3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
22 <!--- @@WEB-TITLE@@=Reference Manual --->
25 This document describes GNU LilyPond and its input format. The last
26 revision of this document was made for LilyPond 1.4.1. It supposes a
27 passing familiarity with how LilyPond input works. New users are
28 encouraged to study the tutorial first.
33 * Easier music entry::
52 @c FIXME: Note entry vs Music entry at top level menu is confusing.
58 The most basic forms of music are notes. Notes on their own don't
59 form valid input, but for the sake of brevity we omit @code{\score}
60 blocks and @code{\paper} declarations.
66 * Chromatic alterations::
71 * Automatic note splitting ::
73 * Easy Notation note heads ::
81 A note is printed by specifying its pitch, and then its duration.
82 @lilypond[fragment,verbatim]
91 @cindex Note specification
93 @cindex entering notes
95 The verbose syntax for pitch specification is
102 @var{scmpitch} is a pitch scheme object.
104 In Note and Chord mode, pitches may be designated by names. The default
105 names are the Dutch note names. The notes are specified by the letters
106 @code{a} through @code{g} (where the octave is formed by notes ranging
107 from @code{c} to @code{b}). The pitch @code{c} is an octave below
108 middle C and the letters span the octave above that C.
110 @cindex note names, Dutch
112 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
113 name and a flat is formed by adding @code{-es}. Double sharps and double
114 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
115 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
116 both forms are accepted.
118 LilyPond has predefined sets of note names for various other languages.
119 To use them, simply include the language specific init file. For
120 example: @code{\include "english.ly"}. The available language files and
121 the names they define are:
124 Note Names sharp flat
125 nederlands.ly c d e f g a bes b -is -es
126 english.ly c d e f g a bf b -s/-sharp -f/-flat
127 deutsch.ly c d e f g a b h -is -es
128 norsk.ly c d e f g a b h -iss/-is -ess/-es
129 svenska.ly c d e f g a b h -iss -ess
130 italiano.ly do re mi fa sol la sib si -d -b
131 catalan.ly do re mi fa sol la sib si -d/-s -b
132 espanol.ly do re mi fa sol la sib si -s -b
141 The optional octave specification takes the form of a series of
142 single quote (`@code{'}') characters or a series of comma
143 (`@code{,}') characters. Each @code{'} raises the pitch by one
144 octave; each @code{,} lowers the pitch by an octave.
146 @lilypond[fragment,verbatim,center]
147 c' c'' es' g' as' gisis' ais'
150 @node Chromatic alterations
151 @subsection Chromatic alterations
153 Normally, accidentals are printed automatically, but you may force
154 accidentals in the following ways: A reminder accidental
155 @cindex reminder accidental
157 can be forced by adding an exclamation mark @code{!} after the pitch. A
158 cautionary accidental,
159 @cindex cautionary accidental
160 @cindex parenthesized accidental
161 i.e., an accidental within parentheses can be obtained by adding the
162 question mark `@code{?}' after the pitch.
164 The automatic production of accidentals can be tuned in many
165 ways. Refer to @ref{Accidentals} for more information.
172 A rest is entered like a note, with note name `@code{r}':
174 @lilypond[singleline,verbatim]
178 Whole bar rests centered in the bar are specified using @code{R}, see
179 @ref{Multi measure rests}. See also @seeinternals{Rest}.
181 For polyphonic music, it can be convenient to specify the rest position
182 directly. You can do that by entering a note, with the keyword
183 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
185 @lilypond[singleline,verbatim]
195 @cindex Invisible rest
198 An invisible rest, or skip, can be entered like a note with note name
199 @code{s}, or with @code{\skip @var{duration}}:
201 @lilypond[singleline,verbatim]
205 The @code{s} syntax is only available in Note mode and Chord mode.
206 In other situations, you should use the @code{\skip} command, and it is
207 only available in Note mode and Chord mode.
209 @c FIXME: in lyrics mode, we have " " and _
211 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
212 @lilypond[singleline,verbatim]
214 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
215 \notes\relative c'' { a2 a4 a a2 a4 a }
219 The unabbreviated `@code{\skip} @var{duration}' also works outside of
222 @lilypond[singleline,verbatim]
225 { \time 4/8 \skip 2 \time 4/4 }
226 \notes\relative c'' { a2 a1 }
231 The skip command is merely a empty musical placeholder. It does not
232 produce any output, not even transparent output.
237 @subsection Durations
241 @cindex @code{\duration}
244 In Note, Chord, and Lyrics mode, durations may be designated by numbers
245 and dots: durations are entered as their reciprocal values. For notes
246 longer than a whole you must use identifiers.
250 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
252 r1 r2 r4 r8 r16 r32 r64 r64
258 \notes \relative c'' {
260 a1 a2 a4 a8 a16 a32 a64 a64
262 r1 r2 r4 r8 r16 r32 r64 r64
267 \remove "Clef_engraver"
268 \remove "Staff_symbol_engraver"
269 \remove "Time_signature_engraver"
270 \consists "Pitch_squash_engraver"
277 If the duration is omitted then it is set to the previous duration
278 entered. At the start of parsing a quarter note is assumed. The
279 duration can be followed by dots (`@code{.}') to obtain dotted note
283 @lilypond[fragment,verbatim,center]
289 You can alter the length of duration by a fraction @var{N/M} by
290 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
291 will not affect the appearance of the notes or rests produced.
293 Durations can also be produced through GUILE extension mechanism.
294 @lilypond[verbatim,fragment]
295 c\duration #(make-duration 2 1)
306 A tie connects two adjacent note heads of the same pitch. The tie in
307 effect extends the length of a note. A tie is entered with @code{~}.
309 @lilypond[fragment,verbatim,center]
310 e' ~ e' <c' e' g'> ~ <c' e' g'>
313 When ties are used with chords, all note heads whose pitches match are
314 connected. Ties are indicated using the tilde symbol `@code{~}'. If
315 you try to tie together chords which have no common pitches then no
316 ties will be created.
318 If you want less ties created for a chord, you can set
319 @code{Voice.sparseTies} to true. In this case, a single tie is used
320 for every tied chord.
321 @lilypond[fragment,verbatim,center]
322 \property Voice.sparseTies = ##t
323 <c' e' g'> ~ <c' e' g'>
326 In its meaning a tie is just a way of extending a note duration, similar
327 to the augmentation dot: the following example are two ways of notating
328 exactly the same concept.
330 @lilypond[fragment, singleline]
331 \time 3/4 c'2. c'2 ~ c'4
333 Ties should not be confused with slurs, which indicate articulation,
334 and phrasing slurs, which indicate musical phrasing.
336 See also @seeinternals{Tie}.
341 At present, the tie is represented as a separate event, temporally
342 located in between the notes. Tieing only a subset of the note heads
343 of a chord is not supported in a simple way. It can be achieved by
344 moving the tie-engraver into the Thread context and turning on and off
347 @node Automatic note splitting
348 @subsection Automatic note splitting
349 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
351 There is a facility for automatically converting long notes to tied
352 notes. This is done by replacing the @code{Note_heads_engraver} by the
353 @code{Completion_heads_engraver}.
355 @lilypond[verbatim,center]
357 \notes\relative c'{ \time 2/4
358 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
362 \remove "Note_heads_engraver"
363 \consists "Completion_heads_engraver"
367 This engraver splits all running notes at the bar line, and inserts
368 ties. One of its uses is to debug complex scores: if the measures are
369 not entirely filled, then the ties exactly show how much each measure
374 Not all durations (especially those containing tuplets) can be
375 represented exactly; the engraver will not insert tuplets.
382 @cindex @code{\times}
384 Tuplets are made out of a music expression by multiplying all duration
387 @cindex @code{\times}
389 \times @var{fraction} @var{musicexpr}
392 The duration of @var{musicexpr} will be multiplied by the fraction.
393 In print, the fraction's denominator will be printed over the notes,
394 optionally with a bracket. The most common tuplet is the triplet in
395 which 3 notes have the length of 2, so the notes are 2/3 of
396 their written length:
398 @lilypond[fragment,verbatim,center]
399 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
402 The property @code{tupletSpannerDuration} specifies how long each bracket
403 should last. With this, you can make lots of tuplets while typing
404 @code{\times} only once, thus saving typing work.
406 @lilypond[fragment, relative, singleline, verbatim]
407 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
408 \times 2/3 { c'8 c c c c c }
411 The format of the number is determined by the property
412 @code{tupletNumberFormatFunction}. The default prints only the
413 denominator, but if you set it to the Scheme function
414 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
418 @cindex @code{tupletNumberFormatFunction}
419 @cindex tuplet formatting
421 See also @seeinternals{TupletBracket}.
425 Nested tuplets are not formatted automatically. In this case, outer
426 tuplet brackets should be moved automatically.
428 @node Easy Notation note heads
429 @subsection Easy Notation note heads
431 @cindex easy notation
434 A entirely different type of note head is the "easyplay" note head: a
435 note head that includes a note name. It is used in some publications by
436 Hal-Leonard Inc. music publishers.
438 @lilypond[singleline,verbatim,26pt]
440 \notes { c'2 e'4 f' | g'1 }
441 \paper { \translator { \EasyNotation } }
445 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
446 probably will want to print it with magnification or a large font size to make it more
453 If you view the result with Xdvi, then staff lines will show through
454 the letters. Printing the postscript file obtained with ly2dvi does
455 produce the correct result.
458 @node Easier music entry
459 @section Easier music entry
462 * Graphical interfaces::
466 * Skipping corrected music::
469 When entering music with LilyPond, it is easy to introduce errors. This
470 section deals with tricks and features that help you enter music, and
471 find and correct mistakes.
473 @node Graphical interfaces
474 @subsection Graphical interfaces
477 @cindex graphical interface
484 One way to avoid entering notes using the keyboard, is to use a
485 graphical user interface. The following programs are known to have
486 a lilypond export option:
490 @uref{http://denemo.sourceforge.net/, Denemo}, was once intended as
491 LilyPond graphical user interface. It run on Gnome/GTK.
493 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,noteedit}
494 NoteEdit is a graphical score editor that runs under KDE/Qt.
496 @uref{http://rosegarden.sf.net/,RoseGarden}
497 once was an inspiration for naming LilyPond. Nowadays, it has been
498 rewritten from scratch, and supports LilyPond export as of version
502 Another option is to enter the music using your favorite MIDI
503 sequencer, and then import it using midi2ly. midi2ly is described in
504 @ref{Importing MIDI}.
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}.
574 @subsection Bar check
578 @cindex @code{barCheckSynchronize}
582 Whenever a bar check is encountered during interpretation, a warning
583 message is issued if it doesn't fall at a measure boundary. This can
584 help you find errors in the input. Depending on the value of
585 @code{barCheckSynchronize}, the beginning of the measure will be
586 relocated, so this can also be used to shorten measures.
588 A bar check is entered using the bar symbol, @code{|}:
590 \time 3/4 c2 e4 | g2.
595 @cindex skipTypesetting
597 Failed bar checks are most often caused by entering incorrect
598 durations. Incorrect durations often completely garble up the score,
599 especially if it is polyphonic, so you should start correcting the score
600 by scanning for failed bar checks and incorrect durations. To speed up
601 this process, you can use @code{skipTypesetting} (See @ref{Skipping
604 @c . {Point and click}
605 @node Point and click
606 @subsection Point and click
607 @cindex poind and click
609 Point and click lets you find notes in the input by clicking on them in
610 the Xdvi window. This makes it very easy to find input that causes some
611 error in the sheet music.
613 To use it, you need the following software
615 @item A dvi viewer that supports src specials.
617 @item Plain Xdvi, version 22.36 or newer. Available from
618 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
620 Note that most @TeX{} distributions ship with xdvik, which is a
621 different and less well maintained program. To find out which xdvi you
622 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
623 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
624 newer. Enablle the menu Settings -> Inverse search.
626 @item An editor with a client/server interface (or a lightweight GUI editor).
628 @item Emacs. Emacs is an extensible text-editor. It is available from
629 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
631 @item XEmacs. Xemacs is very similar to emacs.
632 @item NEdit. NEdit runs under Windows, and Unix.
633 It is available from @uref{http://www.nedit.org}.
634 @item GVim. GVim is a lightweight GUI variant of VIM, the popular VI
635 clone. It is available from @uref{http://www.vim.org}.
640 Xdvi must be configured to find the @TeX{} fonts and music
641 fonts. Refer to the Xdvi documentation for more information.
643 To use point-and-click, add one of these lines to the top of your .ly
646 #(set! point-and-click line-location)
648 @cindex line-location
650 When viewing, Control-Mousebutton 1 will take you to the originating
651 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
654 If you correct large files with point-and-click, be sure to start
655 correcting at the end of the file. When you start at the top, and
656 insert one line, all following locations will be off by a line.
659 For using point-and-click with emacs, add the following
660 In your emacs startup file (usually @file{~/.emacs}),
665 Make sure that the environment variable @var{XEDITOR} is set to
667 emacsclient --no-wait +%l %f
669 @cindex @var{XEDITOR}
670 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
671 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
673 For using Vim, set @code{XEDITOR} to @code{gvim +%l %f}, or use this
674 argument with xdvi's @code{-editor} option.
676 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
677 use this argument with xdvi's @code{-editor} option.
679 If can also make your editor jump to the exact location of the note
680 you clicked. This is only supported on Emacs. Users of version 20 must
681 apply the patch @file{emacsclient.patch}. Users of version 21 must
682 apply @file{server.el.patch} (version 21.2 and earlier). At the top
683 of the @code{ly} file, replace the @code{set!} line with the following
686 #(set! point-and-click line-column-location)
688 @cindex line-colomn-location
689 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
693 When you convert the @TeX{} file to PostScript using @code{dvips}, it
694 will complain about not finding @code{src:X:Y} files. These complaints
695 are harmless, and can be ignored.
697 @node Skipping corrected music
698 @subsection Skipping corrected music
700 The property @code{Score.skipTypesetting} can be used to switch on and
701 off typesetting completely during the interpretation phase. When
702 typesetting is switched off, the music is processed much more quickly.
703 You can use this to skip over the parts of a score that you have already
706 @lilypond[fragment,singleline,verbatim]
708 \property Score.skipTypesetting = ##t
710 \property Score.skipTypesetting = ##f
718 @section Staff notation
720 This section deals with music notation that occurs on staff level,
721 such as keys, clefs and time signatures.
723 @cindex Staff notation
735 @subsection Key signature
740 Setting or changing the key signature is done with the @code{\key}
743 @code{\key} @var{pitch} @var{type}
746 @cindex @code{\minor}
747 @cindex @code{\major}
748 @cindex @code{\minor}
749 @cindex @code{\ionian}
750 @cindex @code{\locrian}
751 @cindex @code{\aeolian}
752 @cindex @code{\mixolydian}
753 @cindex @code{\lydian}
754 @cindex @code{\phrygian}
755 @cindex @code{\dorian}
757 Here, @var{type} should be @code{\major} or @code{\minor} to get
758 @var{pitch}-major or @var{pitch}-minor, respectively.
759 The standard mode names @code{\ionian},
760 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
761 @code{\phrygian}, and @code{\dorian} are also defined.
763 This command sets the context property @code{Staff.keySignature}.
764 Non-standard key signatures can be specified by setting this property
767 The printed signature is a @internalsref{KeySignature} grob, typically
768 created in @internalsref{Staff} context.
770 @cindex @code{keySignature}
777 The clef can be set or changed with the @code{\clef} command:
778 @lilypond[fragment,verbatim]
779 \key f\major c''2 \clef alto g'2
782 Supported clef-names include
783 @c Moved standard clefs to the top /MB
785 @item treble, violin, G, G2
794 G clef on 1st line, so-called French violin clef
809 By adding @code{_8} or @code{^8} to the clef name, the clef is
810 transposed one octave down or up, respectively. Note that you have to
811 enclose @var{clefname} in quotes if you use underscores or digits in the
817 The grob for this symbol is @internalsref{Clef}.
820 This command is equivalent to setting @code{clefGlyph},
821 @code{clefPosition} (which controls the Y position of the clef),
822 @code{centralCPosition} and @code{clefOctavation}. A clef is created
823 when any of these properties are changed.
826 @c . {Time signature}
828 @subsection Time signature
829 @cindex Time signature
833 The time signature is set or changed by the @code{\time}
835 @lilypond[fragment,verbatim]
836 \time 2/4 c'2 \time 3/4 c'2.
839 The actual symbol that's printed can be customized with the @code{style}
840 property. Setting it to @code{#'()} uses fraction style for 4/4 and
844 The grob for this symbol is @internalsref{TimeSignature}. There are
845 many more options for its layout. They are selected through the
846 @code{style} grob property. See @file{input/test/time.ly} for more
849 This command sets the property @code{timeSignatureFraction},
850 @code{beatLength} and @code{measureLength}. The property
851 @code{timeSignatureFraction} determine where bar lines should be
852 inserted, and how automatic beams should be generated. Changing the
853 value of @code{timeSignatureFraction} also causes a time signature
854 symbol to be printed.
861 @cindex partial measure
862 @cindex measure, partial
863 @cindex shorten measures
864 @cindex @code{\partial}
866 Partial measures, for example in upbeats, are entered using the
867 @code{\partial} command:
868 @lilypond[fragment,verbatim]
869 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
872 The syntax for this command is
874 \partial @var{duration}
876 This is internally translated into
878 \property Score.measurePosition = -@var{length of duration}
881 The property @code{measurePosition} contains a rational number
882 indicating how much of the measure has passed at this point.
885 @node Unmetered music
886 @subsection Unmetered music
888 Bar lines and bar numbers are calculated automatically. For unmetered
889 music (e.g. cadenzas), this is not desirable. The commands
890 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
893 @lilypond[fragment,relative,singleline,verbatim]
901 The property @code{Score.timing} can be used to switch off this
906 @subsection Bar lines
910 @cindex measure lines
913 Bar lines are inserted automatically, but if you need a special type
914 of barline, you can force one using the @code{\bar} command:
915 @lilypond[fragment,verbatim] c4 \bar "|:" c4
918 The following bar types are available
919 @lilypond[fragment, relative, singleline, verbatim]
931 You are encouraged to use @code{\repeat} for repetitions. See
934 In scores with many staffs, the barlines are automatically placed at
935 top level, and they are connected between different staffs of a
936 @internalsref{StaffGroup}:
937 @lilypond[fragment, verbatim]
938 < \context StaffGroup <
939 \context Staff = up { e'4 d'
942 \context Staff = down { \clef bass c4 g e g } >
943 \context Staff = pedal { \clef bass c2 c2 } >
946 The grobs that are created at @internalsref{Staff} level. The name is
947 @internalsref{BarLine}.
949 The command @code{\bar @var{bartype}} is a short cut for
950 doing @code{\property Score.whichBar = @var{bartype}}
951 Whenever @code{whichBar} is set to a string, a bar line of that type is
952 created. @code{whichBar} is usually set automatically: at the start of
953 a measure it is set to @code{defaultBarType}. The contents of
954 @code{repeatCommands} is used to override default measure bars.
956 @code{whichBar} can also be set directly, using @code{\property} or
957 @code{\bar }. These settings take precedence over the automatic
958 @code{whichBar} settings.
961 @cindex Bar_line_engraver
963 @cindex repeatCommands
964 @cindex defaultBarType
973 The easiest way to enter such fragments with more than one voice on a
974 staff is to split chords using the separator @code{\\}. You can use
975 it for small, short-lived voices (make a chord of voices) or for
978 @lilypond[verbatim,fragment]
979 \context Voice = VA \relative c'' {
980 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
984 The separator causes @internalsref{Voice} contexts to be instantiated,
985 bearing the names @code{"1"}, @code{"2"}, etc.
987 Sometimes, it is necessary to instantiate these contexts by hand: For
988 Instantiate a separate Voice context for each part, and use
989 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
990 and horizontal shift for each part.
993 @lilypond[singleline, verbatim]
995 \context Staff < \context Voice = VA { \voiceOne cis2 b }
996 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
997 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1000 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1001 ties, slurs and stems, and set shift directions.
1003 If you want more than four voices, you can also manually set
1004 horizontal shifts and stem directions, as is shown in the following example:
1005 @lilypond[fragment, verbatim]
1006 \context Staff \notes\relative c''<
1007 \context Voice=one {
1008 \shiftOff \stemUp e4
1010 \context Voice=two {
1011 \shiftOn \stemUp cis
1013 \context Voice=three {
1014 \shiftOnn \stemUp ais
1016 \context Voice=four {
1017 \shiftOnnn \stemUp fis
1023 Normally, note heads with a different number of dots are not merged, but
1024 if you set the grob property @code{merge-differently-dotted}, they are:
1025 @lilypond[verbatim,fragment,singleline]
1028 \property Staff.NoteCollision \override
1029 #'merge-differently-dotted = ##t
1031 } \\ { [g'8. f16] [g'8. f'16] }
1035 Similarly, you can merge half note heads with eighth notes, by setting
1036 @code{merge-differently-headed}:
1037 @lilypond[fragment, relative=2,verbatim]
1040 \property Staff.NoteCollision
1041 \override #'merge-differently-headed = ##t
1042 c8 c4. } \\ { c2 c2 } >
1045 LilyPond also vertically shifts rests that are opposite of a stem.
1047 @lilypond[singleline,fragment,verbatim]
1048 \context Voice < c''4 \\ r4 >
1051 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1055 Resolving collisions is a very intricate subject, and LilyPond only
1056 handles a few situations. When it can not cope, you are advised to use
1057 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
1058 rests to override typesetting decisions.
1063 Beams are used to group short notes into chunks that are aligned with
1064 the metrum. They are inserted automatically in most cases.
1066 @lilypond[fragment,verbatim, relative=2]
1067 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1070 If you're not satisfied with the automatic beaming, you can enter the
1071 beams explicitly. If you have beaming patterns that differ from the
1072 defaults, you can also set the patterns for automatic beamer.
1074 See also @internalsref{Beam}.
1077 @cindex Automatic beams
1078 @subsection Manual beams
1079 @cindex beams, manual
1083 In some cases it may be necessary to override LilyPond's automatic
1084 beaming algorithm. For example, the auto beamer will not beam over
1085 rests or bar lines, If you want that, specify the begin and end point
1086 manually using a @code{[} before the first beamed note and a @code{]}
1087 after the last note:
1089 @lilypond[fragment,relative,verbatim]
1091 r4 [r8 g' a r8] r8 [g | a] r8
1095 @cindex @code{stemLeftBeamCount}
1097 Normally, beaming patterns within a beam are determined automatically.
1098 When this mechanism fouls up, the properties
1099 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1100 be used to control the beam subdivision on a stem. If you set either
1101 property, its value will be used only once, and then it is erased.
1103 @lilypond[fragment,relative,verbatim]
1106 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1109 @cindex @code{stemRightBeamCount}
1112 The property @code{subdivideBeams} can be set in order to subdivide
1113 all 16th or shorter beams at beat positions. This accomplishes the
1114 same effect as twiddling with @code{stemLeftBeamCount} and
1115 @code{stemRightBeamCount}, but it take less typing.
1120 \property Voice.subdivideBeams = ##t
1122 [c32 c c c c c c c c c c c c c c c]
1123 \property Score.beatLength = #(make-moment 1 8)
1124 [c32 c c c c c c c c c c c c c c c]
1128 \notes \relative c' {
1130 \property Voice.subdivideBeams = ##t
1132 [c32 c c c c c c c c c c c c c c c]
1133 \property Score.beatLength = #(make-moment 1 8)
1134 [c32 c c c c c c c c c c c c c c c]
1138 @cindex subdivideBeams
1140 Kneed beams are inserted automatically, when a large gap between two
1141 adjacent beamed notes is detected. This behavior can be tuned through
1142 the grob property @code{auto-knee-gap}.
1144 @cindex beams, kneed
1146 @cindex auto-knee-gap
1150 @c TODO -> why this ref? Document?
1151 @cindex @code{neutral-direction}
1155 Auto knee beams can not be used together with hara kiri staffs.
1158 * Setting automatic beam behavior ::
1162 @no de Beam typography
1163 @sub section Beam typography
1165 One of the strong points of LilyPond is how beams are formatted. Beams
1166 are quantized, meaning that the left and right endpoints beams start
1167 exactly on staff lines. Without quantization, small wedges of white
1168 space appear between the beam and staff line, and this looks untidy.
1170 Beams are also slope-damped: melodies that go up or down should also
1171 have beams that go up or down, but the slope of the beams should be
1172 less than the slope of the notes themselves.
1174 Some beams should be horizontal. These are so-called concave beams.
1176 [TODO: some pictures.]
1179 @c . {Automatic beams}
1180 @node Setting automatic beam behavior
1181 @subsection Setting automatic beam behavior
1183 @cindex @code{autoBeamSettings}
1184 @cindex @code{(end * * * *)}
1185 @cindex @code{(begin * * * *)}
1186 @cindex automatic beams, tuning
1187 @cindex tuning automatic beaming
1189 In normal time signatures, automatic beams can start on any note but can
1190 only end in a few positions within the measure: beams can end on a beat,
1191 or at durations specified by the properties in
1192 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1193 are defined in @file{scm/auto-beam.scm}.
1195 The value of @code{autoBeamSettings} is changed using
1196 @code{\override} and unset using @code{\revert}:
1198 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1199 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1201 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1202 whether the rule applies to begin or end-points. The quantity
1203 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1204 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1205 signature (wildcards, `@code{* *}' may be entered to designate all time
1208 For example, if you want automatic beams to end on every quarter note,
1209 you can use the following:
1211 \property Voice.autoBeamSettings \override
1212 #'(end * * * *) = #(make-moment 1 4)
1214 Since the duration of a quarter note is 1/4 of a whole note, it is
1215 entered as @code{(make-moment 1 4)}.
1217 The same syntax can be used to specify beam starting points. In this
1218 example, automatic beams can only end on a dotted quarter note.
1220 \property Voice.autoBeamSettings \override
1221 #'(end * * * *) = #(make-moment 3 8)
1223 In 4/4 time signature, this means that automatic beams could end only on
1224 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1225 3/8 has passed within the measure).
1227 You can also restrict rules to specific time signatures. A rule that
1228 should only be applied in @var{N}/@var{M} time signature is formed by
1229 replacing the second asterisks by @var{N} and @var{M}. For example, a
1230 rule for 6/8 time exclusively looks like
1232 \property Voice.autoBeamSettings \override
1233 #'(begin * * 6 8) = ...
1236 If you want a rule to apply to certain types of beams, you can use the
1237 first pair of asterisks. Beams are classified according to the shortest
1238 note they contain. For a beam ending rule that only applies to beams
1239 with 32nd notes (and no shorter notes), you would use @code{(end 1
1243 @c Automatic beams can not be put on the last note in a score.
1245 If a score ends while an automatic beam has not been ended and is still
1246 accepting notes, this last beam will not be typeset at all.
1248 @cindex automatic beam generation
1250 @cindex @code{Voice.autoBeaming}
1253 For melodies that have lyrics, you may want to switch off
1254 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1260 It is not possible to specify beaming parameters for beams with mixed
1261 durations, that differ from the beaming parameters of all separate
1262 durations, i.e., you'll have to specify manual beams to get:
1263 @lilypond[fragment,singleline,relative]
1264 \property Voice.autoBeamSettings
1265 \override #'(end * * * *) = #(make-moment 3 8)
1266 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1269 It is not possible to specify beaming parameters that act differently in
1270 different parts of a measure. This means that it is not possible to use
1271 automatic beaming in irregular meters such as @code{5/8}.
1274 @section Accidentals
1276 This section describes how to change the way that LilyPond automatically
1277 inserts accidentals before the running notes.
1280 * Using the predefined accidental macros::
1281 * Defining your own accidental typesettings::
1284 @node Using the predefined accidental macros
1285 @subsection Using the predefined accidental macros
1286 The constructs for describing the accidental typesetting rules are
1287 quite hairy, so non-experts should stick to the macros defined in
1288 @file{ly/property-init.ly}.
1289 @cindex @file{property-init.ly}
1291 The normal way of using the macros is to enter the macro name right after the
1292 creation of the context in which the accidental typesetting described
1293 by the macro is to take effect. I.e. if you want to use
1294 piano-accidentals in a pianostaff then you issue
1295 @code{\pianoAccidentals} first thing after the creation of the piano
1299 \notes \relative c'' <
1300 \context Staff = sa @{ cis4 d e2 @}
1301 \context GrandStaff <
1303 \context Staff = sb @{ cis4 d e2 @}
1304 \context Staff = sc @{ es2 c @}
1306 \context Staff = sd @{ es2 c @}
1310 @lilypond[singleline]
1312 \notes \relative c'' <
1313 \context Staff = sa { cis4 d e2 }
1314 \context GrandStaff <
1316 \context Staff = sb { cis4 d e2 }
1317 \context Staff = sc { es2 c }
1319 \context Staff = sd { es2 c }
1324 minimumVerticalExtent = #'(-4.0 . 4.0)
1332 @item \defaultAccidentals
1333 @cindex @code{\defaultAccidentals}
1334 This is the default typesetting behaviour. It should correspond
1335 to 18th century common practice: Accidentals are
1336 remembered to the end of the measure in which they occur and
1337 only on their own octave.
1339 @item \voiceAccidentals
1340 @cindex @code{\voiceAccidentals}
1341 The normal behaviour is to remember the accidentals on
1343 This macro, however, typesets accidentals individually for each
1345 Apart from that the rule is similar to
1346 @code{\defaultAccidentals}.
1348 Warning: This leads to some weird and often unwanted results
1349 because accidentals from one voice DO NOT get cancelled in other
1351 @lilypond[singleline,relative,fragment,verbatim]
1354 \context Voice=va { \voiceOne es g }
1355 \context Voice=vb { \voiceTwo c, e }
1358 Hence you should only use @code{\voiceAccidentals}
1359 if the voices are to be read solely by
1360 individual musicians. if the staff should be readable also
1361 by one musician/conductor then you should use
1362 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1365 @item \modernAccidentals
1366 @cindex @code{\modernAccidentals}
1367 This rule should correspond to the common practice in the 20th
1369 The rule is a bit more complex than @code{\defaultAccidentals}:
1370 You get all the same accidentals, but temporary
1371 accidentals also get cancelled in other octaves. Further more,
1372 in the same octave, they also get cancelled in the following measure:
1373 @lilypond[singleline,fragment,verbatim]
1375 cis' c'' cis'2 | c'' c'
1378 @item \modernCautionaries
1379 @cindex @code{\modernCautionaries}
1380 This rule is similar to @code{\modernAccidentals}, but the
1381 ``extra'' accidentals (the ones not typeset by
1382 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1383 (i.e. in reduced size):
1384 @lilypond[singleline,fragment,verbatim]
1386 cis' c'' cis'2 | c'' c'
1389 @item \modernVoiceAccidentals
1390 @cindex @code{\modernVoiceAccidentals}
1391 Multivoice accidentals to be read both by musicians playing one voice
1392 and musicians playing all voices.
1394 Accidentals are typeset for each voice, but they ARE cancelled
1395 across voices in the same @internalsref{Staff}.
1397 @item \modernVoiceCautionaries
1398 @cindex @code{\modernVoiceCautionaries}
1399 The same as @code{\modernVoiceAccidentals}, but with the
1400 extra accidentals (the ones not typeset by
1401 @code{\voiceAccidentals}) typeset as cautionaries.
1402 Notice that even though all accidentals typeset by
1403 @code{\defaultAccidentals} ARE typeset by this macro then some
1404 of them are typeset as cautionaries.
1406 @item \pianoAccidentals
1407 @cindex @code{\pianoAccidentals}
1408 20th century practice for piano notation. Very similar to
1409 @code{\modernAccidentals} but accidentals also get cancelled
1410 across the staves in the same @internalsref{GrandStaff} or
1411 @internalsref{PianoStaff}.
1413 @item \pianoCautionaries
1414 @cindex @code{\pianoCautionaries}
1415 As @code{\pianoAccidentals} but with the extra accidentals
1416 typeset as cationaries.
1419 @cindex @code{\noResetKey}
1420 Same as @code{\defaultAccidentals} but with accidentals lasting
1421 ``forever'' and not only until the next measure:
1422 @lilypond[singleline,fragment,verbatim,relative]
1427 @item \forgetAccidentals
1428 @cindex @code{\forgetAccidentals}
1429 This is sort of the opposite of @code{\noResetKey}: Accidentals
1430 are not remembered at all - and hence all accidentals are
1431 typeset relative to the key signature, regardless of what was
1432 before in the music:
1433 @lilypond[singleline,fragment,verbatim,relative]
1435 \key d\major c4 c cis cis d d dis dis
1439 @node Defining your own accidental typesettings
1440 @subsection Defining your own accidental typesettings
1442 This section must be considered gurus-only, and hence it must be
1443 sufficient with a short description of the system and a reference to
1444 the internal documentation.
1446 The idea of the algorithm is to try several different rules and then
1447 use the rule that gives the highest number of accidentals.
1448 Each rule cosists of
1451 In which context is the rule applied. I.e. if context is
1452 @internalsref{Score} then all staves share accidentals, and if
1453 context is @internalsref{Staff} then all voices in the same
1454 staff share accidentals, but staves don't - like normally.
1456 Whether the accidental changes all octaves or only the current
1459 Over how many barlines the accidental lasts.
1460 If lazyness is @code{-1} then the accidental is forget
1461 immidiately, and if lazyness is @code{#t} then the accidental
1465 As described in the internal documentation of
1466 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1467 @code{autoCautionaries} contain lists of rule descriptions. Notice
1468 that the contexts must be listed from in to out - that is
1469 @internalsref{Thread} before @internalsref{Voice},
1470 @internalsref{Voice} before @internalsref{Staff}, etc.
1471 see the macros in @file{ly/property-init.ly} for examples of how the
1476 Currently the simultaneous notes are considered to be entered in
1477 sequential mode. This means that in a chord the accidentals are
1478 typeset as if the notes in the chord happened one at a time - in the
1479 order in which they appear in the input file.
1481 Of course this is only a problem when you have simultainous notes
1482 which accidentals should depend on each other.
1483 Notice that the problem only occurs when using non-default accidentals
1484 - as the default accidentals only depend on other accidentals on the
1485 same staff and same pitch and hence cannot depend on other
1488 This example shows two examples of the same music giving different
1489 accidentals depending on the order in which the notes occur in the
1492 @lilypond[singleline,fragment,verbatim]
1493 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1494 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1497 The only solution is to manually insert the problematic
1498 accidentals using @code{!} and @code{?}.
1500 @node Expressive marks
1501 @section Expressive marks
1516 A slur indicates that notes are to be played bound or @emph{legato}.
1517 They are entered using parentheses:
1518 @lilypond[fragment,verbatim,center]
1519 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1522 See also @seeinternals{Slur}.
1524 Slurs avoid crossing stems, and are generally attached to note heads.
1525 However, in some situations with beams, slurs may be attached to stem
1526 ends. If you want to override this layout you can do this through the
1527 grob-property @code{attachment} of @internalsref{Slur} in
1528 @internalsref{Voice} context It's value is a pair of symbols, specifying
1529 the attachment type of the left and right end points.
1531 @lilypond[fragment,relative,verbatim]
1533 \property Voice.Stem \set #'length = #5.5
1535 \property Voice.Slur \set #'attachment = #'(stem . stem)
1539 If a slur would strike through a stem or beam, the slur will be moved
1540 away upward or downward. If this happens, attaching the slur to the
1541 stems might look better:
1543 @lilypond[fragment,relative,verbatim]
1546 \property Voice.Slur \set #'attachment = #'(stem . stem)
1551 Similarly, the curvature of a slur is adjusted to stay clear of note
1552 heads and stems. When that would increase the curvature too much, the
1553 slur is reverted to its default shape. The threshold for this
1554 decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
1555 It is loosely related to the enclosed area between the slur and the
1556 notes. Usually, the default setting works well, but in some cases you
1557 may prefer a curved slur when LilyPond decides for a vertically moved
1558 one. You can indicate this preference by increasing the
1559 @code{beautiful} value:
1561 @lilyp ond[verbatim,singleline,relative]
1563 c16( a' f' a a f a, )c,
1564 c( a' f' a a f d, )c
1565 \property Voice.Slur \override #'beautiful = #5.0
1566 c( a' f' a a f d, )c
1572 Producing nice slurs is a difficult problem, and LilyPond currently
1573 uses a simple, empiric method to produce slurs. In some cases, the
1574 results of this method are ugly.
1577 This is reflected by the
1578 @code{beautiful} property, which it is an arbitrary parameter in the
1579 slur formatter. Useful values can only be determined by trial and
1583 @cindex Adjusting slurs
1585 @node Phrasing slurs
1586 @subsection Phrasing slurs
1588 @cindex phrasing slurs
1589 @cindex phrasing marks
1591 A phrasing slur (or phrasing mark) connects chords and is used to
1592 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1595 @lilypond[fragment,verbatim,center,relative]
1596 \time 6/4 c' \( d () e f () e \) d
1599 Typographically, the phrasing slur behaves almost exactly like a normal
1600 slur. See also @seeinternals{PhrasingSlur}.
1604 @subsection Breath marks
1606 Breath marks are entered using @code{\breathe}. See also
1607 @seeinternals{BreathingSign}.
1609 @lilypond[fragment,relative]
1618 @cindex beats per minute
1619 @cindex metronome marking
1621 Metronome settings can be entered as follows:
1623 @cindex @code{\tempo}
1625 \tempo @var{duration} = @var{perminute}
1628 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1633 The tempo setting is not printed, but is only used in the MIDI
1634 output. You can trick lily into producing a metronome mark,
1635 though. Details are in @ref{Text markup}.
1640 @subsection Text spanners
1641 @cindex Text spanners
1643 Some textual indications, e.g. rallentando or accelerando, often extend
1644 over many measures. This is indicated by following the text with a
1645 dotted line. You can create such texts using text spanners. The syntax
1648 \spanrequest \start "text"
1649 \spanrequest \stop "text"
1651 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1652 in @internalsref{Voice} context). The string to be printed, as well as the
1653 style is set through grob properties.
1655 An application---or rather, a hack---is to fake octavation indications.
1656 @lilypond[fragment,relative,verbatim]
1657 \relative c' { a''' b c a
1658 \property Voice.TextSpanner \set #'type = #'dotted-line
1659 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1660 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1661 \property Staff.centralCPosition = #-13
1662 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1680 @subsection Articulations
1681 @cindex Articulations
1683 @cindex articulations
1687 A variety of symbols can appear above and below notes to indicate
1688 different characteristics of the performance. They are added to a note
1689 by adding a dash and the the character signifying the
1690 articulation. They are demonstrated here.
1691 @lilypond[singleline]
1693 \notes \context Voice {
1694 \property Voice.TextScript \set #'font-family = #'typewriter
1695 \property Voice.TextScript \set #'font-shape = #'upright
1701 c''4-^_"c-\\^{ }" s4
1706 The script is automatically placed, but if you need to force
1707 directions, you can use @code{_} to force them down, or @code{^} to
1709 @lilypond[fragment, verbatim]
1714 Other symbols can be added using the syntax
1715 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1716 using @code{^} and @code{_}.
1720 @cindex staccatissimo
1728 @cindex organ pedal marks
1737 @cindex prallmordent
1741 @cindex thumb marking
1748 \property Score.LyricText \override #'font-family =#'typewriter
1749 \property Score.LyricText \override #'font-shape = #'upright
1750 \context Staff \notes {
1751 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1752 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1753 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1754 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1755 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1756 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1757 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1758 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1760 \context Lyrics \lyrics {
1761 accent__ marcato__ staccatissimo__ fermata
1762 stopped__ staccato__ tenuto__ upbow
1763 downbow__ lheel__ rheel__ ltoe
1764 rtoe__ turn__ open__ flageolet
1765 reverseturn__ trill__ prall__ mordent
1766 prallprall__ prallmordent__ uprall__ downprall
1767 upmordent__ downmordent__ pralldown__ prallup__
1768 lineprall__ thumb__ segno__ coda
1772 linewidth = 5.875\in
1781 Fingering instructions can also be entered in this shorthand. For
1782 finger changes, use markup texts:
1784 @lilypond[verbatim, singleline, fragment]
1785 c'4-1 c'4-2 c'4-3 c'4-4
1790 @cindex @code{\script}
1795 See also @seeinternals{Script} and @seeinternals{Fingering}.
1799 All of these note ornaments appear in the printed output but have no
1800 effect on the MIDI rendering of the music.
1802 Unfortunately, there is no support for adding fingering instructions or
1803 ornaments to individual note heads. Some hacks exist, though. See
1804 @file{input/test/script-horizontal.ly}.
1809 @subsection Text scripts
1810 @cindex Text scripts
1812 In addition, it is possible to place arbitrary strings of text or markup
1813 text (see @ref{Text markup}) above or below notes by using a string:
1816 By default, these indications do not influence the note spacing, but
1817 by using the command @code{\fatText}, the widths will be taken into
1820 @lilypond[fragment,singleline,verbatim] \relative c' {
1821 c4^"longtext" \fatText c4_"longlongtext" c4 }
1824 It is possible to use @TeX{} commands in the strings, but this should be
1825 avoided because it makes it impossible for LilyPond to compute the
1826 exact length of the string, which may lead to collisions. Also, @TeX{}
1827 commands won't work with direct PostScript output.
1828 @c (see @ref{PostScript output}).
1830 Text scripts are created in form of @internalsref{TextScript} grobs, in
1831 @internalsref{Voice} context.
1833 @ref{Text markup} describes how to change the font or access
1834 special symbols in text scripts.
1839 @subsection Grace notes
1843 @cindex @code{\grace}
1847 Grace notes are ornaments are written out ornaments
1848 @lilypond[relative=2,verbatim,ifragment]
1849 c4 \grace c16 c4 \grace { [c16 d16] } c4
1852 In normal notation, grace notes are supposed to take up no logical
1853 time in a measure. Such an idea is practical for normal notation, but
1854 is not strict enough to put it into a program. The model that LilyPond
1855 uses for grace notes internally is that all timing is done in two
1858 Every point in musical time consists of two rational numbers: one
1859 denotes the logical time, one denotes the grace timing. The above
1860 example is shown here with timing tuples.
1863 \score { \notes \relative c''{
1864 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1865 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1867 \paper { linewidth = 8.\cm }
1871 The advantage of this approach is that you can use almost any lilypond
1872 construction together with grace notes, for example slurs and clef
1873 changes may appear halfway in between grace notes:
1875 @lilypond[relative=2,verbatim,fragment]
1876 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
1879 The placement of these grace notes is synchronized between different
1880 staffs, using this grace timing.
1882 @lilypond[relative=2,verbatim,fragment]
1883 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
1884 \context Staff = SB { c4 \grace { g8 b } c4 } >
1888 Unbeamed eighth notes and shorter by default have a slash through the
1889 stem. This can be controlled with grob property @code{flag-style} of
1890 @internalsref{Stem}. The change in formatting is accomplished by
1891 inserting @code{\startGraceMusic} before handling the grace notes, and
1892 @code{\stopGraceMusic} after finishing the grace notes. You can add to
1893 these definitions to globally change grace note formatting. The
1894 standard definitions are in @file{ly/grace-init.ly}.
1897 @lilypond[fragment,verbatim]
1898 \relative c'' \context Voice {
1899 \grace c8 c4 \grace { [c16 c16] } c4
1901 \property Voice.Stem \override #'flag-style = #'()
1903 \property Voice.Stem \revert #'flag-style
1910 Grace note synchronization can also lead to surprises. Staff notation,
1911 such as key signatures, barlines, etc. are also synchronized. Take
1912 care when you mix staffs with grace notes and staffs without.
1914 @lilypond[relative=2,verbatim,fragment]
1915 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
1916 \context Staff = SB { c4 \bar "|:" d4 } >
1919 Grace sections should only be used within sequential music
1920 expressions. Nesting, juxtaposing, or ending sequential music with a
1921 grace section is not supported, and might produce crashes or other
1933 @subsection Glissando
1936 @cindex @code{\glissando}
1938 A glissando line can be requested by attaching a @code{\glissando} to
1941 @lilypond[fragment,relative,verbatim]
1947 Printing of an additional text (such as @emph{gliss.}) must be done
1948 manually. See also @seeinternals{Glissando}.
1954 @subsection Dynamics
1967 @cindex @code{\ffff}
1977 Absolute dynamic marks are specified using an identifier after a
1978 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1979 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1980 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1981 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1983 @lilypond[verbatim,singleline,fragment,relative]
1984 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1990 @cindex @code{\decr}
1991 @cindex @code{\rced}
1997 A crescendo mark is started with @code{\cr} and terminated with
1998 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1999 started with @code{\decr} and terminated with @code{\rced}. There are
2000 also shorthands for these marks. A crescendo can be started with
2001 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2002 can be terminated with @code{\!}. Note that @code{\!} must go before
2003 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2004 after the last note. Because these marks are bound to notes, if you
2005 want several marks during one note, you have to use spacer notes.
2007 @lilypond[fragment,verbatim,center]
2008 c'' \< \! c'' d'' \decr e'' \rced
2009 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2012 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2013 is an example how to do it:
2015 @lilypond[fragment,relative=2,verbatim]
2016 c4 \cresc c4 \endcresc c4
2023 You can also supply your own texts:
2024 @lilypond[fragment,relative,verbatim]
2026 \property Voice.crescendoText = "cresc. poco"
2027 \property Voice.crescendoSpanner = #'dashed-line
2034 Dynamics are grobs of @internalsref{DynamicText} and
2035 @internalsref{Hairpin}. Vertical positioning of these symbols is
2036 handled by the @internalsref{DynamicLineSpanner} grob. If you want to
2037 adjust padding or vertical direction of the dynamics, you must set
2038 properties for the @internalsref{DynamicLineSpanner} grob. Predefined
2039 identifiers to set the vertical direction are \dynamicUp and
2042 @cindex direction, of dynamics
2043 @cindex @code{\dynamicDown}
2044 @cindex @code{\dynamicUp}
2052 @cindex @code{\repeat}
2054 To specify repeats, use the @code{\repeat} keyword. Since repeats
2055 should work differently when played or printed, there are a few
2056 different variants of repeats.
2060 Repeated music is fully written (played) out. Useful for MIDI
2061 output, and entering repetitive music.
2064 This is the normal notation: Repeats are not written out, but
2065 alternative endings (voltas) are printed, left to right.
2068 Alternative endings are written stacked. This has limited use but may be
2069 used to typeset two lines of lyrics in songs with repeats, see
2070 @file{input/star-spangled-banner.ly}.
2076 Make beat or measure repeats. These look like percent signs.
2082 * Repeats and MIDI::
2083 * Manual repeat commands::
2085 * Tremolo subdivisions::
2090 @subsection Repeat syntax
2092 The syntax for repeats is
2095 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2098 If you have alternative endings, you may add
2099 @cindex @code{\alternative}
2101 \alternative @code{@{} @var{alternative1}
2103 @var{alternative3} @dots{} @code{@}}
2105 where each @var{alternative} is a music expression.
2107 Normal notation repeats are used like this:
2108 @lilypond[fragment,verbatim]
2110 \repeat volta 2 { c'4 d' e' f' }
2111 \repeat volta 2 { f' e' d' c' }
2114 With alternative endings:
2115 @lilypond[fragment,verbatim]
2117 \repeat volta 2 {c'4 d' e' f'}
2118 \alternative { {d'2 d'} {f' f} }
2121 Folded repeats look like this:
2124 @lilypond[fragment,verbatim]
2126 \repeat fold 2 {c'4 d' e' f'}
2127 \alternative { {d'2 d'} {f' f} }
2131 If you don't give enough alternatives for all of the repeats, then
2132 the first alternative is assumed to be repeated often enough to equal
2133 the specified number of repeats.
2135 @lilypond[fragment,verbatim]
2139 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2140 \alternative { { g4 g g } { a | a a a a | b2. } }
2145 @node Repeats and MIDI
2146 @subsection Repeats and MIDI
2148 @cindex expanding repeats
2150 For instructions on how to unfoldi repeats for MIDI output, see
2151 the example file @file{input/test/unfold-all-repeats.ly}.
2156 Notice that timing information is not remembered at the start of an
2157 alternative, so you have to reset timing information after a repeat,
2158 e.g. using a bar-check (See @ref{Bar check}), setting
2159 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2160 are also not repeated.
2162 It is possible to nest @code{\repeat}s, although this probably is only
2163 meaningful for unfolded repeats.
2165 Folded repeats offer little more over simultaneous music.
2167 @node Manual repeat commands
2168 @subsection Manual repeat commands
2170 @cindex @code{repeatCommands}
2172 The property @code{repeatCommands} can be used to control the layout of
2173 repeats. Its value is a Scheme list of repeat commands, where each repeat
2181 @item (volta . @var{text})
2182 Print a volta bracket saying @var{text}.
2184 Stop a running volta bracket
2187 @lilypond[verbatim, fragment]
2189 \property Score.repeatCommands = #'((volta "93") end-repeat)
2191 \property Score.repeatCommands = #'((volta #f))
2196 Repeats brackets are @internalsref{VoltaBracket} grobs.
2198 @node Tremolo repeats
2199 @subsection Tremolo repeats
2200 @cindex tremolo beams
2202 To place tremolo marks between notes, use @code{\repeat} with tremolo
2204 @lilypond[verbatim,center,singleline]
2206 \context Voice \notes\relative c' {
2207 \repeat "tremolo" 8 { c16 d16 }
2208 \repeat "tremolo" 4 { c16 d16 }
2209 \repeat "tremolo" 2 { c16 d16 }
2210 \repeat "tremolo" 4 c16
2215 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
2216 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2217 entered without @code{@{} and @code{@}}.
2221 Only powers of two and undotted notes are supported repeat counts.
2223 @node Tremolo subdivisions
2224 @subsection Tremolo subdivisions
2225 @cindex tremolo marks
2226 @cindex @code{tremoloFlags}
2228 Tremolo marks can be printed on a single note by adding
2229 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2230 A @var{length} value of 8 gives one line across the note stem. If the
2231 length is omitted, then then the last value (stored in
2232 @code{Voice.tremoloFlags}) is used.
2234 @lilypond[verbatim,fragment,center]
2235 c'2:8 c':32 | c': c': |
2241 Tremolos in this style do not carry over into the MIDI output.
2244 @node Measure repeats
2245 @subsection Measure repeats
2247 @cindex percent repeats
2248 @cindex measure repeats
2250 In the @code{percent} style, a note pattern can be repeated. It is
2251 printed once, and then the pattern is replaced with a special sign.
2252 Patterns of a one and two measures are replaced by percent-like signs,
2253 patterns that divide the measure length are replaced by slashes.
2255 @lilypond[verbatim,singleline]
2256 \context Voice { \repeat "percent" 4 { c'4 }
2257 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2261 The signs are represented by these grobs: @internalsref{RepeatSlash} and
2262 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2266 You can not nest percent repeats, e.g. by filling in the first measure
2267 with slashes, and repeating that measure with percents.
2269 @node Rhythmic music
2270 @section Rhythmic music
2272 Sometimes you might want to show only the rhythm of a melody. This can
2273 be done with the rhythmic staff. All pitches of notes on such a staff
2274 are squashed, and the staff itself looks has a single staff line:
2276 @lilypond[fragment,relative,verbatim]
2277 \context RhythmicStaff {
2279 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2284 * Percussion staves::
2287 @node Percussion staves
2288 @subsection Percussion staves
2291 To typeset more than one piece of percussion to be played by the same
2292 musician one typically uses a multiline staff where each staff
2293 position refers to a specific piece of percussion.
2295 LilyPond is shipped with a bunch of scheme functions which allows you
2296 to do this fairly easily.
2298 The system is based on the general midi drum-pitches.
2299 In order to use the drum pitches you include
2300 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2301 variable @code{drum-pitch-names} - which definition can be read in
2302 @file{scm/drums.scm}. You see that each piece of percussion has a full
2303 name and an abbreviated name - and you may freely select whether to
2304 refer to the full name or the abbreviation in your music definition.
2306 To typeset the music on a staff you apply the scheme function
2307 @code{drums->paper} to the percussion music. This function takes a
2308 list of percussion instrument names, notehead scripts and staff
2309 positions (that is: pitches relative to the C-clef) and uses this to
2310 transform the input music by moving the pitch, changing the notehead
2311 and (optionally) adding a script:
2312 @lilypond[singleline,verbatim]
2313 \include "drumpitch-init.ly"
2314 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2315 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2317 \apply #(drums->paper 'drums) \context Staff <
2319 \context Voice = up { \voiceOne \up }
2320 \context Voice = down { \voiceTwo \down }
2325 In the above example the music was transformed using the list @code{'drums}.
2326 Currently the following lists are defined in @file{scm/drums.scm}:
2329 To typeset a typical drum kit on a five line staff.
2331 \include "drumpitch-init.ly"
2332 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2333 bd sn ss tomh tommh tomml toml tomfh tomfl }
2334 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2335 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2338 \apply #(drums->paper 'drums) \context Staff <
2342 \context Lyrics \nam
2347 \remove Bar_engraver
2348 \remove Time_signature_engraver
2349 minimumVerticalExtent = #'(-4.0 . 5.0)
2353 \remove Stem_engraver
2358 Notice that the scheme supports six different toms.
2359 If you are using fewer toms then you simply select the toms that produce
2360 the desired result - i.e. to get toms on the three middle lines you
2361 use @code{tommh}, @code{tomml} and @code{tomfh}.
2363 Because the general midi contain no rimshots we use the sidestick for
2364 this purpose instead.
2366 To typeset timbales on a two line staff.
2367 @lilypond[singleline]
2368 \include "drumpitch-init.ly"
2369 nam = \lyrics { timh ssh timl ssl cb }
2370 mus = \notes { timh ssh timl ssl cb s16 }
2373 \apply #(drums->paper 'timbales) \context Staff <
2377 \context Lyrics \nam
2382 \remove Bar_engraver
2383 \remove Time_signature_engraver
2384 StaffSymbol \override #'line-count = #2
2385 StaffSymbol \override #'staff-space = #2
2386 minimumVerticalExtent = #'(-3.0 . 4.0)
2390 \remove Stem_engraver
2397 To typeset congas on a two line staff.
2398 @lilypond[singleline]
2399 \include "drumpitch-init.ly"
2400 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2401 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2404 \apply #(drums->paper 'congas) \context Staff <
2408 \context Lyrics \nam
2413 \remove Bar_engraver
2414 \remove Time_signature_engraver
2415 StaffSymbol \override #'line-count = #2
2416 StaffSymbol \override #'staff-space = #2
2417 minimumVerticalExtent = #'(-3.0 . 4.0)
2421 \remove Stem_engraver
2427 To typeset bongos on a two line staff.
2428 @lilypond[singleline]
2429 \include "drumpitch-init.ly"
2430 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2431 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2434 \apply #(drums->paper 'bongos) \context Staff <
2438 \context Lyrics \nam
2443 \remove Bar_engraver
2444 \remove Time_signature_engraver
2445 StaffSymbol \override #'line-count = #2
2446 StaffSymbol \override #'staff-space = #2
2447 minimumVerticalExtent = #'(-3.0 . 4.0)
2451 \remove Stem_engraver
2457 To typeset all kinds of simple percussion on one line staves.
2458 @lilypond[singleline]
2459 \include "drumpitch-init.ly"
2460 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2461 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2464 \apply #(drums->paper 'percussion) \context Staff <
2468 \context Lyrics \nam
2473 \remove Bar_engraver
2474 \remove Time_signature_engraver
2475 StaffSymbol \override #'line-count = #1
2476 minimumVerticalExtent = #'(-2.0 . 3.0)
2480 \remove Stem_engraver
2487 If you don't like any of the predefined lists you can define your own
2488 list at the top of your file:
2490 @lilypond[singleline, verbatim]
2492 (bassdrum default #f ,(make-pitch -1 2 0))
2493 (snare default #f ,(make-pitch 0 1 0))
2494 (hihat cross #f ,(make-pitch 0 5 0))
2495 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2496 (lowtom diamond #f ,(make-pitch -1 6 0))
2498 \include "drumpitch-init.ly"
2499 up = \notes { hh8 hh hh hh hhp4 hhp }
2500 down = \notes { bd4 sn bd toml8 toml }
2502 \apply #(drums->paper 'mydrums) \context Staff <
2504 \context Voice = up { \voiceOne \up }
2505 \context Voice = down { \voiceTwo \down }
2510 To use a modified existing list instead of building your own from
2511 scratch you can append your modifications to the start of the existing
2515 #(define mydrums (append `(
2516 (bassdrum default #f ,(make-pitch -1 2 0))
2517 (lowtom diamond #f ,(make-pitch -1 6 0))
2521 @c FIXME: Too many levels of headers when using subsubsections.
2522 @c Perhaps junk subsection ``Percussion staves''
2523 @subsubsection Percussion staves with normal staves
2524 When you include @file{drumpitch-init.ly} then the default pitches
2525 are overridden so that you after the inclusion cannot use the common
2526 dutch pitch names anymore. Hence you might wan't to reinclude
2527 @file{nederlands.ly} after the drum-pattern-definitions:
2528 @lilypond[singleline,verbatim]
2529 \include "drumpitch-init.ly"
2530 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2531 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2532 \include "nederlands.ly"
2533 bass = \notes \transpose c, { a4. e8 r e g e }
2536 \apply #(drums->paper 'drums) \context Staff = drums <
2538 \context Voice = up { \voiceOne \up }
2539 \context Voice = down { \voiceTwo \down }
2541 \context Staff = bass { \clef "F_8" \bass }
2546 @subsubsection Percussion midi output
2547 In order to produce correct midi output you need to produce two score
2548 blocks - one for the paper and one for the midi.
2549 To use the percussion channel you set the property @code{instrument}
2550 to @code{'drums}. Because the drum-pitches themself are similar to the
2551 general midi pitches all you have to do is to insert the voices with
2552 none of the scheme functions to get the correct midi output:
2556 \apply #(drums->paper 'mydrums) \context Staff <
2558 \context Voice = up @{ \voiceOne \up @}
2559 \context Voice = down @{ \voiceTwo \down @}
2565 \property Staff.instrument = #'drums
2574 This scheme is to be considered a temporary implementation. Even
2575 though the scheme will probably keep on working then the future might
2576 bring some other way of typesetting drums, and probably
2577 there will be made no great efforts in keeping things downwards
2582 @section Piano music
2584 Piano music is an odd type of notation. Piano staves are two normal
2585 staves coupled with a brace. The staves are largely independent, but
2586 sometimes voices can cross between the two staves. The
2587 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2588 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2589 other pianistic peculiarities.
2592 * Automatic staff changes::
2593 * Manual staff switches::
2596 * Voice follower lines::
2600 @c . {Automatic staff changes}
2601 @node Automatic staff changes
2602 @subsection Automatic staff changes
2603 @cindex Automatic staff changes
2605 Voices can switch automatically between the top and the bottom
2606 staff. The syntax for this is
2608 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2610 The autochanger switches on basis of pitch (central C is the turning
2611 point), and it looks ahead skipping over rests to switch rests in
2612 advance. Here is a practical example:
2614 @lilypond[verbatim,singleline]
2615 \score { \notes \context PianoStaff <
2616 \context Staff = "up" {
2617 \autochange Staff \context Voice = VA < \relative c' {
2618 g4 a b c d r4 a g } > }
2619 \context Staff = "down" {
2624 Spacer rests are used to prevent the bottom staff from
2625 terminating too soon.
2628 @node Manual staff switches
2629 @subsection Manual staff switches
2631 @cindex manual staff switches
2632 @cindex staff switch, manual
2634 Voices can be switched between staves manually, using the following command:
2636 \translator Staff = @var{staffname} @var{music}
2638 The string @var{staffname} is the name of the staff. It switches the
2639 current voice from its current staff to the Staff called
2640 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2648 Piano pedal instruction can be expressed using
2649 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2650 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2652 These identifiers are shorthands for spanner commands of the types
2653 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2655 @lilypond[fragment,verbatim]
2656 c''4 \spanrequest \start "Sustain" c''4
2657 c''4 \spanrequest \stop "Sustain"
2660 The symbols that are printed can be modified by setting
2661 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2662 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2663 @rgrob{SustainPedal}, for example, for more information.
2665 Pedals can also be indicated by a sequence of brackets, by setting the
2666 @code{pedal-type} property of SustainPedal grobs:
2668 @lilypond[fragment,verbatim]
2669 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2670 c''4 \sustainDown d''4 e''4 a'4
2671 \sustainUp \sustainDown
2672 f'4 g'4 a'4 \sustainUp
2675 A third style of pedal notation is a mixture of text and brackets,
2676 obtained by setting @code{pedal-type} to @code{mixed}:
2678 @lilypond[fragment,verbatim]
2679 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2680 c''4 \sustainDown d''4 e''4 c'4
2681 \sustainUp \sustainDown
2682 f'4 g'4 a'4 \sustainUp
2685 The default '*Ped' style for sustain and damper pedals corresponds to
2686 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2687 for a sostenuto pedal:
2689 @lilypond[fragment,verbatim]
2690 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2693 For fine-tuning of the appearance of a pedal bracket, the properties
2694 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2695 @code{PianoPedalBracket} grobs (see the detailed documentation of
2696 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2697 may be extended to the end of the note head.
2699 @lilypond[fragment,verbatim]
2700 \property Staff.PianoPedalBracket \override
2701 #'shorten-pair = #'(0 . -1.0)
2702 c''4 \sostenutoDown d''4 e''4 c'4
2703 f'4 g'4 a'4 \sostenutoUp
2710 @subsection Arpeggio
2713 @cindex broken arpeggio
2714 @cindex @code{\arpeggio}
2716 You can specify an arpeggio sign on a chord by attaching an
2717 @code{\arpeggio} to a note of the chord.
2720 @lilypond[fragment,relative,verbatim]
2721 \context Voice <c\arpeggio e g c>
2724 When an arpeggio crosses staves in piano music, you attach an arpeggio
2725 to the chords in both staves, and set
2726 @code{PianoStaff.connectArpeggios}.
2728 @lilypond[fragment,relative,verbatim]
2729 \context PianoStaff <
2730 \property PianoStaff.connectArpeggios = ##t
2731 \context Voice = one { <c'\arpeggio e g c> }
2732 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2736 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2737 are @code{PianoStaff.Arpeggio}.
2739 To add an arrow head to explicitly specify the direction of the
2740 arpeggio, you should set the arpeggio grob property
2741 @code{arpeggio-direction}.
2743 @lilypond[fragment,relative,verbatim]
2745 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2747 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2752 A square bracket on the left indicates that the player should not
2753 arpeggiate the chord. To draw these brackets, set the
2754 @code{molecule-callback} property of @code{Arpeggio} or
2755 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2756 @code{\arpeggio} statements within the chords as before.
2758 @lilypond[fragment,relative,verbatim]
2759 \context PianoStaff <
2760 \property PianoStaff.connectArpeggios = ##t
2761 \property PianoStaff.Arpeggio \override
2762 #'molecule-callback = \arpeggioBracket
2763 \context Voice = one { <c'\arpeggio e g c> }
2764 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2771 It is not possible to mix connected arpeggios and unconnected
2772 arpeggios in one PianoStaff at the same time.
2776 @node Voice follower lines
2777 @subsection Voice follower lines
2779 @cindex follow voice
2780 @cindex staff switching
2783 @cindex @code{followVoice}
2785 Whenever a voice switches to another staff a line connecting the notes
2786 can be printed automatically. This is enabled if the property
2787 @code{PianoStaff.followVoice} is set to true:
2789 @lilypond[fragment,relative,verbatim]
2790 \context PianoStaff <
2791 \property PianoStaff.followVoice = ##t
2792 \context Staff \context Voice {
2794 \translator Staff=two
2797 \context Staff=two {\clef bass \skip 1*2 }
2801 The associated grob is @internalsref{VoiceFollower}.
2807 Tablature notation is used music for plucked string instruments. It
2808 notates pitches not by using note heads, but by indicating on which
2809 string and fret a note must be played. LilyPond offers limited
2810 support for tablature, by abusing the fingering system.
2813 * Tablatures basic::
2814 * Non-guitar tablatures::
2815 * Tablature in addition to normal staff::
2818 @node Tablatures basic
2819 @subsection Tablatures basic
2820 @cindex Tablatures basic
2822 Tablature can be typeset with Lilypond by using the
2823 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2824 tablature is a recent feature in Lilypond, most of the guitar special
2825 effects such as hammer, pull, bend are not yet supported.
2827 With the @internalsref{TabStaff}, the string number associated to a note
2828 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2829 quarter on the third string. The string 1 is the lowest one, and the
2830 tuning defaults to the standard guitar tuning (with 6 strings).
2832 @lilypond[fragment,verbatim]
2835 \property Staff.Stem \override #'direction = #1
2844 @node Non-guitar tablatures
2845 @subsection Non-guitar tablatures
2846 @cindex Non-guitar tablatures
2848 There are many ways to customize Lilypond tablatures.
2850 First you can change the number of strings, by setting the number of
2851 lines in the @internalsref{TabStaff}. You can change the strings
2852 tuning. A string tuning is given as a Scheme list with one integer
2853 number for each string, the number being the pitch of an open string.
2855 Finally, it is possible to change the Scheme function to format the
2856 tablature note text. The default is @var{fret-number-tablature-format},
2857 which uses the fret number, but for some instruments that may not use
2858 this notation, just create your own tablature-format function. This
2859 function takes three argument: the string number, the string tuning and
2863 @node Tablature in addition to normal staff
2864 @subsection Tablature in addition to normal staff
2865 @cindex Tablature in addition to normal staff
2867 It is possible to typeset both tablature and a "normal" staff, as
2868 commonly done in many parts.
2870 A common trick for that is to put the notes in a variables, and to hide
2871 the fingering information (which correspond to the string number) for
2880 \context StaffGroup <
2882 % Hide fingering number
2883 \property Staff.Fingering \override #'transparent = ##t
2888 \property Staff.Stem \override #'direction = #1
2902 LilyPond has support for both entering and printing chords.
2903 @lilypond[verbatim,singleline]
2904 twoWays = \notes \transpose c'' {
2914 < \context ChordNames \twoWays
2915 \context Voice \twoWays > }
2918 This example also shows that the chord printing routines do not try to
2919 be intelligent. If you enter @code{f bes d}, it does not interpret
2920 this as an inversion.
2922 As you can see chords really are a set of pitches. They are internally
2923 stored as simultaneous music expressions. This means you can enter
2924 chords by name and print them as notes, enter them as notes and print
2925 them as chord names, or (the most common case) enter them by name, and
2930 * Printing named chords::
2935 @subsection Chords mode
2938 Chord mode is a mode where you can input sets of pitches using common
2939 names. It is introduced by the keyword @code{\chords}. It is similar
2940 to note mode, but words are also looked up in a chord modifier table
2941 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
2942 to indicate chord additions and subtractions, so articulation scripts
2943 can not be entered in Chord mode.
2945 Throughout these examples, chords have been shifted around the staff
2946 using @code{\transpose}.
2948 @lilypond[fragment,verbatim]
2952 c:9 c:9-.5+.7+ c:3-.5-
2962 The second type of modifier that may appear after the @code{:} is a
2963 named modifier. Named modifiers are listed in the file
2964 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2965 @code{min} which lower the 3rd half a step, `@code{aug}' which
2966 raises the 5th, `@code{dim}' which lowers the 5th,
2967 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2968 which replaces the 5th with a 4th.
2970 @lilypond[fragment,verbatim]
2973 c1:m c:min7 c:maj c:aug c:dim c:sus
2979 Chord subtractions are used to eliminate notes from a chord. The
2980 notes to be subtracted are listed after a @code{^} character,
2983 @lilypond[fragment,verbatim,center]
2992 Chord inversions can be specified by appending `@code{/}' and the name
2993 of a single note to a chord. In a chord inversion, the inverted note is
2994 transposed down until it is the lowest note in the chord. If the note
2995 is not in the chord, a warning will be printed.
2997 @lilypond[fragment,verbatim,center]
3007 Bass notes can be added by `@code{/+}' and
3008 the name of a single note to a chord. This has the effect of
3009 adding the specified note to the chord, lowered by an octave,
3010 so it becomes the lowest note in the chord.
3012 @lilypond[fragment,verbatim,center]
3021 The formal syntax for named chords is as follows:
3023 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
3026 @var{tonic} should be the tonic note of the chord, and @var{duration} is
3027 the chord duration in the usual notation. There are two kinds of
3028 modifiers. One type is formed by @emph{chord additions}. Additions are
3029 obtained by listing intervals separated by dots. An interval is written
3030 by its number with an optional @code{+} or @code{-} to indicate raising
3031 or lowering by half a step. Chord additions have two effects: they adds
3032 the specified interval and all lower odd numbered intervals to the
3033 chord, and they may lower or raise the specified interval.
3038 Implementation details are gory. For example @code{c:4} not only adds
3039 a fourth, but also removes the third.
3042 @c . {Printing named chords}
3043 @node Printing named chords
3044 @subsection Printing named chords
3046 @cindex printing chord names
3050 For displaying printed chord names, use the @internalsref{ChordNames} context.
3051 The chords may be entered either using the notation described above, or
3052 directly using simultaneous music.
3054 @lilypond[verbatim,singleline]
3056 \chords {a1 b c} <d f g> <e g b>
3060 \context ChordNames \scheme
3061 \context Staff \transpose c'' \scheme
3066 You can make the chord changes stand out by setting
3067 @code{ChordNames.chordChanges} to true. This will only display chord
3068 names when there's a change in the chords scheme and at the start of a
3073 c1:m c:m \break c:m c:m d
3077 \context ChordNames {
3078 \property ChordNames.chordChanges = ##t
3080 \context Staff \transpose c'' \scheme
3082 \paper{linewidth= 9.\cm}
3086 LilyPond examines chords specified as lists of notes to determine a name
3087 to give the chord. LilyPond will not try to identify chord inversions or
3088 an added bass note, which may result in strange chord names when chords
3089 are entered as a list of pitches:
3091 @lilypond[verbatim,center,singleline]
3100 \context ChordNames \scheme
3101 \context Staff \scheme
3107 By default, a chord name system proposed by Harald Banter (See
3108 @ref{Literature}) is used. The system is very regular and predictable.
3109 Typical American style chord names may be selected by setting the
3110 @code{style} property of the @code{ChordNames.ChordName} grob to
3111 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3113 Routines that determine the names to be printed are written in Scheme,
3114 and may be customized by the user. The code can be found in
3115 @file{scm/chord-name.scm}. Here's an example showing the differences in
3119 @c maybe just junk verbatim option?
3120 @lilypond[verbatim,singleline]
3130 \context ChordNames = banter \scheme
3131 \context ChordNames = american {
3132 \property ChordNames.ChordName \override
3133 #'style = #'american \scheme }
3134 \context ChordNames = jazz {
3135 \property ChordNames.ChordName \override
3136 #'style = #'jazz \scheme }
3137 \context Staff \transpose c'' \scheme
3144 @section Writing parts
3146 Orchestral music involves some special notation, both in the full score,
3147 as in the individual parts. This section explains how to tackle common
3148 problems in orchestral music.
3155 * Instrument names::
3157 * Multi measure rests::
3158 * Automatic part combining::
3159 * Hara kiri staves::
3160 * Sound output for transposing instruments::
3163 @c . {Rehearsal marks}
3164 @node Rehearsal marks
3165 @subsection Rehearsal marks
3166 @cindex Rehearsal marks
3168 @cindex @code{\mark}
3170 To print a rehearsal mark, use the @code{\mark} command.
3171 @lilypond[fragment,verbatim]
3178 c1 \mark #'(music "scripts-segno")
3183 As you can see, the mark is incremented automatically if you use
3184 @code{\mark \default}. The value to use is stored in the property
3185 @code{rehearsalMark} is used and automatically incremented. The grob
3186 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3187 @code{input/test/boxed-molecule.ly} if you need boxes around the
3191 @subsection Bar numbers
3195 @cindex measure numbers
3196 @cindex currentBarNumber
3198 Bar numbers are printed by default at the start of the line. The
3199 number itself is a property that can be set by modifying the
3200 @code{currentBarNumber} property, i.e.
3202 \property Score.currentBarNumber = #217
3205 If you want boxed bar numbers, see the example file
3206 @code{input/test/boxed-molecule.ly}.
3208 See also @seeinternals{BarNumber}.
3212 Printing bar numbers at regular intervals is not implemented.
3213 Barnumbers can collide with the StaffGroup, if there is one at the
3214 top. To solve this, You have to twiddle with the
3215 @internalsref{padding} property of @internalsref{BarNumber} if your
3216 score starts with a @internalsref{StaffGroup}.
3218 @node Instrument names
3219 @subsection Instrument names
3221 In scores, the instrument name is printed before the staff. This can
3222 be done by setting @code{Staff.instrument} and
3223 @code{Staff.instr}. This will print a string before the start of the
3224 staff. For the first start, @code{instrument} is used, for the next
3225 ones @code{instr} is used.
3227 @lilypond[verbatim,singleline]
3228 \property Staff.instrument = "ploink " { c''4 }
3231 You can also use markup texts to construct more complicated instrument
3235 @lilypond[verbatim,singleline]
3237 '((font-relative-size . -2 ) (music "accidentals--1")))
3240 \property Staff.instrument = #`((kern . 0.5) (lines
3241 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3249 When you put a name on a grand staff or piano staff the width of the
3250 brace is not taken into account. You must add extra spaces to the end of
3251 the name to avoid a collision.
3254 @subsection Transpose
3256 @cindex transposition of pitches
3257 @cindex @code{\transpose}
3259 A music expression can be transposed with @code{\transpose}. The syntax
3262 \transpose @var{pitch} @var{musicexpr}
3265 This means that middle C in @var{musicexpr} is transposed to
3268 @code{\transpose} distinguishes between enharmonic pitches: both
3269 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3270 a tone. The first version will print sharps and the second version
3273 @lilypond[singleline, verbatim]
3274 mus =\notes { \key d \major cis d fis g }
3275 \score { \notes \context Staff {
3283 If you want to use both @code{\transpose} and @code{\relative}, then
3284 you must use @code{\transpose} first. @code{\relative} will have no
3285 effect music that appears inside a @code{\transpose}.
3287 @c . {Multi measure rests}
3288 @node Multi measure rests
3289 @subsection Multi measure rests
3290 @cindex Multi measure rests
3294 Multi measure rests are entered using `@code{R}'. It is specifically
3295 meant for full bar rests and for entering parts: the rest can expand to
3297 rests, or it can be printed as a single multimeasure rest This expansion
3298 is controlled by the property @code{Score.skipBars}. If this is set to true,
3299 Lily will not expand empty measures, and the appropriate number is added
3302 @lilypond[fragment,verbatim]
3303 \time 3/4 r2. | R2. | R2.*2
3304 \property Score.skipBars = ##t R2.*17 R2.*4
3307 Notice that the @code{R2.} is printed as a whole rest, centered in the
3310 @cindex whole rests for a full measure
3312 The grob for this object is @internalsref{MultiMeasureRest}.
3316 Currently, there is no way to automatically condense multiple rests
3317 into a single multimeasure rest. Multi measure rests do not take part
3320 @cindex condensing rests
3322 @node Automatic part combining
3323 @subsection Automatic part combining
3324 @cindex automatic part combining
3325 @cindex part combiner
3328 Automatic part combining is used to merge two parts of music onto a
3329 staff in an intelligent way. It is aimed primarily at typesetting
3330 orchestral scores. When the two parts are identical for a period of
3331 time, only one is shown. In places where the two parts differ, they
3332 are typeset as separate voices, and stem directions are set
3333 automatically. Also, solo and @emph{a due} parts can be identified
3336 The syntax for part combining is
3339 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3341 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3342 combined into one context of type @var{context}. The music expressions
3343 must be interpreted by contexts whose names should start with @code{one}
3346 The most useful function of the part combiner is to combine parts into
3347 one voice, as common for wind parts in orchestral scores:
3349 @lilypond[verbatim,singleline,fragment]
3351 \context Voice=one \partcombine Voice
3352 \context Thread=one \relative c'' {
3355 \context Thread=two \relative c'' {
3361 Notice that the first @code{g} appears only once, although it was
3362 specified twice (once in each part). Stem, slur and tie directions are
3363 set automatically, depending whether there is a solo or unisono. The
3364 first part (with context called @code{one}) always gets up stems, and
3365 `solo', while the second (called @code{two}) always gets down stems and
3368 If you just want the merging parts, and not the textual markings, you
3369 may set the property @var{soloADue} to false.
3371 @lilypond[verbatim,singleline,fragment]
3373 \property Staff.soloADue = ##f
3374 \context Voice=one \partcombine Voice
3375 \context Thread=one \relative c'' {
3378 \context Thread=two \relative c'' {
3384 There are a number of other properties that you can use to tweak the
3385 behavior of part combining, refer to the automatically generated
3386 documentation of @reng{Thread_devnull_engraver} and
3387 @reng{Voice_devnull_engraver}. Look at the documentation of the
3388 responsible engravers, @code{Thread_devnull_engraver},
3389 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3393 In @code{soloADue} mode, when the two voices play the same notes on and
3394 off, the part combiner may typeset @code{a2} more than once in a
3397 @lilypond[fragment,singleline]
3399 \context Voice=one \partcombine Voice
3400 \context Thread=one \relative c'' {
3403 \context Thread=two \relative c'' {
3409 @cindex @code{Thread_devnull_engraver}
3410 @cindex @code{Voice_engraver}
3411 @cindex @code{A2_engraver}
3413 @node Hara kiri staves
3414 @subsection Hara kiri staves
3416 In orchestral scores, staff lines that only have rests are usually removed.
3417 This saves some space. LilyPond also supports this through the hara
3418 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3419 the Japanese Samourai warriors.} staff. This staff commits suicide when
3420 it finds itself to be empty after the line-breaking process. It will
3421 not disappear when it contains normal rests, you must use multi measure
3424 The hara kiri staff is specialized version of the @internalsref{Staff}
3425 context. It is available as the context identifier
3426 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3427 example disappears in the second line.
3431 \notes \relative c' <
3432 \context Staff = SA { e4 f g a \break c1 }
3433 \context Staff = SB { c4 d e f \break R1 }
3437 \translator { \HaraKiriStaffContext }
3443 @node Sound output for transposing instruments
3444 @subsection Sound output for transposing instruments
3446 When you want to make a MIDI file from a score containing transposed
3447 and untransposed instruments, you have to instruct LilyPond the pitch
3448 offset (in semitones) for the transposed instruments. This is done
3449 using the @code{transposing} property. It does not affect printed
3452 @cindex @code{transposing}
3455 \property Staff.instrument = #"Cl. in B-flat"
3456 \property Staff.transposing = #-2
3462 @node Ancient notation
3463 @section Ancient notation
3466 * Ancient note heads::
3473 @node Ancient note heads
3474 @subsection Ancient note heads
3476 To get a longa note head, you have to use mensural note heads. This
3477 is accomplished by setting the @code{style} property of the
3478 NoteHead grob to @code{mensural}. There is also a note head style
3479 @code{baroque} which gives mensural note heads for @code{\longa} and
3480 @code{\breve} but standard note heads for shorter notes.
3482 @lilypond[fragment,singleline,verbatim]
3483 \property Voice.NoteHead \set #'style = #'mensural
3484 \property Voice.NoteHead \set #'font-family = #'ancient
3489 @subsection Custodes
3494 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3495 staff context symbol that appears at the end of a staff line. It
3496 anticipates the pitch of the first note(s) of the following line and
3497 thus helps the player or singer to manage line breaks during
3498 performance, thus enhancing readability of a score.
3503 \property Staff.Custos \set #'style = #'mensural
3508 \consists Custos_engraver
3514 Custodes were frequently used in music notation until the 17th century.
3515 There were different appearances for different notation styles.
3516 Nowadays, they have survived only in special forms of musical notation
3517 such as via the @emph{editio vaticana} dating back to the beginning of
3520 For typesetting custodes, just put a @code{Custos_engraver} into the
3521 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3522 block, you can also globally control the appearance of the custos symbol
3523 by setting the custos @code{style} property. Currently supported styles
3524 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3531 \consists Custos_engraver
3532 Custos \override #'style = #'mensural
3537 The property can also be set locally, for example in a @code{\notes}
3542 \property Staff.Custos \override #'style = #'vaticana
3543 c'1 d' e' d' \break c' d' e' d'
3548 @subsection Ancient clefs
3550 LilyPond supports a variety of clefs, many of them ancient. These can
3551 be selected from the @code{ancient} font family, by setting
3552 @code{Staff.clefGlyph}) to one of the following values
3561 @item clefs-vaticana_do
3562 Editio Vaticana style do clef
3563 @item clefs-vaticana_fa
3564 Editio Vaticana style fa clef
3565 @item clefs-medicaea_do
3566 Editio Medicaea style do clef
3567 @item clefs-medicaea_fa
3568 Editio Medicaea style fa clef
3569 @item clefs-mensural1_c
3570 modern style mensural C clef
3571 @item clefs-mensural2_c
3572 historic style small mensural C clef
3573 @item clefs-mensural3_c
3574 historic style big mensural C clef
3575 @item clefs-mensural1_f
3576 historic style traditional mensural F clef
3577 @item clefs-mensural2_f
3578 historic style new mensural F clef
3579 @item clefs-mensural_g
3580 historic style mensural G clef
3581 @item clefs-hufnagel_do
3582 historic style hufnagel do clef
3583 @item clefs-hufnagel_fa
3584 historic style hufnagel fa clef
3585 @item clefs-hufnagel_do_fa
3586 historic style hufnagel combined do/fa clef
3587 @item clefs-percussion
3588 modern style percussion clef
3591 @emph{Modern style} means ``as is typeset in current editions.''
3592 @emph{Historic style} means ``as was typeset or written in contemporary
3593 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3596 @cindex Vaticana, Editio
3597 @cindex Medicaea, Editio
3598 @cindex hufnagel clefs
3602 @subsection Figured bass
3604 @cindex Basso continuo
3606 LilyPond has limited support for figured bass:
3608 @lilypond[verbatim,fragment]
3610 \context FiguredBass
3615 \context Voice { c4 g8 }
3619 The support for figured bass consists of two parts: there is an input
3620 mode, introduced by @code{\figures}, where you can enter bass figures
3621 as numbers, and there is a context called @internalsref{FiguredBass}
3622 that takes care of making @internalsref{BassFigure} grobs.
3624 In figures input mode, a group of bass figures is delimited by
3625 @code{<} and @code{>}. The duration is entered after the @code{>}.
3630 \context FiguredBass
3634 Accidentals are added to the numbers if you alterate them by
3635 appending @code{-}, @code{!} and @code{+}.
3641 \context FiguredBass
3642 \figures { <4- 6+ 7!> }
3645 Spaces or dashes may be inserted by using @code{_}. Brackets are
3646 introduced with @code{[} and @code{]}.
3652 \context FiguredBass
3653 \figures { < [4 6] 8 [_ 12]> }
3656 Although the support for figured bass may superficially resemble chord
3657 support, it works much simpler: in figured bass simply stores the
3658 numbers, and then prints the numbers you entered. There is no
3659 conversion to pitches, and no realizations of the bass are played in
3663 @c . {Tuning output}
3665 @section Tuning output
3667 LilyPond tries to take as much formatting as possible out of your
3668 hands. Nevertheless, there are situations where it needs some help, or
3669 where you want to override its decisions. In this section we discuss
3670 ways to do just that.
3672 Formatting is internally done by manipulating so called grobs (graphic
3673 objects). Each grob carries with it a set of properties (grob
3674 properties) specific to that object. For example, a stem grob has
3675 properties that specify its direction, length and thickness.
3677 The most direct way of tuning the output is by altering the values of
3678 these properties. There are two ways of doing that: first, you can
3679 temporarily change the definition of a certain type of grob, thus
3680 affecting a whole set of objects. Second, you can select one specific
3681 object, and set a grob property in that object.
3684 * Tuning groups of grobs ::
3685 * Tuning per grob ::
3690 @node Tuning groups of grobs
3691 @subsection Tuning groups of grobs
3693 @cindex grob description
3697 A grob definition is a Scheme association list, that is stored in a
3698 context property. By assigning to that property (using plain
3699 @code{\property}), you can change the resulting grobs.
3701 @lilypond[verbatim, fragment]
3702 c'4 \property Voice.Stem = #'()
3705 The @code{\property} assignment effectively empties the definition of
3706 the Stem object. One of the effects is that the recipe of how it should be
3707 printed is erased, with the effect of rendering it invisible. The above
3708 assignment is available as a standard identifier, for the case that you
3712 \property Voice.Stem = \turnOff
3719 This mechanism is fairly crude, since you can only set, but not modify,
3720 the definition of a grob. For this reason, there is a more advanced
3723 The definition of a grob is actually a list of default grob
3724 properties. For example, the definition of the Stem grob (available in
3725 @file{scm/grob-description.scm}), defines the following values for
3730 (beamed-lengths . (0.0 2.5 2.0 1.5))
3731 (Y-extent-callback . ,Stem::height)
3735 You can add a property on top of the existing definition, or remove a
3736 property, thus overriding the system defaults:
3738 c'4 \property Voice.Stem \override #'thickness = #4.0
3739 c'4 \property Voice.Stem \revert #'thickness
3742 You should balance @code{\override} and @code{\revert}. If that's too
3743 much work, you can use the @code{\set} shorthand. It performs a revert
3744 followed by an override. The following example gives exactly the same
3745 result as the previous one.
3747 c'4 \property Voice.Stem \set #'thickness = #4.0
3748 c'4 \property Voice.Stem \set #'thickness = #0.8
3751 If you use @code{\set}, you must explicitly restore the default.
3754 Formally the syntax for these constructions is
3756 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3757 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3758 \property @var{context}.@var{grobname} \revert @var{symbol}
3760 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3761 and @var{grobname} are strings and @var{value} is a Scheme expression.
3764 If you revert a setting which was not set in the first place, then it
3765 has no effect. However, if the setting was set as a system default, it
3766 may remove the default value, and this may give surprising results,
3767 including crashes. In other words, @code{\override} and @code{\revert},
3768 must be carefully balanced.
3770 These are examples of correct nesting of @code{\override}, @code{\set},
3773 A clumsy but correct form:
3775 \override \revert \override \revert \override \revert
3778 Shorter version of the same:
3780 \override \set \set \revert
3783 A short form, using only @code{\set}. This requires you to know the
3786 \set \set \set \set @var{to default value}
3789 If there is no default (i.e. by default, the grob property is unset),
3792 \set \set \set \revert
3795 For the digirati, the grob description is an Scheme association
3796 list. Since a Scheme list is a singly linked list, we can treat it as a
3797 stack, and @code{\override} and @code{\revert} are just push and pop
3798 operations. This pushing and popping is also used for overriding
3799 automatic beaming settings.
3803 LilyPond will hang or crash if @var{value} contains cyclic references.
3804 The backend is not very strict in type-checking grob properties. If you
3805 @code{\revert} properties that are expected to be set by default,
3809 @cindex adjusting staff symbol
3810 @cindex StaffSymbol, using \property
3811 @cindex staff lines, setting number of
3813 Some grobs are created at the moment that their context is created. An
3814 example of such a grob is the staff itself (i.e. the horizontal lines).
3815 You can not change the appearance of the staff symbol by manipulating
3816 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
3817 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
3818 created before any @code{\override} is effective. You can deal with this
3819 either overriding properties in a @code{\translator} definition, or by
3820 using @code{\outputproperty}.
3825 @node Tuning per grob
3826 @subsection Tuning per grob
3828 @cindex \outputproperty
3830 A second way of tuning grobs is the more arcane @code{\outputproperty}
3831 feature. The syntax is as follows:
3833 \outputproperty @var{predicate} @var{symbol} = @var{value}
3835 Here @code{predicate} is a Scheme function taking a grob argument, and
3836 returning a boolean. This statement is processed by the
3837 @code{Output_property_engraver}. It instructs the engraver to feed all
3838 grobs that it sees to @var{predicate}. Whenever the predicate returns
3839 true, the grob property @var{symbol} will be set to @var{value}.
3841 You will need to combine this statement with @code{\context} to select
3842 the appropriate context to apply this to.
3844 Here are some random examples.
3847 In the following example, all note heads occurring at current staff
3848 level, are shifted up and right by setting their @code{extra-offset}
3851 @lilypond[fragment,verbatim,singleline]
3853 \context Staff \outputproperty
3854 #(make-type-checker 'note-head-interface)
3855 #'extra-offset = #'(0.5 . 0.75)
3859 @cindex @code{extra-offset}
3861 In this example, the predicate checks the @code{text} grob property, to
3862 shift only the `m.d.' text, but not the fingering instruction "2".
3863 @lilypond[verbatim,singleline]
3864 #(define (make-text-checker text)
3865 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3868 \notes\relative c''' {
3869 \property Voice.Stem \set #'direction = #1
3870 \outputproperty #(make-text-checker "m.d.")
3871 #'extra-offset = #'(-3.5 . -4.5)
3879 If possible, avoid this feature: the semantics are not very clean, and
3880 the syntax and semantics are up for rewrite.
3885 @node Font selection
3886 @subsection Font selection
3888 The most common thing to change about the appearance of fonts is
3889 their size. The font size of a @internalsref{Voice},
3890 @internalsref{Staff} or @internalsref{Thread} context, can be easily
3891 changed by setting the @code{fontSize} property for that context:
3892 @lilypond[fragment,relative=1]
3893 c4 c4 \property Voice.fontSize = #-1
3896 This command will not change the size of variable symbols, such as
3897 beams or slurs. You can use this command to get smaller symbol for
3898 cue notes, but that involves some more subtleties. An elaborate
3899 example of those is in @file{input/test/cue-notes.ly}.
3905 The font used for printing a grob can be selected by setting
3906 @code{font-name}, e.g.
3908 \property Staff.TimeSignature
3909 \set #'font-name = #"cmr17"
3911 You may use any font which is available to @TeX{}, such as foreign
3912 fonts or fonts that do not belong to the Computer Modern font family.
3913 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
3914 can also be adjusted with a more fine-grained mechanism. By setting
3915 the grob properties described below, you can select a different font.
3916 All three mechanisms work for every grob that supports
3917 @code{font-interface}.
3921 A symbol indicating the general class of the typeface. Supported are
3922 @code{roman} (Computer Modern), @code{braces} (for piano staff
3923 braces), @code{music} (the standard music font), @code{ancient} (the
3924 ancient notation font) @code{dynamic} (font for dynamic signs) and
3928 A symbol indicating the shape of the font, there are typically several
3929 font shapes available for each font family. Choices are @code{italic},
3930 @code{caps} and @code{upright}
3933 A symbol indicating the series of the font. There are typically several
3934 font series for each font family and shape. Choices are @code{medium}
3937 @item font-relative-size
3938 A number indicating the size relative the standard size. For example,
3939 with 20pt staff height, relative size -1 corresponds to 16pt staff
3940 height, and relative size +1 corresponds to 23 pt staff height.
3942 @item font-design-size
3943 A number indicating the design size of the font.
3945 This is a feature of the Computer Modern Font: each point size has a
3946 slightly different design. Smaller design sizes are relatively wider,
3947 which enhances readability.
3950 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
3951 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
3952 to override default setting, which are always present. For example:
3954 \property Lyrics . LyricText \override #'font-series = #'bold
3955 \property Lyrics . LyricText \override #'font-family = #'typewriter
3956 \property Lyrics . LyricText \override #'font-shape = #'*
3959 @cindex @code{font-style}
3961 There are also pre-cooked font selection qualifiers. These are
3962 selected through the grob property @code{font-style}. For example,
3963 the style @code{finger} selects family @code{number} and relative size
3964 @code{-3}. Styles available include @code{volta}, @code{finger},
3965 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
3966 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
3967 tables for selecting fonts are located in @file{scm/font.scm}. Refer
3968 to this file for more information.
3970 @cindex magnification
3972 The size of the font may be scaled with the grob property
3973 @code{font-magnification}. For example, @code{2.0} blows up all
3974 letters by a factor 2 in both directions.
3978 Relative size is not linked to any real size.
3980 There is no style sheet provided for other fonts besides the @TeX{}
3981 family, and the style sheet can not be modified easiyl.
3983 @cindex font selection
3984 @cindex font magnification
3985 @cindex @code{font-interface}
3989 @subsection Text markup
3993 LilyPond has an internal mechanism to typeset texts. You can
3994 form text markup expressions by composing scheme expressions
3995 in the following way.
3997 @lilypond[verbatim, singleline]
4002 c^#'(italic "italic")
4003 d_#'((bold italic) "ff")
4005 f_#'(lines "one" (bold "two"))
4006 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
4010 Normally, the Scheme markup text is stored in the @code{text} property
4011 of a grob. Formally, it is defined as follows:
4014 text: string | (head? text+)
4015 head: markup | (markup+)
4016 markup-item: property | abbrev
4017 property: (@var{key} . @var{value})
4018 abbrev: @code{columns lines roman music bold italic named super sub}
4019 @code{overstrike text finger volta timesig mmrest mark script}
4020 @code{large Large dynamic}
4023 The markup is broken down and converted into a list of grob properties,
4024 which are prepended to the property list. The @var{key}-@var{value}
4025 pair is a grob property. A list of properties available is included in
4026 the generated documentation for @rint{Text_interface}.
4028 The following abbreviations are defined:
4031 horizontal mode: set all text on one line (default)
4033 vertical mode: set every text on a new line
4037 selects the Feta font (the standard font for music notation glyphs),
4038 and uses named lookup
4045 lookup by character name
4047 plain text lookup (by character value)
4053 the next text or character overstrikes this one
4055 select fingering number fontstyle
4057 select volta number fontstyle
4059 select time signature number fontstyle
4061 select multi measure rest number fontstyle
4063 select mark number fontstyle
4065 select scriptsize roman fontstyle
4067 select large roman fontstyle
4069 select Large roman fontstyle
4071 select dynamics fontstyle
4075 @cindex metronome mark
4077 One practical application of complicated markup is to fake a metronome
4081 #(define note '(columns
4082 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4083 #(define eight-note `(columns ,note ((kern . -0.1)
4084 (music ((raise . 3.5) "flags-u3")))))
4085 #(define dotted-eight-note
4086 `(columns ,eight-note (music "dots-dot")))
4089 \notes\relative c'' {
4090 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
4096 TextScript \override #'font-shape = #'upright
4104 The syntax and semantics of markup texts are not clean, and both
4105 syntax and semantics are slated for a rewrite.
4108 @section Global layout
4110 The global layout determined by three factors: the page layout, the
4111 iline breaks and the spacing. These all influence each other: The
4112 choice of spacing determines how densely each system of music is set,
4113 whree line breaks breaks are chosen, and thus ultimately how many
4114 pages a piece of music takes. In this section we will explain how the
4115 lilypond spacing engine works, and how you can tune its results.
4117 Globally spoken, this procedure happens in three steps: first,
4118 flexible distances (``springs'') are chosen, based on durations. All
4119 possible line breaking combination are tried, and the one with the
4120 best results---a layout that has uniform density and requires as
4121 little stretching or cramping as possible---is chosen. When the score
4122 is processed by @TeX{}, page are filled with systems, and page breaks
4123 are chosen whenever the page gets full.
4126 * Vertical spacing::
4127 * Horizontal spacing::
4134 @node Vertical spacing
4135 @subsection Vertical spacing
4137 @cindex vertical spacing
4138 @cindex distance between staffs
4139 @cindex staff distance
4140 @cindex between staves, distance
4142 The height of each system is determined automatically by lilypond, to
4143 keep systems from bumping into each other, some minimum distances are
4144 set. By changing these, you can put staffs closer together, and thus
4145 put more systems onto one page.
4147 Normally staves are stacked vertically. To make
4148 staves maintain a distance, their vertical size is padded. This is
4149 done with the property @code{minimumVerticalExtent}. It takes a pair
4150 of numbers, so if you want to make it smaller from its, then you could
4153 \property Staff.minimumVerticalExtent = #'(-4 . 4)
4155 This sets the vertical size of the current staff to 4 staff-space on
4156 either side of the center staff line. The argument of
4157 @code{minimumVerticalExtent} is interpreted as an interval, where the
4158 center line is the 0, so the first number is generally negative. you
4159 could also make the staff larger at the bottom by setting it to
4160 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
4162 Vertical aligment of staves is handled by the
4163 @internalsref{VerticalAlignment} grob, which lives at
4164 @internalsref{Score} level.
4166 The piano staffs are handled a little differently: to make cross-staff
4167 beaming work correctly, it necessary that the distance between staves
4168 is fixed. This is also done with a @internalsref{VerticalAlignment}
4169 grob, created in @internalsref{PianoStaff}, but a forced distance is
4170 set. This is done with the grob property #'forced-distance. If you
4171 want to override this, use a @code{\translator} block as follows:
4175 VerticalAlignment \override #'forced-distance = #9
4178 This would bring the staffs together at a distance of 9 staff spaces,
4179 and again this is measured from the center line of each staff.
4183 @node Horizontal spacing
4184 @subsection Horizontal Spacing
4186 The spacing engine translates differences in durations into
4187 stretchable distances (``springs'') of differing lengths. Longer
4188 durations get more space, shorter durations get less. The basis for
4189 assigning spaces to durations, is that the shortest durations get a
4190 fixed amount of space, and the longer durations get more: doubling a
4191 duration adds a fixed amount of space to the note.
4193 For example, the following piece contains lots of half, quarter and
4194 8th notes, the eighth note is followed by 1 note head width. The The
4195 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4196 @lilypond[fragment, verbatim, relative=1]
4197 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4200 These two amounts of space are @code{shortest-duration-space}
4201 @code{spacing-increment}, grob properties of
4202 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4203 set to 1.2, which is the width of a note head, and
4204 @code{shortest-duration-space} is set to 2.0, meaning that the
4205 shortest note gets 2 noteheads of space. For normal notes, this space
4206 is always counted from the left edge of the symbol, so the short notes
4207 in a score is generally followed by one note head width of space.
4209 If one would follow the above procedure exactly, then adding a single
4210 32th note to a score that uses 8th and 16th notes, would widen up the
4211 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4212 thus adding 2 noteheads of space to every note. To prevent this, the
4213 shortest duration for spacing is not the shortest note in the score,
4214 but the most commonly found shortest note. Notes that are even
4215 shorter this are followed by a space that is proportonial to their
4216 duration relative to the common shortest note. So if we were to add
4217 only a few 16th notes to the example above, they would be followed by
4220 @lilypond[fragment, verbatim, relative=1]
4221 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4224 The most common shortest duration is determined as follows: in every
4225 measure, the shortest duration is determined. The most common short
4226 duration, is taken as the basis for the spacing, with the stipulation
4227 that this shortest duration should always be equal to or shorter than
4228 1/8th note. The shortest duration is printed when you run lilypond
4229 with @code{--verbose}. These durations may also be customized. If you
4230 set the @code{common-shortest-duration} in
4231 @internalsref{SpacingSpanner}, then this sets the base duration for
4232 spacing. The maximum duration for this base (normally 1/8th), is set
4233 through @code{base-shortest-duration}.
4235 @cindex @code{common-shortest-duration}
4236 @cindex @code{base-shortest-duration}
4237 @cindex @code{stem-spacing-correction}
4238 @cindex @code{spacing}
4240 In the introduction it was explained that stem directions influence
4241 spacing. This is controlled with @code{stem-spacing-correction} in
4242 @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
4243 same property for controlling the stem/barline spacing. In the
4244 following example shows these corrections, once with default settings,
4245 and once with exaggerated corrections.
4251 \property Staff.NoteSpacing \override #'stem-spacing-correction
4253 \property Staff.StaffSpacing \override #'stem-spacing-correction
4258 \paper { linewidth = -1. } }
4265 Spacing is determined on a score wide basis. If you have a score that
4266 changes its character (measured in durations) half way during the
4267 score, the part containing the longer durations will be spaced too
4270 Generating optically pleasing spacing is black magic. LilyPond tries
4271 to deal with a number of frequent cases. Here is an example that is
4272 not handled correctly, due to the combination of chord collisions and
4277 \context PianoStaff \notes \transpose c''' <
4278 \context Staff = up { s1 }
4279 \context Staff = down { [c8 c \translator Staff=up <c d> c
4280 \translator Staff=down c c c] }
4282 \paper { linewidth = -1 }
4289 @subsection Font size
4290 @cindex font size, setting
4291 @cindex staff size, setting
4292 @cindex @code{paper} file
4294 The Feta font provides musical symbols at seven different sizes.
4295 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4296 point, and 26 point. The point size of a font is the height of the
4297 five lines in a staff when displayed in the font.
4299 Definitions for these sizes are the files @file{paperSZ.ly}, where
4300 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4301 of these files, the identifiers @code{paperEleven},
4302 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4303 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4304 are defined respectively. The default @code{\paper} block is also
4305 set. These files should be imported at toplevel, i.e.
4307 \include "paper26.ly"
4311 The font definitions are generated using a Scheme function. For more
4312 details, see the file @file{scm/font.scm}.
4317 @subsection Line breaking
4320 @cindex breaking lines
4322 Line breaks are normally computed automatically. They are chosen such
4323 that it looks neither cramped nor loose, and that consecutive lines have
4326 Occasionally you might want to override the automatic breaks; you can
4327 do this by specifying @code{\break}. This will force a line break at
4328 this point. Line breaks can only occur at places where there are bar
4329 lines. If you want to have a line break where there is no bar line,
4330 you can force an invisible bar line by entering @code{\bar
4331 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4334 If you want linebreaks at regular intervals, you can use the following:
4336 < \repeat 7 unfold @{ s1 * 4 \break @}
4340 This makes the following 28 measures (assuming 4/4 time) be broken every
4344 @subsection Page layout
4347 @cindex breaking pages
4349 @cindex @code{indent}
4350 @cindex @code{linewidth}
4352 The most basic settings influencing the spacing are @code{linewidth}
4353 and @code{indent}, both set in the @code{\paper} block. They control
4354 the indentation of the first line of music, and the lengths of the
4355 lines. If @code{linewidth} set to a negative value, a single
4356 unjustified line is produced. A similar effect for scores that are
4357 longer than one line, can be produced by setting @code{raggedright} to
4358 true in the @code{\paper} block.
4362 The page layout process happens outside lilypond. Ly2dvi sets page
4363 layout instructions. Ly2dvi responds to the following variables in the
4364 @code{\paper} block. The variable @code{textheight} sets the total
4365 height of the music on each page. The spacing between systems is
4366 controlled with @code{interscoreline}, its default is 16pt.
4367 The distance between the score lines will stretch in order to fill the
4368 full page @code{interscorelinefill} is set to a positive number. In
4369 that case @code{interscoreline} specifies the minimum spacing.
4371 @cindex @code{textheight}
4372 @cindex @code{interscoreline}
4373 @cindex @code{interscorelinefill}
4375 Page breaks are normally computed by @TeX{}, so they are not under
4376 direct control of LilyPond. However, you can insert a commands into
4377 the @file{.tex} output to instruct @TeX{} where to break pages. You
4378 can insert a @code{\newpage} from within lilypond. This is done by
4379 setting the @code{between-systems-strings} on the
4380 @internalsref{NonMusicalPaperColumn} where the system is broken.
4384 @cindex @code{papersize}
4386 To change the paper size, you must first set the
4387 @code{papersize} paper variable variable. Set it to
4388 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4389 specification, you must set the font as described above. If you want
4390 the default font, then use the 20 point font.
4393 \paper@{ papersize = "a4" @}
4394 \include "paper16.ly"
4397 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4398 will set the paper variables @code{hsize} and @code{vsize} (used by
4399 Lilypond and @code{ly2dvi})
4409 LilyPond can produce MIDI output. The performance lacks lots of
4410 interesting effects, such as swing, articulation, slurring, etc., but it
4411 is good enough for proof-hearing the music you have entered. Ties,
4412 dynamics and tempo changes are interpreted.
4414 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4415 levels. Dynamic marks translate to a fixed fraction of the available
4416 MIDI volume range, crescendi and decrescendi make the the volume vary
4417 linearly between their two extremities. The fractions be adjusted by
4418 overriding the @code{absolute-volume-alist} defined in
4419 @file{scm/midi.scm}.
4421 For each type of musical instrument (that MIDI supports), a volume range
4422 can be defined. This gives you basic equalizer control, which can
4423 enhance the quality of the MIDI output remarkably. You can add
4424 instruments and ranges or change the default settings by overriding the
4425 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4427 Both loudness controls are combined to produce the final MIDI volume.
4433 * MIDI instrument names::
4438 @subsection MIDI block
4442 The MIDI block is analogous to the paper block, but it is somewhat
4443 simpler. The @code{\midi} block can contain:
4447 @item a @code{\tempo} definition
4448 @item context definitions
4451 Assignments in the @code{\midi} block are not allowed.
4455 @cindex context definition
4457 Context definitions follow precisely the same syntax as within the
4458 \paper block. Translation modules for sound are called performers.
4459 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4462 @node MIDI instrument names
4463 @subsection MIDI instrument names
4465 @cindex instrument names
4466 @cindex @code{Staff.midiInstrument}
4467 @cindex @code{Staff.instrument}
4469 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4470 property or, if that property is not set, the @code{Staff.instrument}
4471 property. The instrument name should be chosen from the list in
4472 @ref{MIDI instruments}.
4476 If the selected string does not exactly match, then LilyPond uses the
4477 default (Grand Piano). It is not possible to select an instrument by