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
10 @node Reference Manual
11 @chapter Reference Manual
14 <!--- @@WEB-TITLE@@=Reference Manual --->
18 This document describes GNU LilyPond and its input format. The last
19 revision of this document was made for LilyPond 1.7.10. It assumes
20 that you already know a little bit about LilyPond input (how to
21 make an input file, how to create sheet music from that input file,
22 etc). New users are encouraged to study the tutorial before reading
27 * Easier music entry::
42 * Contemporary notation::
48 @c FIXME: Note entry vs Music entry at top level menu is confusing.
54 Notes constitute the most basic elements of LilyPond input, but they do
55 not form valid input on their own without a @code{\score} block. However,
56 for the sake of brevity and simplicity we will generally omit
57 @code{\score} blocks and @code{\paper} declarations in this manual.
63 * Chromatic alterations::
68 * Automatic note splitting ::
70 * Easy Notation note heads ::
78 A note is printed by specifying its pitch and then its duration.
79 @lilypond[fragment,verbatim]
88 @cindex Note specification
90 @cindex entering notes
92 The verbose syntax for pitch specification is
99 where @var{scmpitch} is a pitch scheme object.
101 In Note and Chord mode, pitches may be designated by names. The
102 default names are the Dutch note names. The notes are specified by
103 the letters @code{a} through @code{g}, while the octave is formed with
104 notes ranging from @code{c} to @code{b}. The pitch @code{c} is an
105 octave below middle C and the letters span the octave above that C.
107 @lilypond[fragment,verbatim]
109 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
112 @cindex note names, Dutch
114 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
115 name and a flat is formed by adding @code{-es}. Double sharps and
116 double flats are obtained by adding @code{-isis} or @code{-eses}.
117 @code{aes} is contracted to @code{as} in Dutch, but both forms are
118 accepted. Similarly, both @code{es} and @code{ees} are accepted.
120 There are predefined sets of note names for various other languages.
121 To use them, include the language specific init file. For
122 example: @code{\include "english.ly"}. The available language files
123 and the note names they define are:
128 Note Names sharp flat
129 nederlands.ly c d e f g a bes b -is -es
130 english.ly c d e f g a bf b -s/-sharp -f/-flat
131 deutsch.ly c d e f g a b h -is -es
132 norsk.ly c d e f g a b h -iss/-is -ess/-es
133 svenska.ly c d e f g a b h -iss -ess
134 italiano.ly do re mi fa sol la sib si -d -b
135 catalan.ly do re mi fa sol la sib si -d/-s -b
136 espanol.ly do re mi fa sol la sib si -s -b
145 The optional octave specification takes the form of a series of
146 single quote (`@code{'}') characters or a series of comma
147 (`@code{,}') characters. Each @code{'} raises the pitch by one
148 octave; each @code{,} lowers the pitch by an octave.
150 @lilypond[fragment,verbatim,center]
151 c' c'' es' g' as' gisis' ais'
157 @internalsref{NoteEvent}, @internalsref{NoteHead}
159 @node Chromatic alterations
160 @subsection Chromatic alterations
162 Normally accidentals are printed automatically, but you may also
163 print them manually. A reminder accidental
164 @cindex reminder accidental
166 can be forced by adding an exclamation mark @code{!}
167 after the pitch. A cautionary accidental
168 @cindex cautionary accidental
169 @cindex parenthesized accidental
170 (an accidental within parentheses) can be obtained by adding the
171 question mark `@code{?}' after the pitch.
173 @lilypond[fragment,verbatim]
174 cis' cis' cis'! cis'?
178 The automatic production of accidentals can be tuned in many
179 ways. For more information, refer to @ref{Accidentals}.
186 Rests are entered like notes, with the note name @code{r}.
188 @lilypond[singleline,verbatim]
192 Whole bar rests, centered in middle of the bar, are specified using
193 @code{R} (capital R); see @ref{Multi measure rests}. See also
196 For some music, you may wish to explicitly specify the rest's vertical
197 position. This can be achieved by entering a note with the @code{\rest}
198 keyword appended. Rest collision testing will leave these rests alone.
200 @lilypond[singleline,verbatim]
204 @internalsref{RestEvent}, @internalsref{Rest}
211 @cindex Invisible rest
214 An invisible rest (also called a `skip') can be entered like a note
215 with note name `@code{s}' or with @code{\skip @var{duration}}:
217 @lilypond[singleline,verbatim]
221 The @code{s} syntax is only available in Note mode and Chord
222 mode. In other situations, you should use the @code{\skip} command,
223 which will work outside of those two modes:
225 @lilypond[singleline,verbatim]
228 { \time 4/8 \skip 2 \time 4/4 }
229 \notes\relative c'' { a2 a1 }
234 The skip command is merely an empty musical placeholder. It does not
235 produce any output, not even transparent output.
239 @internalsref{SkipEvent}
244 @subsection Durations
248 @cindex @code{\duration}
251 In Note, Chord, and Lyrics mode, durations are designated by numbers
252 and dots: durations are entered as their reciprocal values. For example,
253 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
254 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
255 longer than a whole you must use identifiers.
256 @c FIXME: what is an identifier? I do not think it's been introduced yet.
257 @c and if it has, I obviously skipped that part. - Graham
261 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
263 r1 r2 r4 r8 r16 r32 r64 r64
268 \notes \relative c'' {
270 a1 a2 a4 a8 a16 a32 a64 a64
272 r1 r2 r4 r8 r16 r32 r64 r64
277 \remove "Clef_engraver"
278 \remove "Staff_symbol_engraver"
279 \remove "Time_signature_engraver"
280 \consists "Pitch_squash_engraver"
287 If the duration is omitted then it is set to the previously entered
288 duration. Default for the first note is a quarter note. The duration
289 can be followed by dots (`@code{.}') in order to obtain dotted note
293 @lilypond[fragment,verbatim,center]
294 a' b' c''8 b' a'4 a'4. b'4.. c'8.
299 You can alter the length of duration by a fraction @var{N/M}
300 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
301 will not affect the appearance of the notes or rests produced.
303 @lilypond[fragment,verbatim]
304 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
307 Durations can also be produced through GUILE extension mechanism.
308 @lilypond[verbatim,fragment]
309 c'\duration #(ly:make-duration 2 1)
315 Dot placement for chords is not perfect. In some cases, dots overlap:
328 A tie connects two adjacent note heads of the same pitch. The tie in
329 effect extends the length of a note. Ties should not be confused with
330 slurs, which indicate articulation, or phrasing slurs, which indicate
331 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
333 @lilypond[fragment,verbatim,center]
334 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
337 When a tie is applied to a chord, all note heads (whose pitches match) are
338 connected. If you try to tie together chords that have no common pitches,
339 no ties will be created.
341 In its meaning a tie is just a way of extending a note duration, similar
342 to the augmentation dot: the following example are two ways of notating
343 exactly the same concept.
345 @lilypond[fragment, singleline,quote]
346 \time 3/4 c'2. c'2 ~ c'4
348 If you need to tie notes over bars, it may be easier to use automatic
349 note splitting (See @ref{Automatic note splitting}).
354 @internalsref{TieEvent}, @internalsref{NewTieEvent},
355 @internalsref{Tie}, @ref{Automatic note splitting}.
358 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
362 Tieing only a subset of the note heads of a pair of chords is not
363 supported in a simple way. It can be achieved by moving the
364 tie-engraver into the @internalsref{Thread} context and turning on and
365 off ties per @internalsref{Thread}.
367 Switching staves when a tie is active, will produce a horizontal tie
371 Formatting of ties is a difficult subject. LilyPond often does not
372 give optimal results.
376 @node Automatic note splitting
377 @subsection Automatic note splitting
378 @c FIXME: This subsection does not belong in @ref{Note entry}.
380 LilyPond can automatically converting long notes to tied notes. This
381 is done by replacing the @internalsref{Note_heads_engraver} by the
382 @internalsref{Completion_heads_engraver}.
384 @lilypond[verbatim,noindent]
386 \notes\relative c'{ \time 2/4
387 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
391 \remove "Note_heads_engraver"
392 \consists "Completion_heads_engraver"
396 This engraver splits all running notes at the bar line, and inserts
397 ties. One of its uses is to debug complex scores: if the measures are
398 not entirely filled, then the ties exactly show how much each measure
403 Not all durations (especially those containing tuplets) can be
404 represented exactly; the engraver will not insert tuplets.
411 @cindex @code{\times}
413 Tuplets are made out of a music expression by multiplying all durations
416 @cindex @code{\times}
418 \times @var{fraction} @var{musicexpr}
421 The duration of @var{musicexpr} will be multiplied by the fraction.
422 In the sheet music, the fraction's denominator will be printed over
423 the notes, optionally with a bracket. The most common tuplet is the
424 triplet in which 3 notes have the length of 2, so the notes are 2/3
425 of their written length:
427 @lilypond[fragment,verbatim,center]
428 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
431 The property @code{tupletSpannerDuration} specifies how long each bracket
432 should last. With this, you can make lots of tuplets while typing
433 @code{\times} only once, saving you lots of typing.
435 @lilypond[fragment, relative, singleline, verbatim]
436 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
437 \times 2/3 { c'8 c c c c c }
440 The format of the number is determined by the property
441 @code{tupletNumberFormatFunction}. The default prints only the
442 denominator, but if you set it to the Scheme function
443 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
447 @cindex @code{tupletNumberFormatFunction}
448 @cindex tuplet formatting
450 See also @seeinternals{TupletBracket}.
454 Nested tuplets are not formatted automatically. In this case, outer
455 tuplet brackets should be moved manually.
457 @node Easy Notation note heads
458 @subsection Easy Notation note heads
460 @cindex easy notation
463 The "easyplay" note head includes a note name inside the head. It is
464 used in music aimed at beginners.
466 @lilypond[singleline,verbatim,26pt]
468 \notes { c'2 e'4 f' | g'1 }
469 \paper { \translator { \EasyNotation } }
473 The @code{EasyNotation} identifier overrides a @internalsref{Score}
474 context. You probably will want to print it with magnification or a
475 large font size to make it more readable. To print with
476 magnification, you must create a DVI file (with @file{ly2dvi}) and
477 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
478 See @file{man dvips} for details. To print with a larger font, see
485 If you view the result with Xdvi, then staff lines will show through
486 the letters. Printing the PostScript file obtained with ly2dvi does
487 produce the correct result.
490 @node Easier music entry
491 @section Easier music entry
496 * Skipping corrected music::
499 When entering music with LilyPond, it is easy to introduce
500 errors. This section deals with tricks and features that help you
501 enter music, and find and correct mistakes. It is also possible to
502 use external programs to enter or edit music. Refer to the website for
507 @node Relative octaves
508 @subsection Relative octaves
510 @cindex relative octave specification
512 Octaves are specified by adding @code{'} and @code{,} to pitch names.
513 When you copy existing music, it is easy to accidentally put a pitch in
514 the wrong octave and hard to find such an error. To prevent these
515 errors, LilyPond features octave entry.
517 @cindex @code{\relative}
519 \relative @var{startpitch} @var{musicexpr}
522 The octave of notes that appear in @var{musicexpr} are calculated as
523 follows: If no octave changing marks are used, the basic interval
524 between this and the last note is always taken to be a fourth or less
525 (This distance is determined without regarding alterations; a
526 @code{fisis} following a @code{ceses} will be put above the
529 The octave changing marks @code{'} and @code{,} can be added to raise or
530 lower the pitch by an extra octave. Upon entering relative mode, an
531 absolute starting pitch must be specified that will act as the
532 predecessor of the first note of @var{musicexpr}.
534 Entering music that changes octave frequently is easy in relative mode.
535 @lilypond[fragment,singleline,verbatim,center]
541 And octave changing marks are used for intervals greater than a fourth.
542 @lilypond[fragment,verbatim,center]
547 If the preceding item is a chord, the first note of the chord is used
548 to determine the first note of the next chord. However, other notes
549 within the second chord are determined by looking at the immediately
552 @lilypond[fragment,verbatim,center]
559 @cindex @code{\notes}
561 The pitch after the @code{\relative} contains a note name. To parse
562 the pitch as a note name, you have to be in note mode, so there must
563 be a surrounding @code{\notes} keyword (which is not
566 The relative conversion will not affect @code{\transpose},
567 @code{\chords} or @code{\relative} sections in its argument. If you
568 want to use relative within transposed music, you must place an
569 additional @code{\relative} inside the @code{\transpose}.
573 @subsection Bar check
577 @cindex @code{barCheckSynchronize}
581 Whenever a bar check is encountered during interpretation, a warning
582 message is issued if it does not fall at a measure boundary. This can
583 help you find errors in the input. Depending on the value of
584 @code{barCheckSynchronize}, the beginning of the measure will be
585 relocated, so this can also be used to shorten measures.
587 A bar check is entered using the bar symbol, `@code{|}'.
589 \time 3/4 c2 e4 | g2.
594 @cindex skipTypesetting
596 Failed bar checks are caused by entering incorrect
597 durations. Incorrect durations often completely garble up the score,
598 especially if it is polyphonic, so you should start correcting the
599 score by scanning for failed bar checks and incorrect durations. To
600 speed up this process, you can use @code{skipTypesetting}, described
603 @node Skipping corrected music
604 @subsection Skipping corrected music
606 The property @code{Score.skipTypesetting} can be used to switch on and
607 off typesetting completely during the interpretation phase. When
608 typesetting is switched off, the music is processed much more quickly.
609 You can use this to skip over the parts of a score that you have already
612 @lilypond[fragment,singleline,verbatim]
614 \property Score.skipTypesetting = ##t
616 \property Score.skipTypesetting = ##f
624 @section Staff notation
626 This section deals with music notation that occurs on staff level,
627 such as keys, clefs and time signatures.
629 @cindex Staff notation
641 @subsection Staff symbol
643 @cindex adjusting staff symbol
644 @cindex StaffSymbol, using \property
645 @cindex staff lines, setting number of
647 Staff is a the general name for Notes, dynamic signs, etc. are grouped
648 with a set of horizontal lines, into a staff (plural `staves'). In our
649 system, these lines are drawn using a separate graphical object called
652 This object is created whenever a @internalsref{Staff} context is
653 created. You can not change the appearance of the staff symbol by
654 using @code{\override} or @code{\set}. At the moment that
655 @code{\property Staff} is interpreted, a Staff context is made, and
656 the @internalsref{StaffSymbol} is created before any @code{\override} is
657 effective. You can deal with this either overriding properties in a
658 @code{\translator} definition, or by using @code{\outputproperty}.
662 If you end a staff halfway a piece, the staff symbol may not end
663 exactly on the barline.
667 @subsection Key signature
672 The key signature indicates the scale in which a piece is played. It
673 is denoted by a set of alterations (flats or sharps) at the start of
678 Setting or changing the key signature is done with the @code{\key}
681 @code{\key} @var{pitch} @var{type}
684 @cindex @code{\minor}
685 @cindex @code{\major}
686 @cindex @code{\minor}
687 @cindex @code{\ionian}
688 @cindex @code{\locrian}
689 @cindex @code{\aeolian}
690 @cindex @code{\mixolydian}
691 @cindex @code{\lydian}
692 @cindex @code{\phrygian}
693 @cindex @code{\dorian}
695 Here, @var{type} should be @code{\major} or @code{\minor} to get
696 @var{pitch}-major or @var{pitch}-minor, respectively.
697 The standard mode names @code{\ionian},
698 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
699 @code{\phrygian}, and @code{\dorian} are also defined.
701 This command sets the context property
702 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
703 can be specified by setting this property directly.
708 @internalsref{KeyChangeEvent}, @internalsref{KeySignature},
710 @cindex @code{keySignature}
717 The clef indicates which lines of the staff correspond to which
722 The clef can be set or changed with the @code{\clef} command:
723 @lilypond[fragment,verbatim]
724 \key f\major c''2 \clef alto g'2
727 Supported clef-names include
728 @c Moved standard clefs to the top /MB
730 @item treble, violin, G, G2
739 G clef on 1st line, so-called French violin clef
754 By adding @code{_8} or @code{^8} to the clef name, the clef is
755 transposed one octave down or up, respectively. You have to
756 enclose @var{clefname} in quotes if you use underscores or digits in the
762 This command is equivalent to setting @code{clefGlyph},
763 @code{clefPosition} (which controls the Y position of the clef),
764 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
765 when any of these properties are changed.
769 The object for this symbol is @internalsref{Clef}.
775 @subsection Time signature
776 @cindex Time signature
780 Time signature indicates the metrum of a piece: a regular pattern of
781 strong and weak beats. It is denoted by a fraction at the start of the
786 The time signature is set or changed by the @code{\time}
788 @lilypond[fragment,verbatim]
789 \time 2/4 c'2 \time 3/4 c'2.
792 The actual symbol that is printed can be customized with the
793 @code{style} property. Setting it to @code{#'()} uses fraction style
794 for 4/4 and 2/2 time. There are many more options for its layout.
795 See @inputfileref{input/test,time.ly} for more examples.
798 This command sets the property @code{timeSignatureFraction},
799 @code{beatLength} and @code{measureLength} in the @code{Timing}
800 context, which is normally aliased to @internalsref{Score}. The property
801 @code{timeSignatureFraction} determine where bar lines should be
802 inserted, and how automatic beams should be generated. Changing the
803 value of @code{timeSignatureFraction} also causes a time signature
804 symbol to be printed.
806 More options are available through the Scheme function
807 @code{set-time-signature}. In combination with the
808 @internalsref{Measure_grouping_engraver}, it will create
809 @internalsref{MeasureGrouping} signs. Such signs ease reading
810 rhythmically complex modern music. In the following example, the 9/8
811 measure is subdivided in 2, 2, 2 and 3. This is passed to
812 @code{set-time-signature} as the third argument @code{(2 2 2 3)}.
815 \score { \notes \relative c'' {
816 #(set-time-signature 9 8 '(2 2 2 3))
817 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
818 #(set-time-signature 5 8 '(3 2))
823 \translator { \StaffContext
824 \consists "Measure_grouping_engraver"
830 @internalsref{TimeSignature}, @internalsref{Timing_engraver}.
835 Automatic beaming does not use measure grouping specified with
836 @code{set-time-signature}.
843 @cindex partial measure
844 @cindex measure, partial
845 @cindex shorten measures
846 @cindex @code{\partial}
848 Partial measures, for example in upbeats, are entered using the
849 @code{\partial} command:
850 @lilypond[fragment,verbatim]
851 \partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
854 The syntax for this command is
856 \partial @var{duration}
858 This is internally translated into
860 \property Timing.measurePosition = -@var{length of duration}
863 The property @code{measurePosition} contains a rational number
864 indicating how much of the measure has passed at this point.
866 @node Unmetered music
867 @subsection Unmetered music
869 Bar lines and bar numbers are calculated automatically. For unmetered
870 music (e.g. cadenzas), this is not desirable. By setting
871 @code{Score.timing} to false, this automatic timing can be switched
875 @subsection Bar lines
879 @cindex measure lines
883 Bar lines delimit measures, but are also used to indicate
884 repeats. Line breaks may only happen on barlines.
888 Bar lines are inserted automatically, but if you need a special type
889 of barline, you can force one using the @code{\bar} command:
890 @lilypond[relative=1,fragment,verbatim]
894 The following bar types are available
895 @lilypond[fragment, relative, singleline, verbatim]
907 In scores with many staves, the barlines are automatically placed at
908 top level, and they are connected between different staves of a
909 @internalsref{StaffGroup}:
910 @lilypond[fragment, verbatim]
911 < \context StaffGroup <
912 \context Staff = up { e'4 d'
915 \context Staff = down { \clef bass c4 g e g } >
916 \context Staff = pedal { \clef bass c2 c2 } >
920 The command @code{\bar @var{bartype}} is a short cut for
921 doing @code{\property Score.whichBar = @var{bartype}}
922 Whenever @code{whichBar} is set to a string, a bar line of that type is
923 created. @code{whichBar} is usually set automatically: at the start of
924 a measure it is set to @code{defaultBarType}. The contents of
925 @code{repeatCommands} is used to override default measure bars.
927 @code{whichBar} can also be set directly, using @code{\property} or
928 @code{\bar }. These settings take precedence over the automatic
929 @code{whichBar} settings.
932 @cindex repeatCommands
933 @cindex defaultBarType
935 You are encouraged to use @code{\repeat} for repetitions. See
942 @ref{Repeats}, @internalsref{RepeatedMusic},
943 @internalsref{VoltaRepeatedMusic},
944 @internalsref{UnfoldedRepeatedMusic}
945 @internalsref{TremoloRepeteadMusic},
946 @internalsref{FoldedRepeatedMusic}.
949 The bar line objects that are created at @internalsref{Staff} level
950 are called @internalsref{BarLine}, the bar lines that span staffs are
951 @internalsref{SpanBar}s.
958 The easiest way to enter fragments with more than one voice on a staff
959 is to split chords using the separator @code{\\}. You can use it for
960 small, short-lived voices (make a chord of voices) or for single
963 @lilypond[verbatim,fragment]
964 \context Voice = VA \relative c'' {
965 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
969 The separator causes @internalsref{Voice} contexts to be instantiated,
970 bearing the names @code{"1"}, @code{"2"}, etc. In each of these
971 contexts, vertical direction of slurs, stems, etc. are set
974 This can also be done by instantiating @internalsref{Voice} contexts
975 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
976 a stem directions and horizontal shift for each part.
979 @lilypond[singleline, verbatim]
981 \context Staff < \context Voice = VA { \voiceOne cis2 b }
982 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
983 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
986 Normally, note heads with a different number of dots are not merged, but
987 if you set the object property @code{merge-differently-dotted}, they are:
988 @lilypond[verbatim,fragment,singleline]
989 \relative c' \context Voice < {
991 \property Staff.NoteCollision \override
992 #'merge-differently-dotted = ##t
994 } \\ { [g8. f16] [g8. f16] }
998 Similarly, you can merge half note heads with eighth notes, by setting
999 @code{merge-differently-headed}:
1000 @lilypond[fragment, relative=2,verbatim]
1003 \property Staff.NoteCollision
1004 \override #'merge-differently-headed = ##t
1005 c8 c4. } \\ { c2 c2 } >
1008 LilyPond also vertically shifts rests that are opposite of a stem.
1010 @lilypond[singleline,fragment,verbatim]
1011 \context Voice < c''4 \\ r4 >
1016 The objects responsible for resolving collisions are
1017 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1018 also example files @inputfileref{input/regression,collision-dots.ly},
1019 @inputfileref{input/regression,collision-head-chords.ly},
1020 @inputfileref{input/regression,collision-heads.ly},
1021 @inputfileref{input/regression,collision-mesh.ly}, and
1022 @inputfileref{input/regression,collisions.ly}.
1027 Resolving collisions is a very intricate subject, and LilyPond only
1028 handles a few situations. When it can not cope, you are advised to use
1029 @code{force-hshift} of the @internalsref{NoteColumn} object and pitched
1030 rests to override typesetting decisions.
1035 Beams are used to group short notes into chunks that are aligned with
1036 the metrum. They are inserted automatically in most cases.
1038 @lilypond[fragment,verbatim, relative=2]
1039 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1042 If you are not satisfied with the automatic beaming, you can enter the
1043 beams explicitly. If you have beaming patterns that differ from the
1044 defaults, you can also set your own.
1046 See also @internalsref{Beam}.
1049 @cindex Automatic beams
1050 @subsection Manual beams
1051 @cindex beams, manual
1055 In some cases it may be necessary to override the automatic beaming
1056 algorithm. For example, the auto beamer will not beam over rests or
1057 bar lines, If you want that, specify the begin and end point manually
1058 using @code{[} and @code{]}.
1060 @lilypond[fragment,relative,verbatim]
1062 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1066 @cindex @code{stemLeftBeamCount}
1068 Normally, beaming patterns within a beam are determined automatically.
1069 When this mechanism fouls up, the properties
1070 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1071 be used to control the beam subdivision on a stem. If you set either
1072 property, its value will be used only once, and then it is erased.
1074 @lilypond[fragment,relative,verbatim]
1077 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1080 @cindex @code{stemRightBeamCount}
1083 The property @code{subdivideBeams} can be set in order to subdivide
1084 all 16th or shorter beams at beat positions. This accomplishes the
1085 same effect as twiddling with @code{stemLeftBeamCount} and
1086 @code{stemRightBeamCount}, but it take less typing.
1089 @lilypond[relative=1,verbatim,noindent]
1090 c16-[ c c c c c c c-]
1091 \property Voice.subdivideBeams = ##t
1092 c16-[ c c c c c c c-]
1093 c32-[ c c c c c c c c c c c c c c c-]
1094 \property Score.beatLength = #(ly:make-moment 1 8)
1095 c32-[ c c c c c c c c c c c c c c c-]
1097 @cindex subdivideBeams
1099 Kneed beams are inserted automatically, when a large gap is detected
1100 between the note heads. This behavior can be tuned through the object
1101 property @code{auto-knee-gap}.
1103 @cindex beams, kneed
1105 @cindex auto-knee-gap
1113 Automatically kneed beams can not be used together with Hara Kiri
1118 * Setting automatic beam behavior ::
1122 @no de Beam typography
1123 @sub section Beam typography
1125 One of the strong points of LilyPond is how beams are formatted. Beams
1126 are quantized, meaning that the left and right endpoints beams start
1127 exactly on staff lines. Without quantization, small wedges of white
1128 space appear between the beam and staff line, and this looks untidy.
1130 Beams are also slope-damped: melodies that go up or down should also
1131 have beams that go up or down, but the slope of the beams should be
1132 less than the slope of the notes themselves.
1134 Some beams should be horizontal. These are so-called concave beams.
1136 [TODO: some pictures.]
1140 @node Setting automatic beam behavior
1141 @subsection Setting automatic beam behavior
1143 @cindex @code{autoBeamSettings}
1144 @cindex @code{(end * * * *)}
1145 @cindex @code{(begin * * * *)}
1146 @cindex automatic beams, tuning
1147 @cindex tuning automatic beaming
1149 [TODO: use \applycontext]
1151 In normal time signatures, automatic beams can start on any note but can
1152 only end in a few positions within the measure: beams can end on a beat,
1153 or at durations specified by the properties in
1154 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1155 are defined in @file{scm/auto-beam.scm}.
1157 The value of @code{autoBeamSettings} is changed using
1158 @code{\override} and unset using @code{\revert}:
1160 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1161 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1163 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1164 whether the rule applies to begin or end-points. The quantity
1165 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1166 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1167 signature (wildcards, `@code{* *}' may be entered to designate all time
1170 For example, if you want automatic beams to end on every quarter note,
1171 you can use the following:
1173 \property Voice.autoBeamSettings \override
1174 #'(end * * * *) = #(ly:make-moment 1 4)
1176 Since the duration of a quarter note is 1/4 of a whole note, it is
1177 entered as @code{(ly:make-moment 1 4)}.
1179 The same syntax can be used to specify beam starting points. In this
1180 example, automatic beams can only end on a dotted quarter note.
1182 \property Voice.autoBeamSettings \override
1183 #'(end * * * *) = #(ly:make-moment 3 8)
1185 In 4/4 time signature, this means that automatic beams could end only on
1186 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1187 3/8 has passed within the measure).
1189 You can also restrict rules to specific time signatures. A rule that
1190 should only be applied in @var{N}/@var{M} time signature is formed by
1191 replacing the second asterisks by @var{N} and @var{M}. For example, a
1192 rule for 6/8 time exclusively looks like
1194 \property Voice.autoBeamSettings \override
1195 #'(begin * * 6 8) = ...
1198 If you want a rule to apply to certain types of beams, you can use the
1199 first pair of asterisks. Beams are classified according to the shortest
1200 note they contain. For a beam ending rule that only applies to beams
1201 with 32nd notes (and no shorter notes), you would use @code{(end 1
1204 If a score ends while an automatic beam has not been ended and is still
1205 accepting notes, this last beam will not be typeset at all.
1207 @cindex automatic beam generation
1209 @cindex @code{Voice.autoBeaming}
1212 For melodies that have lyrics, you may want to switch off
1213 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1219 It is not possible to specify beaming parameters for beams with mixed
1220 durations, that differ from the beaming parameters of all separate
1221 durations, i.e., you'll have to specify manual beams to get:
1223 @lilypond[singleline,fragment,relative,noverbatim,quote]
1224 \property Voice.autoBeamSettings
1225 \override #'(end * * * *) = #(ly:make-moment 3 8)
1226 \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
1228 It is not possible to specify beaming parameters that act differently in
1229 different parts of a measure. This means that it is not possible to use
1230 automatic beaming in irregular meters such as @code{5/8}.
1233 @section Accidentals
1236 This section describes how to change the way that LilyPond automatically
1237 inserts accidentals before the running notes.
1239 [TODO: identifier vs. macro]
1242 * Using the predefined accidental macros::
1243 * Defining your own accidental typesettings::
1246 @node Using the predefined accidental macros
1247 @subsection Using the predefined accidental macros
1248 The constructs for describing the accidental typesetting rules are
1249 quite hairy, so non-experts should stick to the macros defined in
1250 @file{ly/property-init.ly}.
1251 @cindex @file{property-init.ly}
1253 The macros operate on the ``Current'' context (see @ref{Context properties}). This
1254 means that the macros shuold normally be invoked right after the
1255 creation of the context in which the accidental typesetting described
1256 by the macro is to take effect. I.e. if you want to use
1257 piano-accidentals in a pianostaff then you issue
1258 @code{\pianoAccidentals} first thing after the creation of the piano
1262 \notes \relative c'' <
1263 \context Staff = sa @{ cis4 d e2 @}
1264 \context GrandStaff <
1266 \context Staff = sb @{ cis4 d e2 @}
1267 \context Staff = sc @{ es2 c @}
1269 \context Staff = sd @{ es2 c @}
1273 @lilypond[singleline]
1275 \notes \relative c'' <
1276 \context Staff = sa { cis4 d e2 }
1277 \context GrandStaff <
1279 \context Staff = sb { cis4 d e2 }
1280 \context Staff = sc { es2 c }
1282 \context Staff = sd { es2 c }
1287 minimumVerticalExtent = #'(-4.0 . 4.0)
1295 @item \defaultAccidentals
1296 @cindex @code{\defaultAccidentals}
1297 This is the default typesetting behaviour. It should correspond
1298 to 18th century common practice: Accidentals are
1299 remembered to the end of the measure in which they occur and
1300 only on their own octave.
1302 @item \voiceAccidentals
1303 @cindex @code{\voiceAccidentals}
1304 The normal behaviour is to remember the accidentals on
1306 This macro, however, typesets accidentals individually for each
1308 Apart from that the rule is similar to
1309 @code{\defaultAccidentals}.
1311 This leads to some weird and often unwanted results
1312 because accidentals from one voice do not get cancelled in other
1314 @lilypond[singleline,relative,fragment,verbatim,quote]
1322 Hence you should only use @code{\voiceAccidentals} if the voices
1323 are to be read solely by individual musicians. If the staff is to be
1324 used by one musician (e.g., a conductor) then you use
1325 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1328 @item \modernAccidentals
1329 @cindex @code{\modernAccidentals}
1330 This rule corresponds to the common practice in the 20th
1332 The rule is more complex than @code{\defaultAccidentals}.
1333 You get all the same accidentals, but temporary
1334 accidentals also get cancelled in other octaves. Further more,
1335 in the same octave, they also get cancelled in the following measure:
1336 @lilypond[singleline,fragment,verbatim]
1338 cis' c'' cis'2 | c'' c'
1341 @item \modernCautionaries
1342 @cindex @code{\modernCautionaries}
1343 This rule is similar to @code{\modernAccidentals}, but the
1344 ``extra'' accidentals (the ones not typeset by
1345 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1346 (i.e. in reduced size):
1347 @lilypond[singleline,fragment,verbatim]
1349 cis' c'' cis'2 | c'' c'
1352 @cindex @code{\modernVoiceAccidentals}
1353 @item \modernVoiceAccidentals
1354 is used for multivoice accidentals to be read both by musicians
1355 playing one voice and musicians playing all voices. Accidentals are
1356 typeset for each voice, but they @emph{are} cancelled across voices in
1357 the same @internalsref{Staff}.
1359 @cindex @code{\modernVoiceCautionaries}
1360 @item \modernVoiceCautionaries
1362 @code{\modernVoiceAccidentals}, but with the extra accidentals (the
1363 ones not typeset by @code{\voiceAccidentals}) typeset as cautionaries.
1364 Even though all accidentals typeset by @code{\defaultAccidentals}
1365 @emph{are} typeset by this macro then some of them are typeset as
1368 @item \pianoAccidentals
1369 @cindex @code{\pianoAccidentals}
1370 20th century practice for piano notation. Very similar to
1371 @code{\modernAccidentals} but accidentals also get cancelled
1372 across the staves in the same @internalsref{GrandStaff} or
1373 @internalsref{PianoStaff}.
1375 @item \pianoCautionaries
1376 @cindex @code{\pianoCautionaries}
1377 As @code{\pianoAccidentals} but with the extra accidentals
1378 typeset as cautionaries.
1381 @cindex @code{\noResetKey}
1382 Same as @code{\defaultAccidentals} but with accidentals lasting
1383 ``forever'' and not only until the next measure:
1384 @lilypond[singleline,fragment,verbatim,relative]
1389 @item \forgetAccidentals
1390 @cindex @code{\forgetAccidentals}
1391 This is sort of the opposite of @code{\noResetKey}: Accidentals
1392 are not remembered at all - and hence all accidentals are
1393 typeset relative to the key signature, regardless of what was
1394 before in the music:
1395 @lilypond[singleline,fragment,verbatim,relative]
1397 \key d\major c4 c cis cis d d dis dis
1401 @node Defining your own accidental typesettings
1402 @subsection Defining your own accidental typesettings
1404 This section must be considered gurus-only, and hence it must be
1405 sufficient with a short description of the system and a reference to
1406 the internal documentation.
1408 The algorithm tries several different rules, and uses the rule
1409 that gives the highest number of accidentals. Each rule consists of
1412 In which context is the rule applied. For example, if
1413 @var{context} is @internalsref{Score} then all staves share
1414 accidentals, and if @var{context} is @internalsref{Staff} then all
1415 voices in the same staff share accidentals, but staves do not.
1417 Whether the accidental changes all octaves or only the current
1420 Over how many barlines the accidental lasts.
1421 If @var{lazyness} is @code{-1} then the accidental is forget
1422 immediately, and if @var{lazyness} is @code{#t} then the accidental
1425 [TODO: should use +infinity for this case?]
1431 @internalsref{Accidental_engraver}, @internalsref{Accidental},
1432 @internalsref{AccidentalPlacement}.
1437 Currently the simultaneous notes are considered to be entered in
1438 sequential mode. This means that in a chord the accidentals are
1439 typeset as if the notes in the chord happened one at a time - in the
1440 order in which they appear in the input file.
1442 This is only a problem when there are simultaneous notes whose
1443 accidentals depend on each other. The problem only occurs when using
1444 non-default accidentals. In the default scheme, accidentals only
1445 depend on other accidentals with the same pitch on the same staff, so
1446 no conflicts possible.
1448 This example shows two examples of the same music giving different
1449 accidentals depending on the order in which the notes occur in the
1452 @lilypond[singleline,fragment,verbatim]
1453 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1454 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1455 | <<cis' c''>> r | <<c'' cis'>> r |
1458 This problem can be solved by manually inserting @code{!} and @code{?}
1459 for the problematic notes.
1461 @node Expressive marks
1462 @section Expressive marks
1471 * Analysis brackets::
1478 A slur indicates that notes are to be played bound or @emph{legato}.
1482 They are entered using parentheses:
1483 @lilypond[fragment,verbatim,center]
1484 f'-( g'-)-( a'-) [a'8 b'-(-] a'4 g'2 f'4-)
1485 <<c' e'>>2-( <<b d'>>2-)
1489 @c TODO: should explain that ^( and _( set directions
1490 @c should set attachments with ^ and _ ?
1492 Slurs avoid crossing stems, and are generally attached to note heads.
1493 However, in some situations with beams, slurs may be attached to stem
1494 ends. If you want to override this layout you can do this through the
1495 object property @code{attachment} of @internalsref{Slur} in
1496 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1497 the attachment type of the left and right end points.
1499 @lilypond[fragment,relative,verbatim]
1501 \property Voice.Stem \set #'length = #5.5
1503 \property Voice.Slur \set #'attachment = #'(stem . stem)
1507 If a slur would strike through a stem or beam, the slur will be moved
1508 away upward or downward. If this happens, attaching the slur to the
1509 stems might look better:
1511 @lilypond[fragment,relative,verbatim]
1514 \property Voice.Slur \set #'attachment = #'(stem . stem)
1520 @seeinternals{Slur}, @internalsref{SlurEvent}.
1525 Producing nice slurs is a difficult problem, and LilyPond currently
1526 uses a simple, empiric method to produce slurs. In some cases, the
1527 results of this method are ugly.
1530 @cindex Adjusting slurs
1532 @node Phrasing slurs
1533 @subsection Phrasing slurs
1535 @cindex phrasing slurs
1536 @cindex phrasing marks
1538 A phrasing slur (or phrasing mark) connects chords and is used to
1539 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1542 @lilypond[fragment,verbatim,center,relative]
1543 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1546 Typographically, the phrasing slur behaves almost exactly like a
1547 normal slur. Although they behave similar to normal slurs, phrasing
1548 slurs count as different objects. A @code{\slurUp} will have no
1549 effect on a phrasing slur; instead, you should use
1550 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1551 @code{\phrasingSlurBoth}.
1553 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1554 will only affect normal slurs and not phrasing slurs.
1558 See also @internalsref{PhrasingSlur},
1559 @internalsref{PhrasingSlurEvent}.
1563 Phrasing slurs have the same limitations in their formatting as normal
1567 @subsection Breath marks
1569 Breath marks are entered using @code{\breathe}.
1572 @lilypond[fragment,relative]
1576 The glyph of the breath mark can be tweaked by overriding the
1577 @code{text} property of the @code{BreathingSign} grob with the name of
1578 any glyph of @ref{The Feta font}. For example,
1579 @lilypond[fragment,verbatim,relative]
1581 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1588 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
1589 @inputfileref{input/regression,breathing-sign.ly}.
1595 @cindex beats per minute
1596 @cindex metronome marking
1598 Metronome settings can be entered as follows:
1600 @cindex @code{\tempo}
1602 \tempo @var{duration} = @var{perminute}
1605 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1610 @internalsref{TempoEvent}
1614 The tempo setting is not printed, but is only used in the MIDI
1615 output. You can trick lily into producing a metronome mark,
1616 though. Details are in @ref{Text markup}.
1618 [TODO: make note markup.]
1622 @subsection Text spanners
1623 @cindex Text spanners
1625 Some textual indications, e.g. @i{rallentando} or @i{accelerando}, are
1626 often extended over many measures. This is indicated by following the
1627 text with a dotted line. You can create such texts using text
1628 spanners. The syntax is as follows:
1633 The string to be printed, as well as the style, is set through object
1636 An application is to fake octavation indications.
1638 @lilypond[fragment,relative,verbatim]
1639 \relative c' { a''' b c a
1640 \property Voice.TextSpanner \set #'type = #'dotted-line
1641 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1642 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1643 \property Staff.centralCPosition = #-13
1644 a-\startTextSpan b c a-\stopTextSpan }
1650 @internalsref{TextSpanEvent},
1651 @internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
1654 @node Analysis brackets
1655 @subsection Analysis brackets
1657 @cindex phrasing brackets
1658 @cindex musicological analysis
1659 @cindex note grouping bracket
1661 Brackets are used in musical analysis to indicate structure in musical
1662 pieces. LilyPond supports a simple form of nested horizontal brackets.
1663 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1664 @internalsref{Staff} context. A bracket is started with
1665 @code{\groupOpen} and closed with @code{\groupClose}.
1667 @lilypond[singleline,verbatim]
1668 \score { \notes \relative c'' {
1669 c4-\groupOpen-\groupOpen
1672 c4-\groupClose-\groupClose
1674 \paper { \translator {
1675 \StaffContext \consists "Horizontal_bracket_engraver"
1681 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
1682 @inputfileref{input/regression,note-group-bracket.ly}.
1686 Bracket endings should be angled/slanted. (TODO)
1694 [TODO: ornaments vs. expressive marks]
1706 @subsection Articulations
1707 @cindex Articulations
1709 @cindex articulations
1713 A variety of symbols can appear above and below notes to indicate
1714 different characteristics of the performance. They are added to a note
1715 by adding a dash and the the character signifying the
1716 articulation. They are demonstrated here.
1718 @lilypondfile[notexidoc]{script-abbreviations.ly}
1720 The script is automatically placed, but if you need to force
1721 directions, you can use @code{_} to force them down, or @code{^} to
1723 @lilypond[fragment, verbatim]
1728 Other symbols can be added using the syntax
1729 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1730 using @code{^} and @code{_}.
1734 @cindex staccatissimo
1743 @cindex organ pedal marks
1752 @cindex prallmordent
1756 @cindex thumb marking
1761 @lilypondfile[notexidoc]{script-chart.ly}
1766 Fingering instructions can also be entered in this shorthand. For
1767 finger changes, use markup texts:
1769 @lilypond[verbatim, singleline, fragment]
1770 c'4-1 c'4-2 c'4-3 c'4-4
1771 c'^\markup { \fontsize #-3 \number "2-3" }
1774 @cindex finger change
1779 @lilypond[verbatim,singleline,fragment,relative=1]
1780 << c-1 e-2 g-3 b-5 >> 4
1781 \property Voice.fingerHorizontalDirection = #LEFT
1782 << c-1 es-3 g-5 >> 4
1783 \property Voice.fingerHorizontalDirection = #RIGHT
1784 << c-1 e-2 g-3 b-5 >> 4-\arpeggio
1785 \property Voice.fingerHorizontalDirection = #LEFT
1786 << c_1 e-2 g-3 b^5 >> 4
1791 @internalsref{ScriptEvent},
1792 @internalsref{Script}, @internalsref{FingerEvent} and @internalsref{Fingering}.
1796 All of these note ornaments appear in the printed output but have no
1797 effect on the MIDI rendering of the music.
1801 @subsection Text scripts
1802 @cindex Text scripts
1804 It is possible to place arbitrary strings of text or markup text (see
1805 @ref{Text markup}) above or below notes by using a string:
1806 @code{c^"text"}. By default, these indications do not influence the
1807 note spacing, but by using the command @code{\fatText}, the widths
1808 will be taken into account.
1810 @lilypond[fragment,singleline,verbatim] \relative c' {
1811 c4^"longtext" \fatText c4_"longlongtext" c4 }
1814 It is possible to use @TeX{} commands in the strings, but this should be
1815 avoided because it makes it impossible for LilyPond to compute the
1816 exact length of the string, which may lead to collisions. Also, @TeX{}
1817 commands will not work with direct PostScript output.
1822 @internalsref{TextScriptEvent}, @internalsref{TextScript},
1828 @subsection Grace notes
1832 @cindex @code{\grace}
1836 Grace notes are ornaments that are written out
1838 @lilypond[relative=2,verbatim,ifragment] c4 \grace c16 c4 \grace {
1842 In normal notation, grace notes take up no logical
1843 time in a measure. Such an idea is practical for normal notation, but
1844 is not strict enough to put it into a program. The model that LilyPond
1845 uses for grace notes internally is that all timing is done in two
1848 Every point in musical time consists of two rational numbers: one
1849 denotes the logical time, one denotes the grace timing. The above
1850 example is shown here with timing tuples.
1853 \score { \notes \relative c''{
1854 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1855 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1857 \paper { linewidth = 8.\cm }
1862 The placement of these grace notes is synchronized between different
1865 @lilypond[relative=2,verbatim,fragment]
1866 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
1867 \context Staff = SB { c'4 \grace { g8 b } c4 } >
1871 Unbeamed eighth notes and shorter by default have a slash through the
1872 stem. This can be controlled with object property @code{stroke-style} of
1873 @internalsref{Stem}. The change in formatting is accomplished by
1874 inserting @code{\startGraceMusic} before handling the grace notes, and
1875 @code{\stopGraceMusic} after finishing the grace notes.
1876 You can add to these definitions to globally change grace note
1877 formatting. The standard definitions are in @file{ly/grace-init.ly}.
1879 [TODO discuss Scheme functionality.]
1882 The @code{\override} is carefully matched with a @code{\revert}.
1887 @lilypond[fragment,verbatim]
1888 \relative c'' \context Voice {
1889 \grace c8 c4 \grace { [c16 c16] } c4
1891 \property Voice.Stem \override #'stroke-style = #'()
1893 \property Voice.Stem \revert #'stroke-style
1900 If you want to end a note with a grace note, then the standard trick
1901 is to put the grace notes before a phantom ``space note'', e.g.
1902 @lilypond[fragment,verbatim, relative=2]
1905 { s2 \grace { [c16 d] } } >
1910 A @code{\grace} section has some default values, and LilyPond will
1911 use those default values unless you specify otherwise inside the
1912 @code{\grace} section. For example, if you specify \slurUp
1913 @emph{before} your @code{\grace} section, a slur which starts inside
1914 the @code{\grace} will not be forced up, even if the slur ends outside
1915 of the @code{\grace}. Note the difference between the first and
1916 second bars in this example:
1918 @lilypond[fragment,verbatim]
1919 \relative c'' \context Voice {
1938 @internalsref{GraceMusic}.
1942 Grace notes can not be used in the smallest size (@file{paper11.ly}).
1944 Grace note synchronization can also lead to surprises. Staff notation,
1945 such as key signatures, barlines, etc. are also synchronized. Take
1946 care when you mix staves with grace notes and staves without.
1948 @lilypond[relative=2,verbatim,fragment]
1949 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
1950 \context Staff = SB { c4 \bar "|:" d4 } >
1953 Grace sections should only be used within sequential music
1954 expressions. Nesting, juxtaposing, or ending sequential music with a
1955 grace section is not supported, and might produce crashes or other
1960 @subsection Glissando
1963 @cindex @code{\glissando}
1965 A glissando is a smooth change in pitch. It is denoted by a line or a
1966 wavy line between two notes.
1970 A glissando line can be requested by attaching a @code{\glissando} to
1973 @lilypond[fragment,relative,verbatim]
1979 @internalsref{Glissando}, @internalsref{GlissandoEvent}.
1984 Printing of an additional text (such as @emph{gliss.}) must be done
1989 @subsection Dynamics
2002 @cindex @code{\ffff}
2012 Absolute dynamic marks are specified using an identifier after a
2013 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2014 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2015 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2016 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2018 @lilypond[verbatim,singleline,fragment,relative]
2019 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2025 @cindex @code{\decr}
2026 @cindex @code{\rced}
2033 A crescendo mark is started with @code{\cr} and terminated with
2034 @code{\endcr}, and decrescendi similarly with @code{\decr} and
2035 @code{\enddecr}. There are also shorthands for these marks. A
2036 crescendo can be started with @code{\<} and a decrescendo can be
2037 started with @code{\>}. Either one can be terminated with @code{\!}.
2038 Because these marks are bound to notes, if you must use spacer notes
2039 if marks during one note are needed.
2041 @lilypond[fragment,verbatim,center,quote]
2042 c''-\< c''-\! d''-\decr e''-\rced
2043 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2045 This may give rise to very short hairpins. Use @code{minimum-length}
2046 in @internalsref{Voice}.@internalsref{HairPin} to lengthen these, e.g.
2049 \property Staff.Hairpin \override #'minimum-length = #5
2052 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2053 is an example how to do it:
2055 @lilypond[fragment,relative=2,verbatim]
2056 c4 \cresc c4 \endcresc c4
2063 You can also supply your own texts:
2064 @lilypond[fragment,relative,verbatim]
2066 \property Voice.crescendoText = "cresc. poco"
2067 \property Voice.crescendoSpanner = #'dashed-line
2076 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
2077 @internalsref{AbsoluteDynamicEvent}.
2079 Dynamics are objects of @internalsref{DynamicText} and
2080 @internalsref{Hairpin}. Vertical positioning of these symbols is
2081 handled by the @internalsref{DynamicLineSpanner} object.
2083 If you want to adjust padding or vertical direction of the dynamics,
2084 you must set properties for the @internalsref{DynamicLineSpanner}
2085 object. Predefined identifiers to set the vertical direction are
2086 \dynamicUp and \dynamicDown.
2088 @cindex direction, of dynamics
2089 @cindex @code{\dynamicDown}
2090 @cindex @code{\dynamicUp}
2098 @cindex @code{\repeat}
2100 To specify repeats, use the @code{\repeat} keyword. Since repeats
2101 should work differently when played or printed, there are a few
2102 different variants of repeats.
2106 Repeated music is fully written (played) out. Useful for MIDI
2107 output, and entering repetitive music.
2110 This is the normal notation: Repeats are not written out, but
2111 alternative endings (voltas) are printed, left to right.
2115 Alternative endings are written stacked. This has limited use but may be
2116 used to typeset two lines of lyrics in songs with repeats, see
2117 @inputfileref{input,star-spangled-banner.ly}.
2124 Make beat or measure repeats. These look like percent signs.
2130 * Repeats and MIDI::
2131 * Manual repeat commands::
2133 * Tremolo subdivisions::
2138 @subsection Repeat syntax
2141 Repetition is a central concept in music, and multiple notations exist
2146 LilyPond has one syntactic construct for specifying different types of
2147 repeats. The syntax is
2150 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2153 If you have alternative endings, you may add
2154 @cindex @code{\alternative}
2156 \alternative @code{@{} @var{alternative1}
2158 @var{alternative3} @dots{} @code{@}}
2160 where each @var{alternative} is a music expression. If you do not
2161 give enough alternatives for all of the repeats, then the first
2162 alternative is assumed to be played more than once.
2164 Normal notation repeats are used like this:
2165 @lilypond[fragment,verbatim]
2167 \repeat volta 2 { c'4 d' e' f' }
2168 \repeat volta 2 { f' e' d' c' }
2171 With alternative endings:
2172 @lilypond[fragment,verbatim]
2174 \repeat volta 2 {c'4 d' e' f'}
2175 \alternative { {d'2 d'} {f' f} }
2179 Folded repeats look like this:
2182 @li lypond[fragment,verbatim]
2184 \repeat fold 2 {c'4 d' e' f'}
2185 \alternative { {d'2 d'} {f' f} }
2191 @lilypond[fragment,verbatim]
2195 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2196 \alternative { { g4 g g } { a | a a a a | b2. } }
2201 @node Repeats and MIDI
2202 @subsection Repeats and MIDI
2204 @cindex expanding repeats
2206 For instructions on how to unfold repeats for MIDI output, see the
2207 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2212 Timing information is not remembered at the start of an alternative,
2213 so you have to reset timing information after a repeat, e.g. using a
2214 bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
2215 or entering @code{\partial}. Slurs or ties are also not repeated.
2218 @node Manual repeat commands
2219 @subsection Manual repeat commands
2221 @cindex @code{repeatCommands}
2223 The property @code{repeatCommands} can be used to control the layout of
2224 repeats. Its value is a Scheme list of repeat commands, where each repeat
2232 @item (volta . @var{text})
2233 Print a volta bracket saying @var{text}. The text can be specified as
2234 a text string or as a markup text, see @ref{Text markup}. Do not
2235 forget to change the font, as the default number font does not contain
2236 alphabetic characters.
2238 Stop a running volta bracket
2241 @lilypond[verbatim, fragment]
2243 \property Score.repeatCommands = #'((volta "93") end-repeat)
2245 \property Score.repeatCommands = #'((volta #f))
2252 @internalsref{VoltaBracket}
2254 @node Tremolo repeats
2255 @subsection Tremolo repeats
2256 @cindex tremolo beams
2258 To place tremolo marks between notes, use @code{\repeat} with tremolo
2260 @lilypond[verbatim,center,singleline]
2262 \context Voice \notes\relative c' {
2263 \repeat "tremolo" 8 { c16 d16 }
2264 \repeat "tremolo" 4 { c16 d16 }
2265 \repeat "tremolo" 2 { c16 d16 }
2266 \repeat "tremolo" 4 c16
2273 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2274 @internalsref{StemTremolo}. @internalsref{TremoloEvent}.
2279 The single stem tremolo @emph{must} be entered without @code{@{} and
2282 @node Tremolo subdivisions
2283 @subsection Tremolo subdivisions
2284 @cindex tremolo marks
2285 @cindex @code{tremoloFlags}
2287 Tremolo marks can be printed on a single note by adding
2288 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2289 A @var{length} value of 8 gives one line across the note stem. If the
2290 length is omitted, then then the last value (stored in
2291 @code{Voice.tremoloFlags}) is used.
2293 @lilypond[verbatim,fragment,center]
2294 c'2:8 c':32 | c': c': |
2297 [TODO : stok is te kort bij 32en]
2301 Tremolos in this style do not carry over into the MIDI output.
2304 @node Measure repeats
2305 @subsection Measure repeats
2307 @cindex percent repeats
2308 @cindex measure repeats
2310 In the @code{percent} style, a note pattern can be repeated. It is
2311 printed once, and then the pattern is replaced with a special sign.
2312 Patterns of a one and two measures are replaced by percent-like signs,
2313 patterns that divide the measure length are replaced by slashes.
2315 @lilypond[verbatim,singleline]
2316 \context Voice { \repeat "percent" 4 { c'4 }
2317 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2323 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2324 @internalsref{PercentRepeatedMusic}, and
2325 @internalsref{DoublePercentRepeat}.
2330 You can not nest percent repeats, e.g. by filling in the first measure
2331 with slashes, and repeating that measure with percents.
2333 @node Rhythmic music
2334 @section Rhythmic music
2336 Sometimes you might want to show only the rhythm of a melody. This can
2337 be done with the rhythmic staff. All pitches of notes on such a staff
2338 are squashed, and the staff itself looks has a single staff line:
2340 @lilypond[fragment,relative,verbatim]
2341 \context RhythmicStaff {
2343 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2348 * Percussion staves::
2349 * Percussion midi output::
2352 @node Percussion staves
2353 @subsection Percussion staves
2357 To typeset more than one piece of percussion to be played by the same
2358 musician one typically uses a multiline staff where each staff
2359 position refers to a specific piece of percussion.
2363 LilyPond is has a set of Scheme functions that can be used to typeset
2364 percussion staves. The system is based on the general MIDI
2365 drum-pitches. Include @file{ly/drumpitch-init.ly} to use drum
2366 pitches. This file defines the pitches from the Scheme variable
2367 @code{drum-pitch-names}, the definition of which can be read in
2368 @file{scm/drums.scm}. Each piece of percussion has a full name and an
2369 abbreviated name, and both the full name or the abbreviation may be
2370 used in input files.
2372 To typeset the music on a staff apply the function @code{drums->paper}
2373 to the percussion music. This function takes a list of percussion
2374 instrument names, notehead scripts and staff positions (that is:
2375 pitches relative to the C-clef) and transforms the input
2376 music by moving the pitch, changing the notehead and (optionally)
2379 @lilypond[singleline,verbatim,quote]
2380 \include "drumpitch-init.ly"
2381 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2382 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2384 \apply #(drums->paper 'drums) \context Staff <
2386 \context Voice = up { \voiceOne \up }
2387 \context Voice = down { \voiceTwo \down }
2392 In the above example the music was transformed using the list @code{'drums}.
2393 Currently the following lists are defined in @file{scm/drums.scm}:
2396 To typeset a typical drum kit on a five-line staff.
2399 \include "drumpitch-init.ly"
2400 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2401 bd sn ss tomh tommh tomml toml tomfh tomfl }
2402 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2403 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2406 \apply #(drums->paper 'drums) \context Staff <
2410 \context Lyrics \nam
2413 linewidth = 100.0\mm
2416 \remove Bar_engraver
2417 \remove Time_signature_engraver
2418 minimumVerticalExtent = #'(-4.0 . 5.0)
2422 \remove Stem_engraver
2428 Scheme supports six different toms. When there fewer toms, simply
2429 select the toms that produce the desired result, i.e., to get toms on
2430 the three middle lines you use @code{tommh}, @code{tomml} and
2433 Because general MIDI does not contain rimshots the sidestick is used
2434 for this purpose instead.
2436 To typeset timbales on a two line staff.
2437 @lilypond[singleline]
2438 \include "drumpitch-init.ly"
2439 nam = \lyrics { timh ssh timl ssl cb }
2440 mus = \notes { timh ssh timl ssl cb s16 }
2443 \apply #(drums->paper 'timbales) \context Staff <
2447 \context Lyrics \nam
2452 \remove Bar_engraver
2453 \remove Time_signature_engraver
2454 StaffSymbol \override #'line-count = #2
2455 StaffSymbol \override #'staff-space = #2
2456 minimumVerticalExtent = #'(-3.0 . 4.0)
2460 \remove Stem_engraver
2467 To typeset congas on a two line staff.
2468 @lilypond[singleline]
2469 \include "drumpitch-init.ly"
2470 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2471 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2474 \apply #(drums->paper 'congas) \context Staff <
2478 \context Lyrics \nam
2483 \remove Bar_engraver
2484 \remove Time_signature_engraver
2485 StaffSymbol \override #'line-count = #2
2486 StaffSymbol \override #'staff-space = #2
2487 minimumVerticalExtent = #'(-3.0 . 4.0)
2491 \remove Stem_engraver
2497 To typeset bongos on a two line staff.
2498 @lilypond[singleline]
2499 \include "drumpitch-init.ly"
2500 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2501 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2504 \apply #(drums->paper 'bongos) \context Staff <
2508 \context Lyrics \nam
2513 \remove Bar_engraver
2514 \remove Time_signature_engraver
2515 StaffSymbol \override #'line-count = #2
2516 StaffSymbol \override #'staff-space = #2
2517 minimumVerticalExtent = #'(-3.0 . 4.0)
2521 \remove Stem_engraver
2527 To typeset all kinds of simple percussion on one line staves.
2528 @lilypond[singleline]
2529 \include "drumpitch-init.ly"
2530 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2531 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2534 \apply #(drums->paper 'percussion) \context Staff <
2538 \context Lyrics \nam
2543 \remove Bar_engraver
2544 \remove Time_signature_engraver
2545 StaffSymbol \override #'line-count = #1
2546 minimumVerticalExtent = #'(-2.0 . 3.0)
2550 \remove Stem_engraver
2557 If you do not like any of the predefined lists you can define your own
2558 list at the top of your file:
2560 @lilypond[singleline, verbatim]
2562 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2563 (snare default #f ,(ly:make-pitch 0 1 0))
2564 (hihat cross #f ,(ly:make-pitch 0 5 0))
2565 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2566 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2568 \include "drumpitch-init.ly"
2569 up = \notes { hh8 hh hh hh hhp4 hhp }
2570 down = \notes { bd4 sn bd toml8 toml }
2572 \apply #(drums->paper 'mydrums) \context Staff <
2574 \context Voice = up { \voiceOne \up }
2575 \context Voice = down { \voiceTwo \down }
2580 To use a modified existing list, one can prepend modifications to the
2584 #(define mydrums (append `(
2585 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2586 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2590 The file @file{drumpitch-init.ly} replaces the normal pitch names, so
2591 you have to reinclude @file{nederlands.ly} after the
2592 drum-pattern-definitions to enter normal notes.
2594 @lilypond[singleline,verbatim]
2595 \include "drumpitch-init.ly"
2596 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2597 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2598 \include "nederlands.ly"
2599 bass = \notes \transpose c c,, { a4. e8 r e g e }
2602 \apply #(drums->paper 'drums) \context Staff = drums <
2604 \context Voice = up { \voiceOne \up }
2605 \context Voice = down { \voiceTwo \down }
2607 \context Staff = bass { \clef "F_8" \bass }
2612 @node Percussion midi output
2613 @subsection Percussion midi output
2615 In order to produce correct midi output you need to produce two score
2616 blocks---one for the paper and one for the midi output. To use the
2617 percussion channel you set the property @code{instrument} to
2618 @code{'drums}. Because the drum-pitches themself are similar to the
2619 general midi pitches all you have to do is to insert the voices with
2620 none of the scheme functions to get the correct midi output:
2624 \apply #(drums->paper 'mydrums) \context Staff <
2633 \property Staff.instrument = #'drums
2642 This scheme is to be considered a temporary implementation.
2646 @section Piano music
2648 Piano staves are two normal staves coupled with a brace. The staves
2649 are largely independent, but sometimes voices can cross between the
2650 two staves. The same notation is also used for harps and other key
2651 instruments. The @internalsref{PianoStaff} is especially built to
2652 handle this cross-staffing behavior. In this section we discuss the
2653 @internalsref{PianoStaff} and some other pianistic peculiarities.
2657 * Automatic staff changes::
2658 * Manual staff switches::
2661 * Voice follower lines::
2666 There is no support for putting chords across staves. You can get
2667 this result by increasing the length of the stem in the lower stave so
2668 it reaches the stem in the upper stave, or vice versa. An example is
2669 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2671 Dynamics are not centered, but kludges do exist. See
2672 @inputfileref{input/templates,piano-dynamics.ly}.
2674 @cindex cross staff stem
2675 @cindex stem, cross staff
2678 @c fixme: should have hyperlinks as well.
2684 @node Automatic staff changes
2685 @subsection Automatic staff changes
2686 @cindex Automatic staff changes
2688 Voices can switch automatically between the top and the bottom
2689 staff. The syntax for this is
2691 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2693 The autochanger switches on basis of pitch (central C is the turning
2694 point), and it looks ahead skipping over rests to switch rests in
2695 advance. Here is a practical example:
2697 @lilypond[verbatim,singleline,quote]
2698 \score { \notes \context PianoStaff <
2699 \context Staff = "up" {
2700 \autochange Staff \context Voice = VA < \relative c' {
2701 g4 a b c d r4 a g } > }
2702 \context Staff = "down" {
2707 Spacer rests are used to prevent the bottom staff from
2708 terminating too soon.
2713 The staff switches often do not end up in optimal places. For high
2714 quality output staff switches should be specified manually.
2718 @node Manual staff switches
2719 @subsection Manual staff switches
2721 @cindex manual staff switches
2722 @cindex staff switch, manual
2724 Voices can be switched between staves manually, using the following command:
2726 \translator Staff = @var{staffname} @var{music}
2728 The string @var{staffname} is the name of the staff. It switches the
2729 current voice from its current staff to the Staff called
2730 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2738 Pianos have pedals that alter the way sound are produced. Generally, a
2739 piano has three pedals, sustain, una corda, and sostenuto.
2743 Piano pedal instruction can be expressed by attaching
2744 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2745 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
2748 The symbols that are printed can be modified by setting
2749 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2750 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
2751 of @internalsref{SustainPedal} for more information.
2753 Pedals can also be indicated by a sequence of brackets, by setting the
2754 @code{pedal-type} property of @internalsref{SustainPedal} objects:
2756 @lilypond[fragment,verbatim]
2757 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2758 c''4-\sustainDown d''4 e''4
2759 a'4-\sustainUp-\sustainDown
2760 f'4 g'4 a'4-\sustainUp
2763 A third style of pedal notation is a mixture of text and brackets,
2764 obtained by setting @code{pedal-type} to @code{mixed}:
2766 @lilypond[fragment,verbatim]
2767 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2768 c''4-\sustainDown d''4 e''4
2769 c'4-\sustainUp-\sustainDown
2770 f'4 g'4 a'4-\sustainUp
2773 The default '*Ped' style for sustain and damper pedals corresponds to
2774 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2775 for a sostenuto pedal:
2777 @lilypond[fragment,verbatim]
2778 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
2781 For fine-tuning of the appearance of a pedal bracket, the properties
2782 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2783 @code{PianoPedalBracket} objects (see the detailed documentation of
2784 @internalsref{PianoPedalBracket}) can be modified. For example, the bracket
2785 may be extended to the end of the note head.
2787 @lilypond[fragment,verbatim]
2788 \property Staff.PianoPedalBracket \override
2789 #'shorten-pair = #'(0 . -1.0)
2790 c''4-\sostenutoDown d''4 e''4 c'4
2791 f'4 g'4 a'4-\sostenutoUp
2795 @subsection Arpeggio
2798 @cindex broken arpeggio
2799 @cindex @code{\arpeggio}
2801 You can specify an arpeggio sign on a chord by attaching an
2802 @code{\arpeggio} to a chord.
2805 @lilypond[fragment,relative,verbatim]
2806 <<c e g c>>-\arpeggio
2809 When an arpeggio crosses staves in piano music, you attach an arpeggio
2810 to the chords in both staves, and set
2811 @internalsref{PianoStaff}.@code{connectArpeggios}.
2813 @lilypond[fragment,relative,verbatim]
2814 \context PianoStaff <
2815 \property PianoStaff.connectArpeggios = ##t
2816 \context Voice = one { <<c' e g c>>-\arpeggio }
2817 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
2821 This command creates @internalsref{Arpeggio} objects. Cross staff
2822 arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
2824 The direction of the arpeggio is sometimes denoted by adding an
2825 arrowhead to the wiggly line. This can be typeset by setting
2826 @code{arpeggio-direction}.
2828 @lilypond[fragment,relative,verbatim]
2830 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2831 <<c e g c>>-\arpeggio
2832 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2833 <<c e g c>>-\arpeggio
2837 A square bracket on the left indicates that the player should not
2838 arpeggiate the chord. To draw these brackets, set the
2839 @code{molecule-callback} property of @code{Arpeggio} or
2840 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
2841 @code{\arpeggio} statements within the chords as before.
2843 @lilypond[fragment,relative,verbatim]
2844 \property PianoStaff.Arpeggio \override
2845 #'molecule-callback = \arpeggioBracket
2846 <<c' e g c>>-\arpeggio
2852 It is not possible to mix connected arpeggios and unconnected
2853 arpeggios in one @internalsref{PianoStaff} at the same time.
2855 @node Voice follower lines
2856 @subsection Voice follower lines
2859 [TODO: invent better name]
2861 @cindex follow voice
2862 @cindex staff switching
2865 @cindex @code{followVoice}
2867 Whenever a voice switches to another staff a line connecting the notes
2868 can be printed automatically. This is enabled if the property
2869 @code{PianoStaff.followVoice} is set to true:
2871 @lilypond[fragment,relative,verbatim]
2872 \context PianoStaff <
2873 \property PianoStaff.followVoice = ##t
2874 \context Staff \context Voice {
2876 \translator Staff=two
2879 \context Staff=two { \clef bass \skip 1*2 }
2883 The associated object is @internalsref{VoiceFollower}.
2887 @section Vocal music
2889 For a discussion of how to put lyrics into a score, see section
2890 @code{Printing lyrics} in the tutorial.
2892 [TODO: Move lyrics section from tutorial to here?]
2894 See also the sections on @ref{Slurs} and @ref{Breath marks}.
2896 [TODO: Move slurs / breath marks section to here?]
2898 [TODO: Write subsection upon usage of ChoirStaff.]
2900 For entering quotes in Lyrics mode, use the following
2902 "\"God\"" is "`King'"
2905 You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
2906 lyrics. This can confuse the LilyPond -- for example, this might put
2907 (empty) lyrics under rests. To remedy this, use @code{\skip}.
2918 The term @emph{ambitus} denotes a range of pitches for a given voice in
2919 a part of music. It also may denote the pitch range that a musical
2920 instrument is capable of playing. Most musical instruments have their
2921 ambitus standardized (or at least there is agreement upon the minimal
2922 ambitus of a particular type of instrument), such that a composer or
2923 arranger of a piece of music can easily meet the ambitus constraints of
2924 the targeted instrument. However, the ambitus of the human voice
2925 depends on individual physiological state, including education and
2926 training of the voice. Therefore, a singer potentially has to check for
2927 each piece of music if the ambitus of that piece meets his individual
2928 capabilities. This is why the ambitus of a piece may be of particular
2929 value to vocal performers.
2931 The ambitus is typically notated on a per-voice basis at the very
2932 beginning of a piece, e.g. nearby the initial clef or time signature of
2933 each staff. The range is graphically specified by two noteheads, that
2934 represent the minimum and maximum pitch. Some publishers use a textual
2935 notation: they put the range in words in front of the corresponding
2936 staff. Lilypond currently only supports the graphical ambitus notation.
2938 To apply, add the @internalsref{Ambitus_engraver} to the
2939 @internalsref{Voice} context, i.e.
2942 \paper @{ \translator @{
2944 \consists Ambitus_engraver
2950 @lilypond[singleline]
2951 upper = \notes \relative c {
2954 as'' c e2 bes f cis d4 e f2 g
2956 lower = \notes \relative c {
2959 e'4 b g a c es fis a cis b a g f e d2
2962 \context ChoirStaff {
2964 \context Staff = one { \upper }
2965 \context Staff = three { \lower }
2971 \consists Ambitus_engraver
2980 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
2985 Tablature notation is used for notating music for plucked string
2986 instruments. It notates pitches not by using note heads, but by
2987 indicating on which string and fret a note must be played. LilyPond
2988 offers limited support for tablature.
2991 * Tablatures basic::
2992 * Non-guitar tablatures::
2995 @node Tablatures basic
2996 @subsection Tablatures basic
2997 @cindex Tablatures basic
2999 The string number associated to a note is given as a backslash
3000 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3001 string. By default, string 1 is the highest one, and the tuning
3002 defaults to the standard guitar tuning (with 6 strings). The notes
3003 are printed as tablature, by using @internalsref{TabStaff} and
3004 @internalsref{TabVoice} contexts.
3006 @lilypond[fragment,verbatim]
3007 \notes \context TabStaff {
3013 If you do not specify a string number then one is selected
3014 automatically: the first string that does not give a fret number less
3015 than @code{minimumFret} is selected. The default value for
3016 @code{minimumFret} is 0.
3020 e8 fis gis a b cis' dis' e'
3021 \property TabStaff.minimumFret = #8
3022 e8 fis gis a b cis' dis' e'
3027 e8 fis gis a b cis' dis' e'
3028 \property TabStaff.minimumFret = #8
3029 e8 fis gis a b cis' dis' e'
3032 \context StaffGroup <
3033 \context Staff { \clef "G_8" \frag }
3034 \context TabStaff { \frag }
3041 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3042 @internalsref{StringNumberEvent}.
3046 Chords are not handled in a special way, and hence the automatic
3047 string selector may easily select the same string to two notes in a
3051 @node Non-guitar tablatures
3052 @subsection Non-guitar tablatures
3053 @cindex Non-guitar tablatures
3055 You can change the number of strings, by setting the number of lines
3056 in the @internalsref{TabStaff} (the @code{line-count} property of
3057 @internalsref{TabStaff} can only be changed using
3058 @code{\outputproperty}, for more information, see @ref{Tuning objects}.
3060 You can change the tuning of the strings. A string tuning is given as
3061 a Scheme list with one integer number for each string, the number
3062 being the pitch (measured in semitones relative to central C) of an
3063 open string. The numbers specified for @code{stringTuning} are the
3064 numbers of semitones to subtract or add, starting the specified pitch
3065 by default middle C, in string order: thus the notes are e, a, d, and
3068 @lilypond[fragment,verbatim]
3071 \outputproperty #(make-type-checker 'staff-symbol-interface)
3073 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3076 a,4 c' a e' e c' a e'
3081 Finally, it is possible to change the Scheme function to format the
3082 tablature note text. The default is
3083 @var{fret-number-tablature-format}, which uses the fret number. For
3084 some instruments that do not use this notation, you can create a
3085 special tablature formatting function. This function takes three
3086 argument: the string number, the string tuning and the note pitch.
3090 As tablature is a recent feature, most of the guitar special effects
3091 such as bend are not yet supported.
3098 LilyPond has support for both entering and printing chords.
3099 @lilypond[verbatim,singleline]
3100 twoWays = \notes \transpose c c' {
3110 < \context ChordNames \twoWays
3111 \context Voice \twoWays > }
3114 This example also shows that the chord printing routines do not try to
3115 be intelligent. If you enter @code{f bes d}, it does not interpret
3116 this as an inversion.
3118 Chords are represented as a set of pitches. They are internally
3119 stored as simultaneous music expressions. This means you can enter
3120 chords by name and print them as notes, enter them as notes and print
3121 them as chord names, or (the most common case) enter them by name, and
3126 * Printing chord names::
3131 @subsection Chords mode
3134 Chord mode is a mode where you can input sets of pitches using common
3135 names. It is introduced by the keyword @code{\chords}.
3136 In chords mode, a chord is entered by the root, which is entered
3137 like a common pitch, for example,
3138 @lilypond[fragment,verbatim,quote, relative=1]
3139 \chords { es4. d8 c2 }
3144 Other chords may be entered by suffixing a colon, and introducing a
3145 modifier, and optionally, a number, for example
3147 @lilypond[fragment,verbatim,quote]
3148 \chords { e1:m e1:7 e1:m7 }
3150 The first number following the root is taken to be the `type' of the
3151 chord, thirds are added to the root until it reaches the specified
3152 number, for example.
3153 @lilypond[fragment,verbatim]
3154 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3157 @cindex root of chord
3158 @cindex additions, in chords
3159 @cindex removals, in chords
3161 More complex chords may also be constructed adding separate steps
3162 to a chord. Additions are added after the number following
3163 the colon, and are separated by dots. For example
3165 @lilypond[verbatim,fragment,quote]
3166 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3168 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3169 to the number, for example:
3170 @lilypond[verbatim,fragment,quote]
3171 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3173 Removals are specified similarly, and are introduced by a caret. They
3174 must come after the additions.
3175 @lilypond[verbatim,fragment]
3176 \chords { c^3 c:7^5 c:9^3.5 }
3179 Modifiers can be used to change pitches. The following modifiers are
3183 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3185 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3188 is the augmented chord. This modifier raises the 5th step.
3190 is the major 7th chord. This modifier raises the 7th step if present.
3192 is the suspended 4th or 2nd. This modifier removes the 3rd
3193 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3196 Modifiers can be mixed with additions.
3197 @lilypond[verbatim,fragment]
3198 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3201 @cindex modifiers, in chords.
3208 Since the unaltered 11 does sound well when combined with the
3209 unaltered 3, the 11 is removed in this case, unless it is added
3210 explicitly). For example,
3211 @lilypond[fragment,verbatim]
3212 \chords { c:13 c:13.11 c:m13 }
3217 An inversion (putting one pitch of the chord on the bottom), as well
3218 as bass notes, can be specified by appending
3219 @code{/}@var{pitch} to the chord.
3220 @lilypond[fragment,verbatim,center]
3221 \chords { c1 c/g c/f }
3224 If you do not want to remove the bass note from the chord, but rather
3225 add the note, then you can use @code{/+}@var{pitch}.
3227 @lilypond[fragment,verbatim,center]
3228 \chords { c1 c/+g c/+f }
3231 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3232 of the commands continue to work, for example, @code{r} and
3233 @code{\skip} can be used to insert rests and spaces, and
3234 @code{\property} may be used to change various settings.
3240 Each step can only be present in a chord once. The following
3241 simply produces the augmented chord, since @code{5+} is interpreted
3244 @lilypond[verbatim,fragment]
3245 \chords { c:5.5-.5+ }
3248 In chord mode, dashes and carets are used to indicate chord additions
3249 and subtractions, so articulation scripts can not be entered.
3252 @node Printing chord names
3253 @subsection Printing chord names
3255 @cindex printing chord names
3259 For displaying printed chord names, use the @internalsref{ChordNames} context.
3260 The chords may be entered either using the notation described above, or
3261 directly using simultaneous music.
3263 @lilypond[verbatim,singleline]
3265 \chords {a1 b c} <<d f g>> <<e g b>>
3269 \context ChordNames \scheme
3270 \context Staff \transpose c c' \scheme
3275 You can make the chord changes stand out by setting
3276 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3277 display chord names when there is a change in the chords scheme and at
3278 the start of a new line.
3282 c1:m c:m \break c:m c:m d
3286 \context ChordNames {
3287 \property ChordNames.chordChanges = ##t
3289 \context Staff \transpose c c' \scheme
3291 \paper{linewidth= 9.\cm}
3295 The default chord name layout is a system for Jazz music, proposed by
3296 Klaus Ignatzek (See @ref{Literature}).
3298 [TODO: add description for banter other jazz.]
3300 The Ignatzek chord name formatting can be tuned in a number of ways
3301 through the following properties:
3303 @item chordNameExceptions
3304 This is a list that contains the chords that have special formatting.
3306 @inputfileref{input/regression,chord-name-exceptions.ly}.
3308 @item majorSevenSymbol
3309 This property contains the markup object used for the 7th step, when
3310 it is major. Predefined options are @code{whiteTriangleMarkup},
3311 @code{blackTriangleMarkup}. See
3312 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3314 @item chordNameSeparator
3315 Different parts of a chord name are normally separated by a
3316 slash. By setting @code{chordNameSeparator}, you can specify other
3318 @lilypond[fragment,verbatim]
3319 \context ChordNames \chords {
3321 \property ChordNames.chordNameSeparator
3326 @item chordRootNamer
3327 The root of a chord is usually printed as a letter with an optional
3328 alteration. The transformation from pitch to letter is done by this
3329 function. An application of setting this function, is providing chord
3330 names with german notation for the root.
3332 @item chordNoteNamer
3333 The default is to print single notes (as for instance the bass note)
3334 using the chordRootNamer. However, by setting this function to a non-null
3335 value you can specify a different function. I.e. you could use letters
3336 in lower case for the base note.
3342 @inputfileref{input/regression,chord-name-major7.ly},
3343 @inputfileref{input/regression,chord-name-exceptions.ly},
3344 @inputfileref{input/test,chord-names-german.ly},
3345 @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
3350 Chord names are determined solely from the list of pitches. Chord
3351 inversions are not identified, and neither are added bass notes. This
3352 may result in strange chord names when chords are entered with the
3353 @code{<< .. >>} syntax.
3359 @section Writing parts
3361 Orchestral music involves some special notation, both in the full score,
3362 as in the individual parts. This section explains how to tackle common
3363 problems in orchestral music.
3370 * Instrument names::
3372 * Multi measure rests::
3373 * Automatic part combining::
3374 * Hara kiri staves::
3375 * Sound output for transposing instruments::
3379 @node Rehearsal marks
3380 @subsection Rehearsal marks
3381 @cindex Rehearsal marks
3383 @cindex @code{\mark}
3385 To print a rehearsal mark, use the @code{\mark} command.
3386 @lilypond[fragment,verbatim]
3396 The mark is incremented automatically if you use @code{\mark
3397 \default}. The value to use is stored in the property
3398 @code{rehearsalMark} is used and automatically incremented.
3400 The @code{\mark} command can also be used to put signs like coda,
3401 segno and fermatas on a barline. Use @code{\markup} to
3402 to access the appropriate symbol.
3404 @lilypond[fragment,verbatim,relative=1]
3405 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3409 In this case, during line breaks,
3410 marks must also be printed at the end of the line, and not at the
3411 beginning. Use the following to force that behavior
3413 \property Score.RehearsalMark \override
3414 #'break-visibility = #begin-of-line-invisible
3417 See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
3423 @cindex barlines, putting symbols on
3427 @internalsref{MarkEvent}, @internalsref{RehearsalMark},
3428 @inputfileref{input/test,boxed-molecule.ly}.
3432 @subsection Bar numbers
3436 @cindex measure numbers
3437 @cindex currentBarNumber
3439 Bar numbers are printed by default at the start of the line. The
3440 number itself is stored in the
3441 @code{currentBarNumber} property,
3442 which is normally updated automatically for every measure.
3444 Bar numbers can be typeset at regular intervals instead of at the
3445 beginning of each line. This is illustrated in the following example,
3446 whose source is available as
3447 @inputfileref{input/test,bar-number-every-fifth.ly}
3449 @lilypondfile[notexidoc]{bar-number-every-fifth.ly}
3451 The start of that numbering can also be reset, as demonstrated in
3452 @inputfileref{input/test,bar-number-every-5-reset.ly}.
3454 @lilypondfile[notexidoc]{bar-number-every-5-reset.ly}
3459 @internalsref{BarNumber}.
3460 @inputfileref{input/test,bar-number-every-5-reset.ly}.
3461 @inputfileref{input/test,bar-number-every-fifth.ly}
3465 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
3466 there is one at the top. To solve this, You have to twiddle with the
3467 @internalsref{padding} property of @internalsref{BarNumber} if your
3468 score starts with a @internalsref{StaffGroup}.
3470 @node Instrument names
3471 @subsection Instrument names
3473 In an orchestral score, instrument names are printed left of the
3476 This can be achieved by setting @internalsref{Staff}.@code{instrument}
3477 and @internalsref{Staff}.@code{instr}. This will print a string before
3478 the start of the staff. For the first start, @code{instrument} is
3479 used, for the next ones @code{instr} is used.
3481 @lilypond[verbatim,singleline]
3482 \property Staff.instrument = "ploink " { c''4 }
3485 You can also use markup texts to construct more complicated instrument
3488 @lilypond[fragment,verbatim,singleline]
3489 \notes \context Staff = treble {
3490 \property Staff.instrument = \markup {
3491 \column << "Clarinetti"
3493 \smaller \musicglyph #"accidentals--1"
3504 @internalsref{InstrumentName}
3508 When you put a name on a grand staff or piano staff the width of the
3509 brace is not taken into account. You must add extra spaces to the end of
3510 the name to avoid a collision.
3513 @subsection Transpose
3515 @cindex transposition of pitches
3516 @cindex @code{\transpose}
3518 A music expression can be transposed with @code{\transpose}. The syntax
3521 \transpose @var{from} @var{to} @var{musicexpr}
3524 This means that @var{musicexpr} is transposed by the interval
3525 between @var{from} and @var{to}.
3527 @code{\transpose} distinguishes between enharmonic pitches: both
3528 @code{\transpose c cis} or @code{\transpose c des} will transpose up
3529 half a tone. The first version will print sharps and the second
3530 version will print flats.
3532 @lilypond[singleline, verbatim]
3533 mus =\notes { \key d \major cis d fis g }
3534 \score { \notes \context Staff {
3537 \transpose c g' \mus
3538 \transpose c f' \mus
3544 @internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
3548 If you want to use both @code{\transpose} and @code{\relative}, then
3549 you must put @code{\transpose} outside of @code{\relative}, since
3550 @code{\relative} will have no effect music that appears inside a
3554 @node Multi measure rests
3555 @subsection Multi measure rests
3556 @cindex Multi measure rests
3560 Multi measure rests are entered using `@code{R}'. It is specifically
3561 meant for full bar rests and for entering parts: the rest can expand to
3562 fill a score with rests, or it can be printed as a single multimeasure
3563 rest. This expansion is controlled by the property
3564 @code{Score.skipBars}. If this is set to true, Lily will not expand
3565 empty measures, and the appropriate number is added automatically.
3567 @lilypond[fragment,verbatim]
3568 \time 4/4 r1 | R1 | R1*2
3569 \property Score.skipBars = ##t R1*17 R1*4
3572 The @code{1} in @code{R1} is similar to the duration notation used for
3573 notes. Hence, for time signatures other than 4/4, you must enter other
3574 durations. This can be done with augmentation dots or fractions:
3576 @lilypond[fragment,verbatim]
3577 \property Score.skipBars = ##t
3585 A @code{R} spanning a single measure is printed as a whole rest
3586 centered in the measure (or a breve when the measure lasts longer than
3587 two whole notes), regardless of the time signature.
3591 @cindex text on multi-measure rest
3592 @cindex script on multi-measure rest
3593 @cindex fermata on multi-measure rest
3595 Texts can be added to multi-measure rests by using the
3596 @var{note}-@code{markup} syntax. In this case, the number is
3597 replaced. If you need both texts and the number, you must add the
3598 number by hand. An identifier (@code{fermataMarkup}) is provided for
3602 @lilypond[verbatim,fragment]
3604 R2._\markup { "Ad lib" }
3609 @cindex whole rests for a full measure
3613 @internalsref{MultiMeasureRestEvent},
3614 @internalsref{MultiMeasureTextEvent},
3615 @internalsref{MultiMeasureRestMusicGroup},
3616 @internalsref{MultiMeasureRest}.
3618 The graphical object @internalsref{MultiMeasureRestNumber} is for the
3619 default number, and @internalsref{MultiMeasureRestText} for user
3624 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
3625 over multi-measure rests.
3627 @cindex condensing rests
3629 There is no way to automatically condense multiple rests into a single
3630 multimeasure rest. Multi measure rests do not take part in rest
3633 Be careful when entering multimeasure rests followed by whole notes,
3637 will enter two notes lasting four measures each. The result will look
3638 ok, but the bar numbering will be off.
3640 @node Automatic part combining
3641 @subsection Automatic part combining
3642 @cindex automatic part combining
3643 @cindex part combiner
3646 Automatic part combining is used to merge two parts of music onto a
3647 staff. It is aimed at typesetting orchestral scores. When the two
3648 parts are identical for a period of time, only one is shown. In
3649 places where the two parts differ, they are typeset as separate
3650 voices, and stem directions are set automatically. Also, solo and
3651 @emph{a due} parts are identified and can be marked.
3655 The syntax for part combining is
3658 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3660 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3661 combined into one context of type @var{context}. The music expressions
3662 must be interpreted by contexts whose names should start with @code{one}
3665 The following example demonstrates the basic functionality of the part
3666 combiner: putting parts on one staff, and setting stem directions and
3669 @lilypond[verbatim,singleline,fragment]
3671 \context Voice=one \partcombine Voice
3672 \context Thread=one \relative c'' {
3675 \context Thread=two \relative c'' {
3681 The first @code{g} appears only once, although it was
3682 specified twice (once in each part). Stem, slur and tie directions are
3683 set automatically, depending whether there is a solo or unisono. The
3684 first part (with context called @code{one}) always gets up stems, and
3685 `solo', while the second (called @code{two}) always gets down stems and
3688 If you just want the merging parts, and not the textual markings, you
3689 may set the property @var{soloADue} to false.
3691 @lilypond[verbatim,singleline,fragment]
3693 \property Staff.soloADue = ##f
3694 \context Voice=one \partcombine Voice
3695 \context Thread=one \relative c'' {
3698 \context Thread=two \relative c'' {
3706 @internalsref{PartCombineMusic},
3707 @internalsref{Thread_devnull_engraver},
3708 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
3712 The syntax for naming contexts in inconsistent with the syntax for
3715 In @code{soloADue} mode, when the two voices play the same notes on and
3716 off, the part combiner may typeset @code{a2} more than once in a
3719 @lilypond[fragment,singleline]
3721 \context Voice=one \partcombine Voice
3722 \context Thread=one \relative c'' {
3725 \context Thread=two \relative c'' {
3731 The part combiner is slated to be rewritten [TODO: explain why] .
3733 @cindex @code{Thread_devnull_engraver}
3734 @cindex @code{Voice_engraver}
3735 @cindex @code{A2_engraver}
3737 @node Hara kiri staves
3738 @subsection Hara kiri staves
3740 In orchestral scores, staff lines that only have rests are usually removed.
3741 This saves some space. This style is called `French Score'.
3745 This is supported through the hara kiri@footnote{Hara kiri is the
3746 vulgar name for Seppuku, is the ritual suicide of the Japanese
3747 Samourai warriors.} staff. This staff commits suicide when it finds
3748 itself to be empty after the line-breaking process. It will not
3749 disappear when it contains normal rests, you must use multi measure
3752 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
3753 @internalsref{ChordNames} and @internalsref{FiguredBass}, hara-kiri is
3754 switched on by default. For normal staffs, hara kiri is available as a
3755 specialized @internalsref{Staff} context, with the name identifier
3756 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3757 example disappears in the second line.
3761 \notes \relative c' <
3762 \context Staff = SA { e4 f g a \break c1 }
3763 \context Staff = SB { c4 d e f \break R1 }
3767 \translator { \HaraKiriStaffContext }
3773 @node Sound output for transposing instruments
3774 @subsection Sound output for transposing instruments
3776 When you want to make a MIDI file from a score containing transposed
3777 and untransposed instruments, you have to instruct LilyPond the pitch
3778 offset (in semitones) for the transposed instruments. This is done
3779 using the @code{transposing} property. It does not affect printed
3782 @cindex @code{transposing}
3785 \property Staff.instrument = #"Cl. in B-flat"
3786 \property Staff.transposing = #-2
3790 @node Ancient notation
3791 @section Ancient notation
3793 @cindex Vaticana, Editio
3794 @cindex Medicaea, Editio
3799 [TODO: write introduction on ancient notation]
3802 * Ancient note heads::
3811 @node Ancient note heads
3812 @subsection Ancient note heads
3814 To get a longa note head, you have to use mensural note heads. This
3815 is accomplished by setting the @code{style} property of the
3816 NoteHead object to @code{mensural}. There is also a note head style
3817 @code{baroque} which gives mensural note heads for @code{\longa} and
3818 @code{\breve} but standard note heads for shorter notes.
3820 @lilypond[fragment,singleline,verbatim]
3821 \property Voice.NoteHead \set #'style = #'mensural
3826 @subsection Ancient clefs
3828 [TODO: condense clef lists in a convenient chart]
3830 LilyPond supports a variety of clefs, many of them ancient.
3832 For modern clefs, see section @ref{Clef}. For the percussion clef, see
3833 section @ref{Percussion staves}. For the @code{TAB} clef, see section
3836 The following table shows all ancient clefs that are supported via the
3837 @code{\clef} command. Some of the clefs use the same glyph, but differ
3838 only with respect to the line they are printed on. In such cases, a
3839 trailing number in the name is used to enumerate these clefs. Still,
3840 you can manually force a clef glyph to be typeset on an arbitrary line,
3841 as described in section @ref{Clef}. The note printed to the right side
3842 of each clef denotes the @code{c'} with respect to the clef.
3844 @c --- This should go somewhere else: ---
3845 @c @item modern style G clef (glyph: @code{clefs-G})
3848 @c @code{treble}, @code{violin}, @code{G}, @code{G2}, @code{french}
3850 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "G" c'}
3852 @c @item modern style F clef (glyph: @code{clefs-F})
3855 @c @code{varbaritone}, @code{bass}, @code{F}, @code{subbass}
3857 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "F" c'}
3859 @c @item modern style C clef (glyph: @code{clefs-C})
3862 @c @code{soprano}, @code{mezzosoprano}, @code{alto}, @code{C},
3863 @c @code{tenor}, @code{baritone}
3865 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "C" c'}
3867 @multitable @columnfractions .3 .3 .3 .1
3871 @b{Description} @tab
3872 @b{Supported Clefs} @tab
3876 @code{clefs-neo_mensural_c} @tab
3877 modern style mensural C clef @tab
3878 @code{neo_mensural_c1}, @code{neo_mensural_c2},
3879 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
3880 @lilypond[relative 0, notime]
3881 \property Staff.TimeSignature \set #'transparent = ##t
3882 \clef "neo_mensural_c2" c
3886 @code{clefs-petrucci_c1} @tab
3887 petrucci style mensural C clef (specifically for use on 1st staffline) @tab
3888 @code{petrucci_c1} @tab
3889 @lilypond[relative 0, notime]
3890 \property Staff.TimeSignature \set #'transparent = ##t
3891 \clef "petrucci_c1" c
3895 @code{clefs-petrucci_c2} @tab
3896 petrucci style mensural C clef (specifically for use on 2nd staffline) @tab
3897 @code{petrucci_c2} @tab
3898 @lilypond[relative 0, notime]
3899 \property Staff.TimeSignature \set #'transparent = ##t
3900 \clef "petrucci_c2" c
3904 @code{clefs-petrucci_c3} @tab
3905 petrucci style mensural C clef (specifically for use on 3rd staffline) @tab
3906 @code{petrucci_c3} @tab
3907 @lilypond[relative 0, notime]
3908 \property Staff.TimeSignature \set #'transparent = ##t
3909 \clef "petrucci_c3" c
3913 @code{clefs-petrucci_c4} @tab
3914 petrucci style mensural C clef (specifically for use on 4th staffline) @tab
3915 @code{petrucci_c4} @tab
3916 @lilypond[relative 0, notime]
3917 \property Staff.TimeSignature \set #'transparent = ##t
3918 \clef "petrucci_c4" c
3922 @code{clefs-petrucci_c5} @tab
3923 petrucci style mensural C clef (specifically for use on 5th staffline) @tab
3924 @code{petrucci_c5} @tab
3925 @lilypond[relative 0, notime]
3926 \property Staff.TimeSignature \set #'transparent = ##t
3927 \clef "petrucci_c5" c
3931 @code{clefs-petrucci_f} @tab
3932 petrucci style mensural F clef @tab
3933 @code{petrucci_f} @tab
3934 @lilypond[relative 0, notime]
3935 \property Staff.TimeSignature \set #'transparent = ##t
3936 \clef "petrucci_f" c
3940 @code{clefs-petrucci_g} @tab
3941 petrucci style mensural G clef @tab
3942 @code{petrucci_g} @tab
3943 @lilypond[relative 0, notime]
3944 \property Staff.TimeSignature \set #'transparent = ##t
3945 \clef "petrucci_g" c
3949 @code{clefs-mensural_c'} @tab
3950 historic style mensural C clef @tab
3951 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
3952 @code{mensural_c4} @tab
3953 @lilypond[relative 0, notime]
3954 \property Staff.TimeSignature \set #'transparent = ##t
3955 \clef "mensural_c2" c
3959 @code{clefs-mensural_f} @tab
3960 historic style mensural F clef @tab
3961 @code{mensural_f} @tab
3962 @lilypond[relative 0, notime]
3963 \property Staff.TimeSignature \set #'transparent = ##t
3964 \clef "mensural_f" c
3968 @code{clefs-mensural_g} @tab
3969 historic style mensural G clef @tab
3970 @code{mensural_g} @tab
3971 @lilypond[relative 0, notime]
3972 \property Staff.TimeSignature \set #'transparent = ##t
3973 \clef "mensural_g" c
3977 @code{clefs-vaticana_do} @tab
3978 Editio Vaticana style do clef @tab
3979 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
3980 @lilypond[relative 0, notime]
3982 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
3983 \property Staff.TimeSignature \set #'transparent = ##t
3984 \clef "vaticana_do2" c
3988 @code{clefs-vaticana_fa} @tab
3989 Editio Vaticana style fa clef @tab
3990 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
3991 @lilypond[relative 0, notime]
3993 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
3994 \property Staff.TimeSignature \set #'transparent = ##t
3995 \clef "vaticana_fa2" c
3999 @code{clefs-medicaea_do} @tab
4000 Editio Medicaea style do clef @tab
4001 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4002 @lilypond[relative 0, notime]
4004 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4005 \property Staff.TimeSignature \set #'transparent = ##t
4006 \clef "medicaea_do2" c
4010 @code{clefs-medicaea_fa} @tab
4011 Editio Medicaea style fa clef @tab
4012 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4013 @lilypond[relative 0, notime]
4015 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4016 \property Staff.TimeSignature \set #'transparent = ##t
4017 \clef "medicaea_fa2" c
4021 @code{clefs-hufnagel_do} @tab
4022 historic style hufnagel do clef @tab
4023 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4024 @lilypond[relative 0, notime]
4026 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4027 \property Staff.TimeSignature \set #'transparent = ##t
4028 \clef "hufnagel_do2" c
4032 @code{clefs-hufnagel_fa} @tab
4033 historic style hufnagel fa clef @tab
4034 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4035 @lilypond[relative 0, notime]
4037 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4038 \property Staff.TimeSignature \set #'transparent = ##t
4039 \clef "hufnagel_fa2" c
4043 @code{clefs-hufnagel_do_fa} @tab
4044 historic style hufnagel combined do/fa clef @tab
4045 @code{hufnagel_do_fa} @tab
4046 @lilypond[relative 0, notime]
4047 \property Staff.TimeSignature \set #'transparent = ##t
4048 \clef "hufnagel_do_fa" c
4053 @c --- This should go somewhere else: ---
4054 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4057 @c @code{percussion}
4059 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4061 @c @item modern style tab clef (glyph: @code{clefs-tab})
4066 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4068 @emph{Modern style} means ``as is typeset in contemporary editions of
4069 transcribed mensural music''.
4071 @emph{Petrucci style} means ``inspired by printings published by the
4072 famous engraver Petrucci (1466-1539)''.
4074 @emph{Historic style} means ``as was typeset or written in historic
4075 editions (other than those of Petrucci)''.
4077 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4079 Petrucci used C clefs with differently balanced left-side vertical
4080 beams, depending on which staffline it is printed.
4084 @subsection Custodes
4089 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4090 symbol that appears at the end of a staff. It anticipates the pitch
4091 of the first note(s) of the following line and thus helps the player
4092 or singer to manage line breaks during performance, thus enhancing
4093 readability of a score.
4095 Custodes were frequently used in music notation until the 17th century.
4096 There were different appearances for different notation styles.
4097 Nowadays, they have survived only in special forms of musical notation
4098 such as via the @emph{editio vaticana} dating back to the beginning of
4103 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4104 @internalsref{Staff} context when declaring the @code{\paper} block,
4105 as shown in the following example.
4110 \consists Custos_engraver
4111 Custos \override #'style = #'mensural
4115 The result looks like this:
4119 \property Staff.Custos \set #'style = #'mensural
4124 \consists Custos_engraver
4131 The appearance of the custos symbol is controlled by it @code{style}
4132 property. The styles supported are @code{vaticana}, @code{medicaea},
4133 @code{hufnagel} and @code{mensural}. They are demonstrated in the
4141 ^\markup { \column << "vaticana"
4142 { " " \musicglyph #"custodes-vaticana-u0" } >>
4143 \column << "medicaea"
4144 { " " \musicglyph #"custodes-medicaea-u0" } >>
4145 \column << "hufnagel"
4146 { " "\musicglyph #"custodes-hufnagel-u0" } >>
4147 \column << "mensural"
4148 { " " \musicglyph #"custodes-mensural-u0" } >>
4156 \remove "Bar_number_engraver"
4160 \remove "Clef_engraver"
4161 \remove "Key_engraver"
4162 \remove "Time_signature_engraver"
4163 \remove "Staff_symbol_engraver"
4164 minimumVerticalExtent = ##f
4170 If the boolean property @code{adjust-if-on-staffline} is set to
4171 @code{#t} (which it is by default), lily typesets slightly different
4172 variants of the custos glyph, depending on whether the custos, is
4173 typeset on or between stafflines. The idea is that the glyph will
4174 optically fit well into the staff, with the appendage on the right of
4175 the custos always ending at the same vertical position between two
4176 stafflines regardless of the pitch. If you set
4177 @code{adjust-if-on-staffline} to @code{#f}, then lily takes regardless
4178 of the pitch always a glyph that is a compromise of the former two
4181 Just like stems can be attached to noteheads in two directions
4182 @emph{up} and @emph{down}, each custos glyph is available with its
4183 appendage pointing either up or down. If the pitch of a custos is
4184 above a selectable position, the appendage will point downwards; if
4185 the pitch is below this position, the appendage will point upwards.
4186 Use property @code{neutral-position} to select this position. By
4187 default, it is set to @code{0}, such that the neutral position is the
4188 center of the staff. Use property @code{neutral-direction} to control
4189 what happens if a custos is typeset on the neutral position itself.
4190 By default, this property is set to @code{-1}, such that the appendage
4191 will point downwards. If set to @code{1}, the appendage will point
4192 upwards. Other values such as @code{0} are reserved for future
4193 extensions and should not be used.
4198 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4199 @inputfileref{input/regression,custos.ly}.
4203 @subsection Divisiones
4209 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4210 `division') is a staff context symbol that is used to structure
4211 Gregorian music into phrases and sections. The musical meaning of
4212 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4213 can be characterized as short, medium and long pause, somewhat like
4214 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4215 a chant, but is also frequently used within a single
4216 antiphonal/responsorial chant to mark the end of each section.
4220 To use divisiones, include the file @code{gregorian-init.ly}. It
4221 contains definitions that you can apply by just inserting
4222 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4223 and @code{\finalis} at proper places in the input. Some editions use
4224 @emph{virgula} or @emph{caesura} instead of divisio minima.
4225 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4229 @lilypondfile[notexidoc]{divisiones.ly}
4233 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4234 @inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
4237 @subsection Ligatures
4241 @c TODO: Should double check if I recalled things correctly when I wrote
4242 @c down the following paragraph by heart.
4244 In musical terminology, a ligature is a coherent graphical symbol that
4245 represents at least two different notes. Ligatures originally appeared
4246 in the manuscripts of Gregorian chant notation roughly since the 9th
4247 century as an allusion to the accent symbols of greek lyric poetry to
4248 denote ascending or descending sequences of notes. Both, the shape and
4249 the exact meaning of ligatures changed tremendously during the following
4250 centuries: In early notation, ligatures where used for monophonic tunes
4251 (Gregorian chant) and very soon denoted also the way of performance in
4252 the sense of articulation. With upcoming multiphony, the need for a
4253 metric system arised, since multiple voices of a piece have to be
4254 synchronized some way. New notation systems were invented that used
4255 the manifold shapes of ligatures to now denote rhythmical patterns
4256 (e.g. black mensural notation, mannered notation, ars nova). With the
4257 invention of the metric system of the white mensural notation, the need
4258 for ligatures to denote such patterns disappeared. Nevertheless,
4259 ligatures were still in use in the mensural system for a couple of
4260 decades until they finally disappeared during the late 16th / early 17th
4261 century. Still, ligatures have survived in contemporary editions of
4262 Gregorian chant such as the Editio Vaticana from 1905/08.
4266 Syntactically, ligatures are simply enclosed by @code{\[} and
4267 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4268 additional input syntax specific for this particular type of ligature.
4269 By default, the @internalsref{LigatureBracket} engraver just puts a
4270 square bracket above the ligature.
4272 @lilypond[singleline,verbatim]
4274 \notes \transpose c c' {
4282 To select a specific style of ligatures, a proper ligature engraver has
4283 to be added to the @internalsref{Voice} context, as explained in the
4284 following subsections. Currently, Lilypond only supports white mensural
4285 ligatures with certain limitations. Support for Editio Vaticana will be
4286 added in the future.
4289 * White mensural ligatures::
4292 @node White mensural ligatures
4293 @subsubsection White mensural ligatures
4295 @cindex Mensural ligatures
4296 @cindex White mensural ligatures
4298 There is limited support for white mensural ligatures. The
4299 implementation is still experimental; it currently may output strange
4300 warnings or even crash in some cases or produce weird results on more
4301 complex ligatures. To engrave white mensural ligatures, in the paper
4302 block the @internalsref{Mensural_ligature_engraver} has to be put into
4303 the @internalsref{Voice} context (and you probably want to remove the
4304 @internalsref{Ligature_bracket_engraver}). There is no additional
4305 input language to describe the shape of a white mensural ligature.
4306 The shape is rather determined solely from the pitch and duration of
4307 the enclosed notes. While this approach may take a new user a while
4308 to get accustomed, it has the great advantage that the full musical
4309 information of the ligature is known internally. This is not only
4310 required for correct MIDI output, but also allows for automatic
4311 transcription of the ligatures.
4315 @lilypond[singleline,verbatim]
4317 \notes \transpose c c' {
4318 \property Score.timing = ##f
4319 \property Score.defaultBarType = "empty"
4320 \property Voice.NoteHead \set #'style = #'neo_mensural
4321 \property Staff.TimeSignature \set #'style = #'neo_mensural
4323 \[ g\longa c\breve a\breve f\breve d'\longa \]
4325 \[ e1 f1 a\breve g\longa \]
4330 \remove Ligature_bracket_engraver
4331 \consists Mensural_ligature_engraver
4337 Without replacing @internalsref{Ligature_bracket_engraver} with
4338 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4341 @lilypond[singleline]
4343 \notes \transpose c c' {
4344 \property Score.timing = ##f
4345 \property Score.defaultBarType = "empty"
4346 \property Voice.NoteHead \set #'style = #'neo_mensural
4347 \property Staff.TimeSignature \set #'style = #'neo_mensural
4349 \[ g\longa c\breve a\breve f\breve d'\longa \]
4351 \[ e1 f1 a\breve g\longa \]
4357 @subsection Figured bass
4359 @cindex Basso continuo
4361 @c TODO: musicological blurb about FB
4365 LilyPond has limited support for figured bass:
4367 @lilypond[verbatim,fragment]
4369 \context Voice \notes { \clef bass dis4 c d ais}
4370 \context FiguredBass
4372 < 6 >4 < 7 >8 < 6+ [_!] >
4378 The support for figured bass consists of two parts: there is an input
4379 mode, introduced by @code{\figures}, where you can enter bass figures
4380 as numbers, and there is a context called @internalsref{FiguredBass}
4381 that takes care of making @internalsref{BassFigure} objects.
4383 In figures input mode, a group of bass figures is delimited by
4384 @code{<} and @code{>}. The duration is entered after the @code{>}.
4389 \context FiguredBass
4393 Accidentals are added to the numbers if you alterate them by
4394 appending @code{-}, @code{!} and @code{+}.
4400 \context FiguredBass
4401 \figures { <4- 6+ 7!> }
4404 Spaces or dashes may be inserted by using @code{_}. Brackets are
4405 introduced with @code{[} and @code{]}.
4411 \context FiguredBass
4412 \figures { < [4 6] 8 [_ 12]> }
4415 Although the support for figured bass may superficially resemble chord
4416 support, it works much simpler. The @code{\figures} mode simply
4417 stores the numbers , and @internalsref{FiguredBass} context prints
4418 them as entered. There is no conversion to pitches, and no
4419 realizations of the bass are played in the MIDI file.
4421 Internally, the code produces markup texts. You can use any of the
4422 markup text properties to override formatting. For example, the
4423 vertical spacing of the figures may be set with @code{baseline-skip}.
4427 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
4428 @internalsref{FiguredBass} context
4432 Slash notation for alterations is not supported.
4435 @node Contemporary notation
4436 @section Contemporary notation
4438 In the 20th century, composers have greatly expanded the musical
4439 vocabulary. With this expansion, many innovations in musical notation
4440 have been tried. For a comprehensive overview, refer to @cite{Stone
4441 1980} (see @ref{Literature}). In general, the use of new, innovative
4442 notation makes a piece harder to understand and perform and its use
4443 should be avoided if possible. For this reason, support for
4444 contemporary notation in LilyPond is limited.
4453 @subsection Clusters
4457 In musical terminology, a @emph{cluster} denotes a range of
4458 simultaneously sounding pitches that may change over time. The set of
4459 available pitches to apply usually depends on the accoustic source.
4460 Thus, in piano music, a cluster typically consists of a continous range
4461 of the semitones as provided by the piano's fixed set of a chromatic
4462 scale. In choral music, each singer of the choir typically may sing an
4463 arbitrary pitch within the cluster's range that is not bound to any
4464 diatonic, chromatic or other scale. In electronic music, a cluster
4465 (theoretically) may even cover a continuous range of pitches, thus
4466 resulting in coloured noise, such as pink noise.
4468 Clusters can be denoted in the context of ordinary staff notation by
4469 engraving simple geometrical shapes that replace ordinary notation of
4470 notes. Ordinary notes as musical events specify starting time and
4471 duration of pitches; however, the duration of a note is expressed by the
4472 shape of the note head rather than by the horizontal graphical extent of
4473 the note symbol. In contrast, the shape of a cluster geometrically
4474 describes the development of a range of pitches (vertical extent) over
4475 time (horizontal extent). Still, the geometrical shape of a cluster
4476 covers the area in wich any single pitch contained in the cluster would
4477 be notated as an ordinary note. From this point of view, it is
4478 reasonable to specify a cluster as the envelope of a set of notes.
4482 A cluster is engraved as the envelope of a set of notes. The starting
4483 note is marked with @code{\startCluster}, and the ending note with
4484 @code{\stopCluster}, e.g.,
4492 The following example (from
4493 @inputfileref{input/regression,cluster.ly}) shows what the result
4496 @lilypondfile[notexidoc]{cluster.ly}
4498 By default, @internalsref{Cluster_engraver} is in the
4499 @internalsref{Voice} context. This allows putting ordinary notes and
4500 clusters together in the same staff, even simultaneously. In such a
4501 case no attempt is made to automatically avoid collisions between
4502 ordinary notes and clusters.
4506 @internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
4507 @internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
4511 When a cluster is active, note heads must be switched off manually using
4514 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
4515 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
4520 @subsection Fermatas
4526 Contemporary music notation frequently uses special fermata symbols to
4527 indicate fermatas of differing lengths.
4531 The following are supported
4533 @lilypond[singleline]
4556 \context Lyrics \lyrics {
4557 "shortfermata" "fermata" "longfermata" "verylongfermata"
4562 See @ref{Articulations} for general instructions how to apply scripts
4563 such as fermatas to a @code{\notes@{@}} block.
4566 @section Tuning output
4568 As much formatting as possible is performed
4569 automatically. Nevertheless, there are situations where LilyPond needs
4570 some help, or where you want to override its decisions. In this
4571 section we discuss ways to do just that.
4573 Formatting is internally done by manipulating so called objects (graphic
4574 objects). Each object carries with it a set of properties (object
4575 properties) specific to that object. For example, a stem object has
4576 properties that specify its direction, length and thickness.
4578 The most direct way of tuning the output is by altering the values of
4579 these properties. There are two ways of doing that: first, you can
4580 temporarily change the definition of one type of object, thus
4581 affecting a whole set of objects. Second, you can select one specific
4582 object, and set a object property in that object.
4591 @node Tuning objects
4592 @subsection Tuning objects
4594 @cindex object description
4596 The definition of an object is actually a list of default object
4597 properties. For example, the definition of the Stem object (available
4598 in @file{scm/grob-description.scm}), includes the following definitions for
4603 (beamed-lengths . (0.0 2.5 2.0 1.5))
4604 (Y-extent-callback . ,Stem::height)
4609 By adding variables on top of these existing definitions, the system
4610 defaults is overriden, and the appearance of a graphical objects is
4616 Changing a variable for only one object is commonly achieved with
4620 \once \property @var{context}.@var{grobname}
4621 \override @var{symbol} = @var{value}
4623 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
4624 and @var{grobname} is a string and @var{value} is a Scheme expression.
4625 This command applies a setting only during one moment in the score.
4627 In the following example, only one @internalsref{Stem} object is
4628 changed from its original setting:
4630 @lilypond[verbatim, fragment, relative=1]
4632 \once \property Voice.Stem \set #'thickness = #4
4636 @cindex @code{\once}
4638 For changing more objects, the same command, without @code{\once} can
4641 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
4643 This command adds @code{@var{symbol} = @var{value}} to the definition
4644 of @var{grobname} in the context @var{context}, and this definition
4645 stays in place until it is removed.
4647 An existing definition may be removed by the following command
4650 \property @var{context}.@var{grobname} \revert @var{symbol}
4653 All @code{\override} and @code{\revert} commands should be balanced.
4654 The @code{\set} shorthand, performs a revert followed by an override,
4655 and is often more convenient to use
4658 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
4662 @lilypond[verbatim,quote]
4663 c'4 \property Voice.Stem \override #'thickness = #4.0
4665 c'4 \property Voice.Stem \revert #'thickness
4669 The following example gives exactly the same result as the previous
4670 one (assuming the system default for stem thickness is 0.8).
4672 @lilypond[verbatim,quote]
4673 c'4 \property Voice.Stem \set #'thickness = #4.0
4675 c'4 \property Voice.Stem \set #'thickness = #0.8
4679 If you revert a setting which was not set in the first place, then it
4680 has no effect. However, if the setting was set as a system default, it
4681 may remove the default value, and this may give surprising results,
4682 including crashes. In other words, @code{\override} and
4683 @code{\revert}, must be carefully balanced.
4685 These are examples of correct nesting of @code{\override}, @code{\set},
4688 A clumsy but correct form:
4690 \override \revert \override \revert \override \revert
4693 Shorter version of the same:
4695 \override \set \set \revert
4698 A short form, using only @code{\set}. This requires you to know the
4701 \set \set \set \set @var{to default value}
4704 If there is no default (i.e. by default, the object property is unset),
4707 \set \set \set \revert
4710 For the digirati, the object description is an Scheme association
4711 list. Since a Scheme list is a singly linked list, we can treat it as
4712 a stack, and @code{\override} and @code{\revert} are push and pop
4713 operations. The association list is stored in a normal context
4716 \property Voice.NoteHead = #'()
4718 will effectively erase @internalsref{NoteHead}s from the current
4719 @internalsref{Voice}. However, this mechanism is not guaranteed to
4720 work, and may cause crashes or other anomalous behavior.
4724 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
4725 @internalsref{PropertySet}, @internalsref{backend properties},
4726 @internalsref{All Graphical Objects}.
4731 LilyPond will hang or crash if @var{value} contains cyclic references.
4732 The backend is not very strict in type-checking object properties. If you
4733 @code{\revert} properties that are expected to be set by default,
4737 @node Outputproperty
4738 @subsection Outputproperty
4740 @cindex \outputproperty
4742 A second way of tuning objects is the more arcane @code{\outputproperty}
4743 feature. The syntax is as follows:
4745 \outputproperty @var{predicate} @var{symbol} = @var{value}
4747 Here @code{predicate} is a Scheme function taking an object argument, and
4748 returning a boolean. This statement is processed by the
4749 @code{Output_property_engraver}. It instructs the engraver to feed all
4750 objects that it sees to @var{predicate}. Whenever the predicate returns
4751 true, the object property @var{symbol} will be set to @var{value}.
4753 You will need to combine this statement with @code{\context} to select
4754 the appropriate context to apply this to.
4755 @inputfileref{input/regression,output-property.ly} shows an example of
4756 the use of @code{\outputproperty}.
4760 If possible, avoid this feature: the semantics are not very clean, and
4761 the syntax and semantics are up for rewrite.
4764 @node Font selection
4765 @subsection Font selection
4767 The most common thing to change about the appearance of fonts is
4768 their size. The font size of any context can be easily
4769 changed by setting the @code{fontSize} property for that context:
4771 @lilypond[fragment,relative=1,verbatim,quote]
4772 c4 c4 \property Voice.fontSize = #-1
4775 This command will set @code{font-relative-size} (see below),
4776 and does not change the size of variable symbols, such as
4777 beams or slurs. You can use this command to get smaller symbol for
4778 cue notes, but that involves some more subtleties. An elaborate
4779 example of those is in @inputfileref{input/test,cue-notes.ly}.
4781 @cindex magnification
4783 The size of the font may be scaled with the object property
4784 @code{font-magnification}. For example, @code{2.0} blows up all
4785 letters by a factor 2 in both directions.
4794 The font used for printing a object can be selected by setting
4795 @code{font-name}, e.g.
4797 \property Staff.TimeSignature
4798 \set #'font-name = #"cmr17"
4800 You may use any font which is available to @TeX{}, such as foreign
4801 fonts or fonts that do not belong to the Computer Modern font family.
4803 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
4804 can also be adjusted with a more fine-grained mechanism. By setting
4805 the object properties described below, you can select a different font.
4806 All three mechanisms work for every object that supports
4807 @code{font-interface}.
4811 A symbol indicating the general class of the typeface. Supported are
4812 @code{roman} (Computer Modern), @code{braces} (for piano staff
4813 braces), @code{music} (the standard music font), @code{ancient} (the
4814 ancient notation font) @code{dynamic} (font for dynamic signs) and
4818 A symbol indicating the shape of the font, there are typically several
4819 font shapes available for each font family. Choices are @code{italic},
4820 @code{caps} and @code{upright}
4823 A symbol indicating the series of the font. There are typically several
4824 font series for each font family and shape. Choices are @code{medium}
4827 @item font-relative-size
4828 A number indicating the size relative the standard size. For example,
4829 with 20pt staff height, relative size -1 corresponds to 16pt staff
4830 height, and relative size +1 corresponds to 23 pt staff height.
4832 There are small differences in design between fonts designed for
4833 different sizes, hence font-relative-size is the preferred way to
4837 @item font-design-size
4838 A number indicating the design size of the font.
4840 This is a feature of the Computer Modern Font: each point size has a
4841 slightly different design. Smaller design sizes are relatively wider,
4842 which enhances readability.
4845 For any of these properties, the value @code{*} (i.e. the symbol
4846 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
4847 to override default setting, which are always present. For example:
4849 \property Lyrics.LyricText \override #'font-series = #'bold
4850 \property Lyrics.LyricText \override #'font-family = #'typewriter
4851 \property Lyrics.LyricText \override #'font-shape = #'*
4854 @cindex @code{font-style}
4860 Relative size is not linked to any real size.
4862 There is no style sheet provided for other fonts besides the @TeX{}
4863 family, and the style sheet can not be modified easily.
4865 @cindex font selection
4866 @cindex font magnification
4867 @cindex @code{font-interface}
4871 @subsection Text markup
4876 @cindex typeset text
4878 LilyPond has an internal mechanism to typeset texts. You can access it
4879 with the keyword @code{\markup}. Within markup mode, you can enter texts
4880 similar to lyrics: simply enter them, surrounded by spaces.
4883 @lilypond[verbatim,fragment,relative=1]
4884 c1^\markup { hello }
4885 c1_\markup { hi there }
4886 c1^\markup { hi \bold there, is \italic anyone home? }
4889 @cindex font switching
4891 The line of the example demonstrates font switching commands. The
4892 command only apply to the first following word; enclose a set of texts
4893 with braces to apply a command to more words.
4895 \markup @{ \bold @{ hi there @} @}
4897 For clarity, you can also do this for single arguments, e.g.
4899 \markup @{ is \italic @{ anyone @} home @}
4902 @cindex font size, texts
4904 The following size commands set abolute sizes
4920 You can also make letter larger or smaller relative to their neighbors,
4921 with the commands @code{\larger} and @code{\smaller}.
4925 @cindex font style, for texts
4931 The following font change commands are defined:
4934 This changes to the font used for dynamic signs. Note that this font
4935 does not contain all characters of the alphabet.
4937 This changes to the font used for time signatures. It only contains
4938 numbers and a few punctuation marks.
4940 Changes @code{font-shape} to @code{italic}
4942 Changes @code{font-series} to @code{bold}
4945 @cindex raising text
4946 @cindex lowering text
4948 @cindex translating text
4953 Raising and lowering texts can be done with @code{\super} and
4956 @lilypond[verbatim,fragment,relative=1]
4957 c1^\markup { E "=" mc \super "2" }
4962 If you want to give an explicit amount for lowering or raising, use
4963 @code{\raise}. This command takes a Scheme valued first argument, and
4964 a markup object as second argument
4966 @lilypond[verbatim,fragment,relative=1,quote]
4967 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
4969 The argument to @code{\raise} is the vertical displacement amount,
4970 measured in (global) staff spaces.
4972 Other commands taking single arguments include
4975 @item \bracket, \hbracket
4976 Bracket the argument markup with normal and horizontal brackets
4981 This is converted to a musical symbol, e.g. @code{\musicglyph
4982 #"accidentals-0"} will select the natural sign from the music font.
4983 See @ref{The Feta font} for a complete listing of the possible glyphs.
4985 This produces a single character, e.g. @code{\char #65} produces the
4988 @item \hspace #@var{amount}
4990 This produces a invisible object taking horizontal space.
4992 \markup @{ A \hspace #2.0 B @}
4994 will put extra space between A and B. Note that lilypond
4995 inserts space before and after @code{\hspace}.
4997 @item \fontsize #@var{size}
4999 This sets the relative font size, eg.
5001 A \fontsize #2 @{ B C @} D
5005 This will enlarge the B and the C by two steps.
5006 @item \translate #(cons @var{x} @var{y})
5008 This translates an object. Its first argument is a cons of numbers
5010 A \translate #(cons 2 -3) @{ B C @} D
5012 This moves `B C' 2 spaces to the right, and 3 down.
5014 @item \magnify #@var{mag}
5016 This sets the font magnification for the its argument. In the following
5017 example, the middle A will be 10% larger.
5019 A \magnify #1.1 @{ A @} A
5023 @item \override #(@var{key} . @var{value})
5025 This overrides a formatting property for its argument. The argument
5026 should be a key/value pair, e.g.
5028 m \override #'(font-family . math) m m
5032 In markup mode you can compose expressions, similar to mathematical
5033 expressions, XML documents and music expressions. The braces group
5034 notes into horizontal lines. Other types of lists also exist: you can
5035 stack expressions grouped with @code{<<}, and @code{>>} vertically with
5036 the command @code{\column}. Similarly, @code{\center} aligns texts by
5039 @lilypond[verbatim,fragment,relative=1]
5040 c1^\markup { \column << a bbbb c >> }
5041 c1^\markup { \center << a bbbb c >> }
5042 c1^\markup { \line << a b c >> }
5045 The markup mechanism is very flexible and extensible. Refer to
5046 @file{scm/new-markup.scm} for more information on extending the markup
5049 @cindex metronome mark
5051 One practical application of complicated markup is to fake a metronome
5055 eighthStem = \markup \combine
5056 \musicglyph #"flags-stem"
5057 \translate #'(0.0 . 3.5) \musicglyph #"flags-u3"
5058 eighthNote = \markup
5059 \override #'(word-space . 0.0)
5060 { \musicglyph #"noteheads-2"
5061 \translate #'(-0.05 . 0.1) \eighthStem }
5064 \notes\relative c'' {
5065 a1^\markup { \magnify #0.9 \eighthNote " = 64" }
5072 @internalsref{Markup functions}, @file{scm/new-markup.scm}
5079 Text layout is ultimately done by @TeX{}, which does kerning of
5080 letters. LilyPond does not account for kerning, so texts will be
5081 spaced slightly too wide.
5083 Syntax errors for markup mode are confusing.
5087 @section Global layout
5089 The global layout determined by three factors: the page layout, the
5090 line breaks and the spacing. These all influence each other. The
5091 choice of spacing determines how densely each system of music is set,
5092 which influences where line breaks breaks are chosen, and thus
5093 ultimately how many pages a piece of music takes. In this section we
5094 will explain how the lilypond spacing engine works, and how you can
5097 Globally spoken, this procedure happens in three steps: first,
5098 flexible distances (``springs'') are chosen, based on durations. All
5099 possible line breaking combination are tried, and the one with the
5100 best results---a layout that has uniform density and requires as
5101 little stretching or cramping as possible---is chosen. When the score
5102 is processed by @TeX{}, page are filled with systems, and page breaks
5103 are chosen whenever the page gets full.
5108 * Vertical spacing::
5109 * Horizontal spacing::
5116 @node Vertical spacing
5117 @subsection Vertical spacing
5119 @cindex vertical spacing
5120 @cindex distance between staves
5121 @cindex staff distance
5122 @cindex between staves, distance
5123 @cindex staffs per page
5126 The height of each system is determined automatically by lilypond, to
5127 keep systems from bumping into each other, some minimum distances are
5128 set. By changing these, you can put staves closer together, and thus
5129 put more systems onto one page.
5131 Normally staves are stacked vertically. To make
5132 staves maintain a distance, their vertical size is padded. This is
5133 done with the property @code{minimumVerticalExtent}. It takes a pair
5134 of numbers, so if you want to make it smaller from its, then you could
5137 \property Staff.minimumVerticalExtent = #'(-4 . 4)
5139 This sets the vertical size of the current staff to 4 staff-space on
5140 either side of the center staff line. The argument of
5141 @code{minimumVerticalExtent} is interpreted as an interval, where the
5142 center line is the 0, so the first number is generally negative. The
5143 staff can be made larger at the bottom by setting it to @code{(-6
5146 The piano staves are handled a little differently: to make cross-staff
5147 beaming work correctly, it necessary that the distance between staves
5148 is fixed. This is also done with a @internalsref{VerticalAlignment}
5149 object, created in @internalsref{PianoStaff}. In this object the
5150 distance between the staves is fixed by setting
5151 @code{forced-distance}. If you want to override this, use a
5152 @code{\translator} block as follows:
5156 VerticalAlignment \override #'forced-distance = #9
5159 This would bring the staves together at a distance of 9 staff spaces,
5160 measured from the center line of each staff.
5164 Vertical aligment of staves is handled by the
5165 @internalsref{VerticalAlignment} object.
5169 @node Horizontal spacing
5170 @subsection Horizontal Spacing
5172 The spacing engine translates differences in durations into
5173 stretchable distances (``springs'') of differing lengths. Longer
5174 durations get more space, shorter durations get less. The shortest
5175 durations get a fixed amount of space (which is controlled by
5176 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
5177 object). The longer the duration, the more space it gets: doubling a
5178 duration adds a fixed amount (this amount is controlled by
5179 @code{spacing-increment}) of space to the note.
5181 For example, the following piece contains lots of half, quarter and
5182 8th notes, the eighth note is followed by 1 note head width (NHW). The
5183 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
5184 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
5188 Normally, @code{shortest-duration-space} is set to 1.2, which is the
5189 width of a note head, and @code{shortest-duration-space} is set to
5190 2.0, meaning that the shortest note gets 2 NHW (2 times
5191 @code{shortest-duration-space}) of space. For normal notes, this space
5192 is always counted from the left edge of the symbol, so the shortest
5193 notes are generally followed by one NHW of space.
5195 If one would follow the above procedure exactly, then adding a single
5196 32th note to a score that uses 8th and 16th notes, would widen up the
5197 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
5198 thus adding 2 noteheads of space to every note. To prevent this, the
5199 shortest duration for spacing is not the shortest note in the score,
5200 but the most commonly found shortest note. Notes that are even
5201 shorter this are followed by a space that is proportonial to their
5202 duration relative to the common shortest note. So if we were to add
5203 only a few 16th notes to the example above, they would be followed by
5206 @lilypond[fragment, verbatim, relative=2]
5207 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
5210 The most common shortest duration is determined as follows: in every
5211 measure, the shortest duration is determined. The most common short
5212 duration, is taken as the basis for the spacing, with the stipulation
5213 that this shortest duration should always be equal to or shorter than
5214 1/8th note. The shortest duration is printed when you run lilypond
5215 with @code{--verbose}. These durations may also be customized. If you
5216 set the @code{common-shortest-duration} in
5217 @internalsref{SpacingSpanner}, then this sets the base duration for
5218 spacing. The maximum duration for this base (normally 1/8th), is set
5219 through @code{base-shortest-duration}.
5221 @cindex @code{common-shortest-duration}
5222 @cindex @code{base-shortest-duration}
5223 @cindex @code{stem-spacing-correction}
5224 @cindex @code{spacing}
5226 In the introduction it was explained that stem directions influence
5227 spacing. This is controlled with @code{stem-spacing-correction}
5228 property in @internalsref{NoteSpacing}, which are generated for every
5229 @internalsref{Voice} context. The @code{StaffSpacing} object
5230 (generated at @internalsref{Staff} context) contains the same property
5231 for controlling the stem/barline spacing. In the following example
5232 shows these corrections, once with default settings, and once with
5233 exaggerated corrections.
5239 \property Staff.NoteSpacing \override #'stem-spacing-correction
5241 \property Staff.StaffSpacing \override #'stem-spacing-correction
5246 \paper { raggedright = ##t } }
5249 @cindex SpacingSpanner, overriding properties
5251 Properties of the @internalsref{SpacingSpanner} must be overriden
5252 from the @code{\paper} block, since the @internalsref{SpacingSpanner}
5253 is created before any @code{\property} statements are interpreted.
5255 \paper @{ \translator @{
5257 SpacingSpanner \override #'spacing-increment = #3.0
5264 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
5265 @internalsref{StaffSpacing}, @internalsref{SeparationItem},
5266 @internalsref{SeparatingGroupSpanner}.
5270 Spacing is determined on a score wide basis. If you have a score that
5271 changes its character (measured in durations) halfway during the
5272 score, the part containing the longer durations will be spaced too
5275 There is no convenient mechanism to manually override spacing.
5280 @subsection Font size
5281 @cindex font size, setting
5282 @cindex staff size, setting
5283 @cindex @code{paper} file
5285 The Feta font provides musical symbols at seven different sizes.
5286 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
5287 point, and 26 point. The point size of a font is the height of the
5288 five lines in a staff when displayed in the font.
5290 Definitions for these sizes are the files @file{paperSZ.ly}, where
5291 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
5292 of these files, the identifiers @code{paperEleven},
5293 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
5294 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
5295 are defined respectively. The default @code{\paper} block is also
5296 set. These files should be imported at toplevel, i.e.
5298 \include "paper26.ly"
5302 The font definitions are generated using a Scheme function. For more
5303 details, see the file @file{scm/font.scm}.
5308 @subsection Line breaking
5311 @cindex breaking lines
5313 Line breaks are normally computed automatically. They are chosen such
5314 that lines look neither cramped nor loose, and that consecutive lines
5315 have similar density.
5317 Occasionally you might want to override the automatic breaks; you can
5318 do this by specifying @code{\break}. This will force a line break at
5319 this point. Line breaks can only occur at places where there are bar
5320 lines. If you want to have a line break where there is no bar line,
5321 you can force an invisible bar line by entering @code{\bar
5322 ""}. Similarly, @code{\noBreak} forbids a line break at a
5326 @cindex regular line breaks
5327 @cindex four bar music.
5329 If you want linebreaks at regular intervals, you can use the following:
5331 < \repeat 7 unfold @{ s1 * 4 \break @}
5332 @emph{the real music}
5335 This makes the following 28 measures (assuming 4/4 time) be broken every
5340 @internalsref{BreakEvent}
5344 @subsection Page layout
5347 @cindex breaking pages
5349 @cindex @code{indent}
5350 @cindex @code{linewidth}
5352 The most basic settings influencing the spacing are @code{indent} and
5353 @code{linewidth}. They are set in the @code{\paper} block. They
5354 control the indentation of the first line of music, and the lengths of
5357 If @code{raggedright} is set to true in the @code{\paper}
5358 block, then the lines are justified at their natural length. This
5359 useful for short fragments, and for checking how tight the natural
5363 @cindex vertical spacing
5365 The page layout process happens outside lilypond: variables
5366 controlling page layout are passed to the output, and are further
5367 interpreted by @code{ly2dvi}. @code{ly2dvi} responds to the following
5368 variables in the @code{\paper} block. The variable @code{textheight}
5369 sets the total height of the music on each page. The spacing between
5370 systems is controlled with @code{interscoreline}, its default is 16pt.
5371 The distance between the score lines will stretch in order to fill the
5372 full page @code{interscorelinefill} is set to a positive number. In
5373 that case @code{interscoreline} specifies the minimum spacing.
5375 @cindex @code{textheight}
5376 @cindex @code{interscoreline}
5377 @cindex @code{interscorelinefill}
5379 If the variable @code{lastpagefill} is defined,
5380 @c fixme: this should only be done if lastpagefill == #t
5381 systems are evenly distributed vertically on the last page. This
5382 might produce ugly results in case there are not enough systems on the
5383 last page. Note that @command{lilypond-book} ignores
5384 @code{lastpagefill}. See @ref{Integrating text and music with
5385 lilypond-book} for more information.
5387 @cindex @code{lastpagefill}
5389 Page breaks are normally computed by @TeX{}, so they are not under
5390 direct control of LilyPond. However, you can insert a commands into
5391 the @file{.tex} output to instruct @TeX{} where to break pages. This
5392 is done by setting the @code{between-systems-strings} on the
5393 @internalsref{NonMusicalPaperColumn} where the system is broken.
5394 An example is shown in @inputfileref{input/regression,between-systems.ly}.
5398 @cindex @code{papersize}
5400 To change the paper size, you must first set the
5401 @code{papersize} paper variable variable. Set it to
5402 the strings @code{a4}, @code{letter}, or @code{legal}. After this
5403 specification, you must set the font as described above. If you want
5404 the default font, then use the 20 point font.
5407 \paper@{ papersize = "a4" @}
5408 \include "paper16.ly"
5411 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
5412 will set the paper variables @code{hsize} and @code{vsize} (used by
5413 Lilypond and @code{ly2dvi})
5418 @ref{Invoking ly2dvi},
5419 @inputfileref{input/regression,between-systems.ly},
5420 @internalsref{NonMusicalPaperColumn}.
5424 There is no concept of page breaking, which makes it difficult to
5425 choose sensible page breaks in multi-page pieces.
5434 Entered music can also be converted to MIDI output. The performance
5435 is good enough for proof-hearing the music for errors.
5438 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
5439 crescendi and decrescendi translate into MIDI volume levels. Dynamic
5440 marks translate to a fixed fraction of the available MIDI volume
5441 range, crescendi and decrescendi make the the volume vary linearly
5442 between their two extremities. The fractions be adjusted by
5443 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
5445 For each type of musical instrument (that MIDI supports), a volume range
5446 can be defined. This gives you basic equalizer control, which can
5447 enhance the quality of the MIDI output remarkably. The equalizer
5448 can be controlled by setting @code{instrumentEqualizer}.
5450 Both loudness controls are combined to produce the final MIDI volume.
5454 Many musically interesting effects, such as swing, articulation,
5455 slurring, etc., are translated to MIDI.
5460 * MIDI instrument names::
5465 @subsection MIDI block
5469 The MIDI block is analogous to the paper block, but it is somewhat
5470 simpler. The @code{\midi} block can contain:
5474 @item a @code{\tempo} definition
5475 @item context definitions
5478 Assignments in the @code{\midi} block are not allowed.
5482 @cindex context definition
5484 Context definitions follow precisely the same syntax as within the
5485 \paper block. Translation modules for sound are called performers.
5486 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
5489 @node MIDI instrument names
5490 @subsection MIDI instrument names
5492 @cindex instrument names
5493 @cindex @code{Staff.midiInstrument}
5494 @cindex @code{Staff.instrument}
5496 The MIDI instrument name is set by the @code{Staff.midiInstrument}
5497 property or, if that property is not set, the @code{Staff.instrument}
5498 property. The instrument name should be chosen from the list in
5499 @ref{MIDI instruments}.
5503 If the selected string does not exactly match, then LilyPond uses the
5504 default (Grand Piano). It is not possible to select an instrument by