative=1]
5243 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
5246 These two amounts of space are @code{shortest-duration-space}
5247 @code{spacing-increment}, object properties of
5248 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
5249 set to 1.2, which is the width of a note head, and
5250 @code{shortest-duration-space} is set to 2.0, meaning that the
5251 shortest note gets 2 noteheads of space. For normal notes, this space
5252 is always counted from the left edge of the symbol, so the short notes
5253 in a score is generally followed by one note head width of space.
5255 If one would follow the above procedure exactly, then adding a single
5256 32th note to a score that uses 8th and 16th notes, would widen up the
5257 entire score a lot. The shortest note is no longer a 16th, but a 64th,
5258 thus adding 2 noteheads of space to every note. To prevent this, the
5259 shortest duration for spacing is not the shortest note in the score,
5260 but the most commonly found shortest note. Notes that are even
5261 shorter this are followed by a space that is proportonial to their
5262 duration relative to the common shortest note. So if we were to add
5263 only a few 16th notes to the example above, they would be followed by
5266 @lilypond[fragment, verbatim, relative=1]
5267 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
5270 The most common shortest duration is determined as follows: in every
5271 measure, the shortest duration is determined. The most common short
5272 duration, is taken as the basis for the spacing, with the stipulation
5273 that this shortest duration should always be equal to or shorter than
5274 1/8th note. The shortest duration is printed when you run lilypond
5275 with @code{--verbose}. These durations may also be customized. If you
5276 set the @code{common-shortest-duration} in
5277 @internalsref{SpacingSpanner}, then this sets the base duration for
5278 spacing. The maximum duration for this base (normally 1/8th), is set
5279 through @code{base-shortest-duration}.
5281 @cindex @code{common-shortest-duration}
5282 @cindex @code{base-shortest-duration}
5283 @cindex @code{stem-spacing-correction}
5284 @cindex @code{spacing}
5286 In the introduction it was explained that stem directions influence
5287 spacing. This is controlled with @code{stem-spacing-correction} in
5288 @internalsref{NoteSpacing}. The @code{StaffSpacing} object contains the
5289 same property for controlling the stem/barline spacing. In the
5290 following example shows these corrections, once with default settings,
5291 and once with exaggerated corrections.
5297 \property Staff.NoteSpacing \override #'stem-spacing-correction
5299 \property Staff.StaffSpacing \override #'stem-spacing-correction
5304 \paper { linewidth = -1. } }
5307 @cindex SpacingSpanner, overriding properties
5309 The @internalsref{SpacingSpanner}, is score wide, so its properties
5310 must be overriden from the @code{\paper} block, e.g.
5312 \paper @{ \translator @{
5314 SpacingSpanner \override #'spacing-increment = #3.0
5321 Spacing is determined on a score wide basis. If you have a score that
5322 changes its character (measured in durations) half way during the
5323 score, the part containing the longer durations will be spaced too
5326 Generating optically pleasing spacing is black magic. LilyPond tries
5327 to deal with a number of frequent cases. Here is an example that is
5328 not handled correctly, due to the combination of chord collisions and
5333 \context PianoStaff \notes \transpose c c'' <
5334 \context Staff = up { s1 }
5335 \context Staff = down { [c8 c \translator Staff=up <<c d>> c
5336 \translator Staff=down c c c] }
5338 \paper { linewidth = -1 }
5345 @subsection Font size
5346 @cindex font size, setting
5347 @cindex staff size, setting
5348 @cindex @code{paper} file
5350 The Feta font provides musical symbols at seven different sizes.
5351 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
5352 point, and 26 point. The point size of a font is the height of the
5353 five lines in a staff when displayed in the font.
5355 Definitions for these sizes are the files @file{paperSZ.ly}, where
5356 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
5357 of these files, the identifiers @code{paperEleven},
5358 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
5359 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
5360 are defined respectively. The default @code{\paper} block is also
5361 set. These files should be imported at toplevel, i.e.
5363 \include "paper26.ly"
5367 The font definitions are generated using a Scheme function. For more
5368 details, see the file @file{scm/font.scm}.
5373 @subsection Line breaking
5376 @cindex breaking lines
5378 Line breaks are normally computed automatically. They are chosen such
5379 that it looks neither cramped nor loose, and that consecutive lines have
5382 Occasionally you might want to override the automatic breaks; you can
5383 do this by specifying @code{\break}. This will force a line break at
5384 this point. Line breaks can only occur at places where there are bar
5385 lines. If you want to have a line break where there is no bar line,
5386 you can force an invisible bar line by entering @code{\bar
5387 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
5391 @cindex regular line breaks
5392 @cindex four bar music.
5394 If you want linebreaks at regular intervals, you can use the following:
5396 < \repeat 7 unfold @{ s1 * 4 \break @}
5400 This makes the following 28 measures (assuming 4/4 time) be broken every
5404 @subsection Page layout
5407 @cindex breaking pages
5409 @cindex @code{indent}
5410 @cindex @code{linewidth}
5412 The most basic settings influencing the spacing are @code{indent} and
5413 @code{linewidth}. They are set in the @code{\paper} block. They
5414 control the indentation of the first line of music, and the lengths of
5415 the lines. If @code{linewidth} set to a negative value, a single
5416 unjustified line is produced. A similar effect for scores that are
5417 longer than one line, can be produced by setting @code{raggedright} to
5418 true in the @code{\paper} block.
5421 @cindex vertical spacing
5423 The page layout process happens outside lilypond. Ly2dvi sets page
5424 layout instructions. Ly2dvi responds to the following variables in the
5425 @code{\paper} block. The variable @code{textheight} sets the total
5426 height of the music on each page. The spacing between systems is
5427 controlled with @code{interscoreline}, its default is 16pt.
5428 The distance between the score lines will stretch in order to fill the
5429 full page @code{interscorelinefill} is set to a positive number. In
5430 that case @code{interscoreline} specifies the minimum spacing.
5432 @cindex @code{textheight}
5433 @cindex @code{interscoreline}
5434 @cindex @code{interscorelinefill}
5436 If the variable @code{lastpagefill} is defined (that is, it gets any
5437 value assigned in the @code{\paper} block), systems are evenly
5438 distributed vertically on the last page. This might produce ugly
5439 results in case there are not enough systems on the last page. Note
5440 that @command{lilypond-book} ignores @code{lastpagefill}. See
5441 @ref{Integrating text and music with lilypond-book} for
5444 @cindex @code{lastpagefill}
5446 Page breaks are normally computed by @TeX{}, so they are not under
5447 direct control of LilyPond. However, you can insert a commands into
5448 the @file{.tex} output to instruct @TeX{} where to break pages. You
5449 can insert a @code{\newpage} from within lilypond. This is done by
5450 setting the @code{between-systems-strings} on the
5451 @internalsref{NonMusicalPaperColumn} where the system is broken.
5455 @cindex @code{papersize}
5457 To change the paper size, you must first set the
5458 @code{papersize} paper variable variable. Set it to
5459 the strings @code{a4}, @code{letter}, or @code{legal}. After this
5460 specification, you must set the font as described above. If you want
5461 the default font, then use the 20 point font.
5464 \paper@{ papersize = "a4" @}
5465 \include "paper16.ly"
5468 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
5469 will set the paper variables @code{hsize} and @code{vsize} (used by
5470 Lilypond and @code{ly2dvi})
5480 LilyPond can produce MIDI output. The performance lacks lots of
5481 interesting effects, such as swing, articulation, slurring, etc., but it
5482 is good enough for proof-hearing the music you have entered. Ties,
5483 dynamics and tempo changes are interpreted.
5485 Dynamic marks, crescendi and decrescendi translate into MIDI volume
5486 levels. Dynamic marks translate to a fixed fraction of the available
5487 MIDI volume range, crescendi and decrescendi make the the volume vary
5488 linearly between their two extremities. The fractions be adjusted by
5489 overriding the @code{absolute-volume-alist} defined in
5490 @file{scm/midi.scm}.
5492 For each type of musical instrument (that MIDI supports), a volume range
5493 can be defined. This gives you basic equalizer control, which can
5494 enhance the quality of the MIDI output remarkably. You can add
5495 instruments and ranges or change the default settings by overriding the
5496 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
5498 Both loudness controls are combined to produce the final MIDI volume.
5502 * MIDI instrument names::
5507 @subsection MIDI block
5511 The MIDI block is analogous to the paper block, but it is somewhat
5512 simpler. The @code{\midi} block can contain:
5516 @item a @code{\tempo} definition
5517 @item context definitions
5520 Assignments in the @code{\midi} block are not allowed.
5524 @cindex context definition
5526 Context definitions follow precisely the same syntax as within the
5527 \paper block. Translation modules for sound are called performers.
5528 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
5531 @node MIDI instrument names
5532 @subsection MIDI instrument names
5534 @cindex instrument names
5535 @cindex @code{Staff.midiInstrument}
5536 @cindex @code{Staff.instrument}
5538 The MIDI instrument name is set by the @code{Staff.midiInstrument}
5539 property or, if that property is not set, the @code{Staff.instrument}
5540 property. The instrument name should be chosen from the list in
5541 @ref{MIDI instruments}.
5545 If the selected string does not exactly match, then LilyPond uses the
5546 default (Grand Piano). It is not possible to select an instrument by