3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
26 * Fingering instructions::
35 * Contemporary notation::
41 @c FIXME: Note entry vs Music entry at top level menu is confusing.
47 The basic elements of any piece of music are the notes. This section
48 is about basic notation elements notes, rests and related constructs,
49 such as stems, tuplets and ties.
54 * Chromatic alterations::
62 * Easy Notation note heads ::
70 A note is printed by specifying its pitch and then its duration:
71 @footnote{Notes constitute the most basic elements of LilyPond input,
72 but they do not form valid input on their own without a @code{\score}
73 block. However, for the sake of brevity and simplicity we will
74 generally omit @code{\score} blocks and @code{\paper} declarations in
77 @lilypond[fragment,verbatim]
86 @cindex Note specification
88 @cindex entering notes
90 The most common syntax for pitch entry is used in @code{\chords} and
91 @code{\notes} mode. In Note and Chord mode, pitches may be designated
92 by names. The notes are specified by the letters @code{a} through
93 @code{g}, while the octave is formed with notes ranging from @code{c}
94 to @code{b}. The pitch @code{c} is an octave below middle C and the
95 letters span the octave above that C:
97 @lilypond[fragment,verbatim]
99 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
102 @cindex note names, Dutch
104 A sharp is formed by adding @code{-is} to the end of a pitch name and
105 a flat is formed by adding @code{-es}. Double sharps and double flats
106 are obtained by adding @code{-isis} or @code{-eses}. These
107 names are the Dutch note names. In Dutch, @code{aes} is contracted to
108 @code{as}, but both forms are accepted. Similarly, both
109 @code{es} and @code{ees} are accepted.
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are:
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
123 deutsch.ly c d e f g a b h -is -es
124 norsk.ly c d e f g a b h -iss/-is -ess/-es
125 svenska.ly c d e f g a b h -iss -ess
126 italiano.ly do re mi fa sol la sib si -d -b
127 catalan.ly do re mi fa sol la sib si -d/-s -b
128 espanol.ly do re mi fa sol la sib si -s -b
137 The optional octave specification takes the form of a series of
138 single quote (`@code{'}') characters or a series of comma
139 (`@code{,}') characters. Each @code{'} raises the pitch by one
140 octave; each @code{,} lowers the pitch by an octave:
142 @lilypond[fragment,verbatim,center]
143 c' c'' es' g' as' gisis' ais'
149 Notes can be hidden and unhidden with the following commands:
151 @cindex @code{\hideNotes}
153 @cindex @code{\unHideNotes}
163 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
165 @node Chromatic alterations
166 @subsection Chromatic alterations
168 Normally accidentals are printed automatically, but you may also
169 print them manually. A reminder accidental
170 @cindex reminder accidental
172 can be forced by adding an exclamation mark @code{!}
173 after the pitch. A cautionary accidental
174 @cindex cautionary accidental
175 @cindex parenthesized accidental
176 (an accidental within parentheses) can be obtained by adding the
177 question mark `@code{?}' after the pitch:
179 @lilypond[fragment,verbatim]
180 cis' cis' cis'! cis'?
184 The automatic production of accidentals can be tuned in many
185 ways. For more information, refer to @ref{Accidentals}.
190 A chord is formed by a enclosing a set of pitches in @code{<} and
191 @code{>}. A chord may be followed by a duration, and a set of
192 articulations, just like simple notes.
202 Rests are entered like notes, with the note name @code{r}:
204 @lilypond[singleline,verbatim]
208 Whole bar rests, centered in middle of the bar,
209 must be done with multi measure rests. They are discussed in
210 @ref{Multi measure rests}.
213 A rest's vertical position may be explicitly specified by entering a
214 note with the @code{\rest} keyword appended. This makes manual
215 formatting in polyphonic music easier. Rest collision testing will
216 leave these rests alone:
218 @lilypond[singleline,verbatim]
224 @internalsref{RestEvent}, and @internalsref{Rest}.
231 @cindex Invisible rest
234 An invisible rest (also called a `skip') can be entered like a note
235 with note name `@code{s}' or with @code{\skip @var{duration}}:
237 @lilypond[singleline,verbatim]
241 The @code{s} syntax is only available in Note mode and Chord mode. In
242 other situations, you should use the @code{\skip} command:
244 @lilypond[singleline,verbatim]
247 { \time 4/8 \skip 2 \time 4/4 }
248 \notes\relative c'' { a2 a1 }
253 The skip command is merely an empty musical placeholder. It does not
254 produce any output, not even transparent output.
258 @internalsref{SkipEvent}.
263 @subsection Durations
269 In Note, Chord, and Lyrics mode, durations are designated by numbers
270 and dots: durations are entered as their reciprocal values. For example,
271 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
272 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
273 longer than a whole you must use variables:
275 @c FIXME: what is an identifier? I do not think it's been introduced yet.
276 @c and if it has, I obviously skipped that part. - Graham
280 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
282 r1 r2 r4 r8 r16 r32 r64 r64
287 \notes \relative c'' {
289 a1 a2 a4 a8 a16 a32 a64 a64
291 r1 r2 r4 r8 r16 r32 r64 r64
296 \remove "Clef_engraver"
297 \remove "Staff_symbol_engraver"
298 \remove "Time_signature_engraver"
299 \consists "Pitch_squash_engraver"
306 If the duration is omitted then it is set to the previously entered
307 duration. The default for the first note is a quarter note. The duration
308 can be followed by dots (`@code{.}') in order to obtain dotted note
312 @lilypond[fragment,verbatim,center]
313 a' b' c''8 b' a'4 a'4. b'4.. c'8.
318 You can alter the length of duration by a fraction @var{N/M}
319 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
320 will not affect the appearance of the notes or rests produced.
321 In the following example, the first three notes take up exactly two
323 @lilypond[fragment,relative 2,verbatim]
325 a4*2/3 gis4*2/3 a4*2/3
332 Dots are normally moved up to avoid staff lines, except in polyphonic
333 situations. The following commands may be used to force a particular
336 @cindex @code{\dotsUp}
338 @cindex @code{\dotsDown}
340 @cindex @code{\dotsBoth}
345 @internalsref{Dots}, and @internalsref{DotColumn}.
349 In dense chords, dots can overlap.
354 Whenever a note is found, a @internalsref{Stem} object is created
355 automatically. For whole notes and rests, they are also created but
360 @cindex @code{\stemUp}
362 @cindex @code{\stemDown}
364 @cindex @code{\stemBoth}
375 A tie connects two adjacent note heads of the same pitch. The tie in
376 effect extends the length of a note. Ties should not be confused with
377 slurs, which indicate articulation, or phrasing slurs, which indicate
378 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
380 @lilypond[fragment,verbatim,center]
381 e' ~ e' <c' e' g'> ~ <c' e' g'>
384 When a tie is applied to a chord, all note heads whose pitches match
385 are connected. When no note heads match, no ties will be created.
387 In its meaning a tie is just a way of extending a note duration, similar
388 to the augmentation dot; in the following example there are two ways of
389 notating exactly the same concept:
391 @lilypond[fragment, singleline,quote]
392 \time 3/4 c'2. c'2 ~ c'4
394 If you need to tie a lot of notes over bars, it may be easier to use automatic
395 note splitting (See @ref{Automatic note splitting}).
400 @cindex @code{\tieUp}
402 @cindex @code{\tieDown}
404 @cindex @code{\tieBoth}
406 @cindex @code{\tieDotted}
408 @cindex @code{\tieSolid}
413 @internalsref{TieEvent}, @internalsref{NewTieEvent},
414 @internalsref{Tie}, and @ref{Automatic note splitting}.
417 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
421 Tieing only a subset of the note heads of a pair of chords is not
422 supported in a simple way.
425 It can be achieved by moving the
426 tie-engraver into the @internalsref{Thread} context and turning on and
427 off ties per @internalsref{Thread}.
430 Switching staves when a tie is active will not produce a slanted tie.
432 Formatting of ties is a difficult subject. The results are often not
442 @cindex @code{\times}
444 Tuplets are made out of a music expression by multiplying all durations
447 @cindex @code{\times}
449 \times @var{fraction} @var{musicexpr}
453 The duration of @var{musicexpr} will be multiplied by the fraction.
454 The fraction's denominator will be printed over the notes, optionally
455 with a bracket. The most common tuplet is the triplet in which 3
456 notes have the length of 2, so the notes are 2/3 of their written
459 @lilypond[fragment,verbatim,center]
460 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
463 The property @code{tupletSpannerDuration} specifies how long each
464 bracket should last. With this, you can make lots of tuplets while
465 typing @code{\times} only once, saving lots of typing. In the next
466 example, there are two triplets shown, while @code{\times} was only
469 @lilypond[fragment, relative, singleline, verbatim]
470 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
471 \times 2/3 { c'8 c c c c c }
474 The format of the number is determined by the property
475 @code{tupletNumberFormatFunction}. The default prints only the
476 denominator, but if it is set to the Scheme function
477 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
481 @cindex @code{tupletNumberFormatFunction}
482 @cindex tuplet formatting
487 @cindex @code{\tupletUp}
489 @cindex @code{\tupletDown}
491 @cindex @code{\tupletBoth}
496 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
500 Nested tuplets are not formatted automatically. In this case, outer
501 tuplet brackets should be moved manually.
503 @node Easy Notation note heads
504 @subsection Easy Notation note heads
506 @cindex easy notation
509 The `easy play' note head includes a note name inside the head. It is
510 used in music aimed at beginners:
512 @lilypond[singleline,verbatim,26pt]
514 \notes { c'2 e'4 f' | g'1 }
515 \paper { \translator { \EasyNotation } }
519 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
520 You probably will want to print it with magnification or a
521 large font size to make it more readable. To print with
522 magnification, you must create a DVI file (with @file{lilypond}) and
523 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
524 See the @code{dvips} documentation for more details. To print with a
525 larger font, see @ref{Font Size}.
531 If you view the result with Xdvi, then staff lines will show through
532 the letters. Printing the PostScript file obtained does produce the
536 @node Easier music entry
537 @section Easier music entry
540 When entering music it is easy to introduce errors. This section deals
541 with tricks and features of the input language that were added solely
542 to help entering music, and find and correct mistakes.
544 It is also possible to use external programs, for example GUI
545 interfaces, or MIDI transcription programs, to enter or edit
546 music. Refer to the website for more information. Finally, there are
547 tools make debugging easier, by linking the input file and the output
548 shown on screen. See @ref{Point and click} for more information.
555 * Skipping corrected music::
556 * Automatic note splitting ::
562 @node Relative octaves
563 @subsection Relative octaves
565 @cindex relative octave specification
567 Octaves are specified by adding @code{'} and @code{,} to pitch names.
568 When you copy existing music, it is easy to accidentally put a pitch
569 in the wrong octave and hard to find such an error. The relative
570 octave mode prevents these errors: a single error puts the rest of the
571 piece off by one octave:
573 @cindex @code{\relative}
575 \relative @var{startpitch} @var{musicexpr}
578 The octave of notes that appear in @var{musicexpr} are calculated as
579 follows: If no octave changing marks are used, the basic interval
580 between this and the last note is always taken to be a fourth or less
581 (; this distance is determined without regarding alterations: a
582 @code{fisis} following a @code{ceses} will be put above the
585 The octave changing marks @code{'} and @code{,} can be added to raise
586 or lower the pitch by an extra octave. Upon entering relative mode,
587 an absolute starting pitch must be specified that will act as the
588 predecessor of the first note of @var{musicexpr}.
590 Here is the relative mode shown in action:
591 @lilypond[fragment,singleline,verbatim,center]
597 Octave changing marks are used for intervals greater than a fourth:
598 @lilypond[fragment,verbatim,center]
603 If the preceding item is a chord, the first note of the chord is used
604 to determine the first note of the next chord:
606 @lilypond[fragment,verbatim,center]
613 @cindex @code{\notes}
615 The pitch after the @code{\relative} contains a note name. To parse
616 the pitch as a note name, you have to be in note mode, so there must
617 be a surrounding @code{\notes} keyword (which is not
620 The relative conversion will not affect @code{\transpose},
621 @code{\chords} or @code{\relative} sections in its argument. If you
622 want to use relative within transposed music, you must place an
623 additional @code{\relative} inside the @code{\transpose}.
626 @subsection Octave check
629 Octave checks make octave errors easier to correct.
635 This checks that @var{pitch} (without octave) yields @var{pitch} (with
636 octave) in \relative mode. If not, a warning is printed, and the
637 octave is corrected, for example, the first check is passed
638 successfully. The second check fails with an error message. The
639 octave is adjusted so the following notes are in the correct octave
650 The octave of a note following an octave check is determined with
651 respect to the note preceding it. In the next fragment, the last note
652 is a @code{a'}, above central C. Hence, the @code{\octave} check may
653 be deleted without changing the meaning of the piece.
655 @lilypond[verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. Depending on the value of
677 @code{barCheckSynchronize}, the beginning of the measure will be
680 In the next example, the second bar check will signal an error:
682 \time 3/4 c2 e4 | g2 |
687 @cindex skipTypesetting
689 Failed bar checks are caused by entering incorrect
690 durations. Incorrect durations often completely garble up the score,
691 especially if it is polyphonic, so you should start correcting the
692 score by scanning for failed bar checks and incorrect durations. To
693 speed up this process, you can use @code{skipTypesetting}, described
696 @node Skipping corrected music
697 @subsection Skipping corrected music
699 The property @code{Score.skipTypesetting} can be used to switch on and
700 off typesetting completely during the interpretation phase. When
701 typesetting is switched off, the music is processed much more quickly.
702 This can be used to skip over the parts of a score that have already
703 been checked for errors:
705 @lilypond[fragment,singleline,verbatim]
707 \property Score.skipTypesetting = ##t
709 \property Score.skipTypesetting = ##f
713 @node Automatic note splitting
714 @subsection Automatic note splitting
716 Long notes can be converted automatically to tied notes. This is done
717 by replacing the @internalsref{Note_heads_engraver} by the
718 @internalsref{Completion_heads_engraver}:
721 \paper @{ \translator @{
723 \remove "Note_heads_engraver"
724 \consists "Completion_heads_engraver"
728 which will make long notes tied in the following example:
731 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
738 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
740 \paper { \translator {
742 \remove "Note_heads_engraver"
743 \consists "Completion_heads_engraver"
748 This engraver splits all running notes at the bar line, and inserts
749 ties. One of its uses is to debug complex scores: if the measures are
750 not entirely filled, then the ties exactly show how much each measure
755 Not all durations (especially those containing tuplets) can be
756 represented exactly; the engraver will not insert tuplets.
762 @section Staff notation
764 This section describes music notation that occurs on staff level,
765 such as keys, clefs and time signatures.
767 @cindex Staff notation
781 @subsection Staff symbol
783 @cindex adjusting staff symbol
784 @cindex StaffSymbol, using \property
786 Notes, dynamic signs, etc. are grouped
787 with a set of horizontal lines, into a staff (plural `staves'). In our
788 system, these lines are drawn using a separate layout object called
792 @cindex staff lines, setting number of
793 @cindex staff lines, setting thickness of
794 @cindex thickness of staff lines, setting
795 @cindex number of staff lines, setting
797 This object is created whenever a @internalsref{Staff} context is
798 created. The appearance of the staff symbol cannot be changed by
799 using @code{\override} or @code{\set}. At the moment that
800 @code{\property Staff} is interpreted, a @internalsref{Staff} context
801 is made, and the @internalsref{StaffSymbol} is created before any
802 @code{\override} is effective. Properties can be changed in a
803 @code{\translator} definition, or by using @code{\outputproperty}.
807 If a staff is ended halfway a piece, the staff symbol may not end
808 exactly on the barline.
812 @subsection Key signature
813 @cindex Key signature
817 The key signature indicates the scale in which a piece is played. It
818 is denoted by a set of alterations (flats or sharps) at the start of
823 Setting or changing the key signature is done with the @code{\key}
826 @code{\key} @var{pitch} @var{type}
829 @cindex @code{\minor}
830 @cindex @code{\major}
831 @cindex @code{\minor}
832 @cindex @code{\ionian}
833 @cindex @code{\locrian}
834 @cindex @code{\aeolian}
835 @cindex @code{\mixolydian}
836 @cindex @code{\lydian}
837 @cindex @code{\phrygian}
838 @cindex @code{\dorian}
840 Here, @var{type} should be @code{\major} or @code{\minor} to get
841 @var{pitch}-major or @var{pitch}-minor, respectively.
842 The standard mode names @code{\ionian},
843 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
844 @code{\phrygian}, and @code{\dorian} are also defined.
846 This command sets the context property
847 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
848 can be specified by setting this property directly.
850 Accidentals and key signatures often confuse new users, because
851 unaltered notes get natural signs depending on the keysignature. The
852 tutorial explains why this is so in @ref{More about pitches}.
856 The ordering of a key cancellation is wrong when it is combined with
857 repeat bar lines. The cancellation is also printed after a line break.
861 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
863 @cindex @code{keySignature}
870 The clef indicates which lines of the staff correspond to which
875 The clef can be set or changed with the @code{\clef} command:
876 @lilypond[fragment,verbatim]
877 \key f\major c''2 \clef alto g'2
880 Supported clef-names include:
881 @c Moved standard clefs to the top /MB
885 @item treble, violin, G, G2
898 G clef on 1st line, so-called French violin clef
903 @cindex mezzosoprano clef
906 @cindex baritone clef
909 @cindex varbaritone clef
918 By adding @code{_8} or @code{^8} to the clef name, the clef is
919 transposed one octave down or up, respectively, and @code{_15} and
920 @code{^15} transposes by two octaves. The argument @var{clefname}
921 must be enclosed in quotes when it contains underscores or digits. For
925 @cindex choral tenor clef
926 @lilypond[verbatim,fragment,relative]
930 This command is equivalent to setting @code{clefGlyph},
931 @code{clefPosition} (which controls the Y position of the clef),
932 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
933 when any of these properties are changed.
937 The object for this symbol is @internalsref{Clef}.
941 @node Ottava brackets
942 @subsection Ottava brackets
944 ``Ottava'' brackets introduce an extra transposition of an octave for
945 the staff. They are created by invoking the function
946 @code{set-octavation}:
952 @lilypond[verbatim,fragment]
961 Internally the @code{set-octavation} function sets the properties
962 @code{ottavation} (eg. to @code{"8va"}) and
963 @code{centralCPosition}. The function also takes arguments -1 (for 8va
964 bassa) and 2 (for 15ma).
966 @internalsref{OttavaSpanner}.
970 @code{set-octavation} will get confused when clef changes happen
971 during an octavation bracket.
974 @subsection Time signature
975 @cindex Time signature
979 Time signature indicates the metrum of a piece: a regular pattern of
980 strong and weak beats. It is denoted by a fraction at the start of the
985 The time signature is set or changed by the @code{\time}
987 @lilypond[fragment,verbatim]
988 \time 2/4 c'2 \time 3/4 c'2.
991 The symbol that is printed can be customized with the @code{style}
992 property. Setting it to @code{#'()} uses fraction style for 4/4 and
993 2/2 time. There are many more options for its layout. See
994 @inputfileref{input/test,time.ly} for more examples.
997 This command sets the property @code{timeSignatureFraction},
998 @code{beatLength} and @code{measureLength} in the @code{Timing}
999 context, which is normally aliased to @internalsref{Score}. The
1000 property @code{measureLength} determines where bar lines should be
1001 inserted, and how automatic beams should be generated. Changing the
1002 value of @code{timeSignatureFraction} also causes the symbol to be
1005 More options are available through the Scheme function
1006 @code{set-time-signature}. In combination with the
1007 @internalsref{Measure_grouping_engraver}, it will create
1008 @internalsref{MeasureGrouping} signs. Such signs ease reading
1009 rhythmically complex modern music. In the following example, the 9/8
1010 measure is subdivided in 2, 2, 2 and 3. This is passed to
1011 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1014 \score { \notes \relative c'' {
1015 #(set-time-signature 9 8 '(2 2 2 3))
1016 g8[ g] d[ d] g[ g] a8[( bes g]) |
1017 #(set-time-signature 5 8 '(3 2))
1022 \translator { \StaffContext
1023 \consists "Measure_grouping_engraver"
1029 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1034 Automatic beaming does not use measure grouping specified with
1035 @code{set-time-signature}.
1037 @node Partial measures
1038 @subsection Partial measures
1041 @cindex partial measure
1042 @cindex measure, partial
1043 @cindex shorten measures
1044 @cindex @code{\partial}
1046 Partial measures, for example in upsteps, are entered using the
1047 @code{\partial} command:
1048 @lilypond[fragment,verbatim,relative 1]
1049 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1052 The syntax for this command is
1054 \partial @var{duration}
1056 This is internally translated into
1058 \property Timing.measurePosition = -@var{length of duration}
1061 The property @code{measurePosition} contains a rational number
1062 indicating how much of the measure has passed at this point.
1064 @node Unmetered music
1065 @subsection Unmetered music
1067 Bar lines and bar numbers are calculated automatically. For unmetered
1068 music (e.g. cadenzas), this is not desirable. By setting
1069 @code{Score.timing} to false, this automatic timing can be switched
1075 @cindex @code{\cadenzaOn}
1077 @cindex @code{\cadenzaOff}
1081 @subsection Bar lines
1085 @cindex measure lines
1089 Bar lines delimit measures, but are also used to indicate repeats.
1090 Normally, they are inserted automatically. Line breaks may only
1096 of barlines can be forced with the @code{\bar} command:
1097 @lilypond[relative=1,fragment,verbatim]
1101 The following bar types are available:
1102 @lilypond[fragment, relative, singleline, verbatim]
1114 In scores with many staves, a @code{\bar} command in one staff is
1115 automatically applied to all staves. The resulting bar lines are
1116 connected between different staves of a @internalsref{StaffGroup}:
1118 @lilypond[fragment, verbatim]
1119 << \context StaffGroup <<
1123 \new Staff { \clef bass c4 g e g } >>
1124 \new Staff { \clef bass c2 c2 } >>
1128 The command @code{\bar @var{bartype}} is a short cut for doing
1129 @code{\property Score.whichBar = @var{bartype}} Whenever
1130 @code{whichBar} is set to a string, a bar line of that type is
1131 created. At the start of a measure it is set to
1132 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1133 to override default measure bars.
1135 Property @code{whichBar} can also be set directly, using @code{\property}
1136 or @code{\bar}. These settings take precedence over the automatic
1137 @code{whichBar} settings.
1140 @cindex repeatCommands
1141 @cindex defaultBarType
1143 You are encouraged to use @code{\repeat} for repetitions. See
1153 The bar line objects that are created at @internalsref{Staff} level
1154 are called @internalsref{BarLine}, the bar lines that span staves are
1155 @internalsref{SpanBar}s.
1157 @cindex bar lines at start of system
1158 @cindex start of system
1160 The barlines at the start of each system are
1161 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1162 @internalsref{SystemStartBracket}. They are spanner objects and
1163 typically must be tuned from a @code{\translator} block.
1170 The easiest way to enter fragments with more than one voice on a staff
1171 is to split chords using the separator @code{\\}. You can use it for
1172 small, short-lived voices or for single chords:
1174 @lilypond[verbatim,fragment]
1175 \context Staff \relative c'' {
1176 c4 << { f d e } \\ { b c2 } >> c4 << g' \\ b, \\ f' \\ d >>
1180 The separator causes @internalsref{Voice} contexts to be
1182 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1183 contexts, vertical direction of slurs, stems, etc. is set
1186 This can also be done by instantiating @internalsref{Voice} contexts
1187 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1188 a stem directions and horizontal shift for each part:
1191 @lilypond[singleline, verbatim]
1193 \context Staff << \new Voice { \voiceOne cis2 b }
1194 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1195 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1198 Normally, note heads with a different number of dots are not merged, but
1199 when the object property @code{merge-differently-dotted} is set in
1200 the @internalsref{NoteCollision} object, they are merged:
1201 @lilypond[verbatim,fragment,singleline]
1202 \relative c'' \context Voice << {
1204 \property Staff.NoteCollision \override
1205 #'merge-differently-dotted = ##t
1207 } \\ { g8.[ f16] g8.[ f16] }
1211 Similarly, you can merge half note heads with eighth notes, by setting
1212 @code{merge-differently-headed}:
1213 @lilypond[fragment, relative=2,verbatim]
1216 \property Staff.NoteCollision
1217 \override #'merge-differently-headed = ##t
1218 c8 c4. } \\ { c2 c2 } >>
1221 LilyPond also vertically shifts rests that are opposite of a stem:
1224 @lilypond[singleline,fragment,verbatim]
1225 \context Voice << c''4 \\ r4 >>
1233 @cindex @code{\oneVoice}
1235 @cindex @code{\voiceOne}
1237 @cindex @code{\voiceTwo}
1239 @cindex @code{\voiceThree}
1241 @cindex @code{\voiceFour}
1244 The following commands specify in what chords of the current voice
1245 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1246 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1249 @cindex @code{\shiftOn}
1251 @cindex @code{\shiftOnn}
1253 @cindex @code{\shiftOnnn}
1255 @cindex @code{\shiftOff}
1262 The objects responsible for resolving collisions are
1263 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1264 also example files @inputfileref{input/regression,collision-dots.ly},
1265 @inputfileref{input/regression,collision-head-chords.ly},
1266 @inputfileref{input/regression,collision-heads.ly},
1267 @inputfileref{input/regression,collision-mesh.ly}, and
1268 @inputfileref{input/regression,collisions.ly}.
1273 Resolving collisions is a intricate subject, and only a few situations
1274 are handled. When LilyPond cannot cope, the @code{force-hshift}
1275 property of the @internalsref{NoteColumn} object and pitched rests can
1276 be used to override typesetting decisions.
1278 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1279 note, and a downstem half note, the 8th note gets the wrong offset.
1284 Beams are used to group short notes into chunks that are aligned with
1285 the metrum. They are inserted automatically in most cases:
1287 @lilypond[fragment,verbatim, relative=2]
1288 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1291 When these automatic decisions are not good enough, beaming can be
1292 entered explicitly. It is also possible to define beaming patterns
1293 that differ from the defaults.
1297 @internalsref{Beam}.
1300 @cindex Automatic beams
1301 @subsection Manual beams
1302 @cindex beams, manual
1306 In some cases it may be necessary to override the automatic beaming
1307 algorithm. For example, the auto beamer will not put beams over rests
1308 or bar lines. Such beams are specified by manually: the begin and end
1309 point are marked with @code{[} and @code{]}:
1311 @lilypond[fragment,relative,verbatim]
1313 r4 r8[ g' a r8] r8 g[ | a] r8
1317 @cindex @code{stemLeftBeamCount}
1319 Normally, beaming patterns within a beam are determined automatically.
1320 When this mechanism fouls up, the properties
1321 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1322 be used to control the beam subdivision on a stem. If either property
1323 is set, its value will be used only once, and then it is erased.
1325 @lilypond[fragment,relative,verbatim]
1328 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1331 @cindex @code{stemRightBeamCount}
1334 The property @code{subdivideBeams} can be set in order to subdivide
1335 all 16th or shorter beams at beat positions, as defined by the
1336 @code{beatLength} property . This accomplishes the same effect as
1337 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1338 but it take less typing:
1341 @lilypond[relative=1,verbatim,noindent]
1343 \property Voice.subdivideBeams = ##t
1345 \property Score.beatLength = #(ly:make-moment 1 8)
1348 @cindex subdivideBeams
1350 Kneed beams are inserted automatically, when a large gap is detected
1351 between the note heads. This behavior can be tuned through the object
1352 property @code{auto-knee-gap}.
1354 Normally, line breaks are forbidden when beams cross bar lines. This
1355 behavior can be changed by setting @code{allowBeamBreak}.
1357 @cindex @code{allowBeamBreak}
1358 @cindex beams and line breaks
1360 @cindex beams, kneed
1362 @cindex auto-knee-gap
1368 @cindex Frenched staves
1370 Automatically kneed beams cannot be used together with hidden staves.
1375 * Setting automatic beam behavior ::
1379 @no de Beam typography
1380 @sub section Beam typography
1382 One of the strong points of LilyPond is how beams are formatted. Beams
1383 are quantized, meaning that the left and right endpoints beams start
1384 exactly on staff lines. Without quantization, small wedges of white
1385 space appear between the beam and staff line, and this looks untidy.
1387 Beams are also slope-damped: melodies that go up or down should also
1388 have beams that go up or down, but the slope of the beams should be
1389 less than the slope of the notes themselves.
1391 Some beams should be horizontal. These are so-called concave beams.
1393 [TODO: some pictures.]
1397 @node Setting automatic beam behavior
1398 @subsection Setting automatic beam behavior
1400 @cindex @code{autoBeamSettings}
1401 @cindex @code{(end * * * *)}
1402 @cindex @code{(begin * * * *)}
1403 @cindex automatic beams, tuning
1404 @cindex tuning automatic beaming
1406 @c [TODO: use \applycontext]
1408 In normal time signatures, automatic beams can start on any note but can
1409 only end in a few positions within the measure: beams can end on a beat,
1410 or at durations specified by the properties in
1411 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1412 are defined in @file{scm/auto-beam.scm}.
1414 The value of @code{autoBeamSettings} is changed using
1415 @code{\override} and restored with @code{\revert}:
1417 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1418 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1420 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1421 whether the rule applies to begin or end-points. The quantity
1422 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1423 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1424 signature (wildcards, `@code{* *}' may be entered to designate all time
1427 For example, if automatic beams should end on every quarter note, use
1430 \property Voice.autoBeamSettings \override
1431 #'(end * * * *) = #(ly:make-moment 1 4)
1433 Since the duration of a quarter note is 1/4 of a whole note, it is
1434 entered as @code{(ly:make-moment 1 4)}.
1436 The same syntax can be used to specify beam starting points. In this
1437 example, automatic beams can only end on a dotted quarter note:
1439 \property Voice.autoBeamSettings \override
1440 #'(end * * * *) = #(ly:make-moment 3 8)
1442 In 4/4 time signature, this means that automatic beams could end only on
1443 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1444 3/8 has passed within the measure).
1446 Rules can also be restricted to specific time signatures. A rule that
1447 should only be applied in @var{N}/@var{M} time signature is formed by
1448 replacing the second asterisks by @var{N} and @var{M}. For example, a
1449 rule for 6/8 time exclusively looks like
1451 \property Voice.autoBeamSettings \override
1452 #'(begin * * 6 8) = ...
1455 If a rule should be to applied only to certain types of beams, use the
1456 first pair of asterisks. Beams are classified according to the
1457 shortest note they contain. For a beam ending rule that only applies
1458 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1461 If a score ends while an automatic beam has not been ended and is still
1462 accepting notes, this last beam will not be typeset at all.
1464 @cindex automatic beam generation
1466 @cindex @code{Voice.autoBeaming}
1469 For melodies that have lyrics, you may want to switch off
1470 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1475 @cindex @code{\autoBeamOff}
1476 @code{\autoBeamOff},
1477 @cindex @code{\autoBeamOn}
1483 The rules for ending a beam depend on the shortest note in a beam.
1484 So, while it is possible to have different ending rules for eight
1485 beams and sixteenth beams, a beam that contains both eight and
1486 sixteenth notes will use the rules for the sixteenth beam.
1488 In the example below, the autobeamer makes eight beams and sixteenth
1489 end at 3 eights; the third beam can only be corrected by specifying
1492 @lilypond[singleline,fragment,relative,noverbatim,quote]
1493 \property Voice.autoBeamSettings
1494 \override #'(end * * * *) = #(ly:make-moment 3 8)
1495 % rather show case where it goes wrong
1496 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1497 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1499 It is not possible to specify beaming parameters that act differently in
1500 different parts of a measure. This means that it is not possible to use
1501 automatic beaming in irregular meters such as @code{5/8}.
1504 @section Accidentals
1507 This section describes how to change the way that accidentals are
1508 inserted automatically before the running notes.
1512 * Using the predefined accidental variables::
1513 * Customized accidental rules::
1516 @node Using the predefined accidental variables
1517 @subsection Using the predefined accidental variables
1519 The constructs for describing the accidental typesetting rules are
1520 quite hairy, so non-experts should stick to the variables
1521 defined in @file{ly/property-init.ly}.
1522 @cindex @file{property-init.ly}
1524 The variables set properties in the ``@code{Current}'' context (see
1525 @ref{Context properties}). This means that the variables should
1526 normally be added right after the creation of the context in which the
1527 accidental typesetting described by the variable is to take
1528 effect. For example, if you want to use piano-accidentals in a piano
1529 staff then issue @code{\pianoAccidentals} first thing after the
1530 creation of the piano staff:
1533 \notes \relative c'' <<
1534 \new Staff @{ cis4 d e2 @}
1535 \context GrandStaff <<
1537 \new Staff @{ cis4 d e2 @}
1538 \new Staff @{ es2 c @}
1540 \new Staff @{ es2 c @}
1544 @lilypond[singleline]
1546 \notes \relative c'' <<
1547 \new Staff { cis4 d e2 }
1548 \context GrandStaff <<
1550 \new Staff { cis4 d e2 }
1551 \new Staff { es2 c }
1553 \new Staff { es2 c }
1558 minimumVerticalExtent = #'(-4.0 . 4.0)
1566 @item \defaultAccidentals
1567 @cindex @code{\defaultAccidentals}
1568 This is the default typesetting behaviour. It should correspond
1569 to 18th century common practice: Accidentals are
1570 remembered to the end of the measure in which they occur and
1571 only on their own octave.
1573 @item \voiceAccidentals
1574 @cindex @code{\voiceAccidentals}
1576 The normal behaviour is to
1577 remember the accidentals on Staff-level. This variable, however,
1578 typesets accidentals individually for each voice. Apart from that the
1579 rule is similar to @code{\defaultAccidentals}.
1581 This leads to some weird and often unwanted results
1582 because accidentals from one voice do not get cancelled in other
1584 @lilypond[singleline,relative,fragment,verbatim,quote]
1592 Hence you should only use @code{\voiceAccidentals} if the voices
1593 are to be read solely by individual musicians. If the staff is to be
1594 used by one musician (e.g. a conductor) then you use
1595 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1598 @item \modernAccidentals
1599 @cindex @code{\modernAccidentals}
1600 This rule corresponds to the common practice in the 20th
1602 The rule is more complex than @code{\defaultAccidentals}.
1603 You get all the same accidentals, but temporary
1604 accidentals also get cancelled in other octaves. Furthermore,
1605 in the same octave, they also get cancelled in the following measure:
1606 @lilypond[singleline,fragment,verbatim]
1608 cis' c'' cis'2 | c'' c'
1611 @item \modernCautionaries
1612 @cindex @code{\modernCautionaries}
1613 This rule is similar to @code{\modernAccidentals}, but the
1614 ``extra'' accidentals (the ones not typeset by
1615 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1616 They are printed in reduced size or with parentheses:
1617 @lilypond[singleline,fragment,verbatim]
1619 cis' c'' cis'2 | c'' c'
1622 @cindex @code{\modernVoiceAccidentals}
1623 @item \modernVoiceAccidentals
1624 is used for multivoice accidentals to be read both by musicians
1625 playing one voice and musicians playing all voices. Accidentals are
1626 typeset for each voice, but they @emph{are} cancelled across voices in
1627 the same @internalsref{Staff}.
1629 @cindex @code{\modernVoiceCautionaries}
1630 @item \modernVoiceCautionaries
1631 is the same as @code{\modernVoiceAccidentals}, but with the extra
1632 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1633 as cautionaries. Even though all accidentals typeset by
1634 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1635 some of them are typeset as cautionaries.
1637 @item \pianoAccidentals
1638 @cindex @code{\pianoAccidentals}
1639 20th century practice for piano notation. Very similar to
1640 @code{\modernAccidentals} but accidentals also get cancelled
1641 across the staves in the same @internalsref{GrandStaff} or
1642 @internalsref{PianoStaff}.
1644 @item \pianoCautionaries
1645 @cindex @code{\pianoCautionaries}
1646 As @code{\pianoAccidentals} but with the extra accidentals
1647 typeset as cautionaries.
1650 @cindex @code{\noResetKey}
1651 Same as @code{\defaultAccidentals} but with accidentals lasting
1652 ``forever'' and not only until the next measure:
1653 @lilypond[singleline,fragment,verbatim,relative]
1658 @item \forgetAccidentals
1659 @cindex @code{\forgetAccidentals}
1660 This is sort of the opposite of @code{\noResetKey}: Accidentals
1661 are not remembered at all---and hence all accidentals are
1662 typeset relative to the key signature, regardless of what was
1663 before in the music:
1664 @lilypond[singleline,fragment,verbatim,relative]
1666 \key d\major c4 c cis cis d d dis dis
1670 @node Customized accidental rules
1671 @subsection Customized accidental rules
1673 This section must be considered gurus-only, and hence it must be
1674 sufficient with a short description of the system and a reference to
1675 the internal documentation.
1677 The algorithm tries several different rules, and uses the rule
1678 that gives the highest number of accidentals. Each rule consists of
1681 In which context is the rule applied. For example, if
1682 @var{context} is @internalsref{Score} then all staves share
1683 accidentals, and if @var{context} is @internalsref{Staff} then all
1684 voices in the same staff share accidentals, but staves do not.
1686 Whether the accidental changes all octaves or only the current
1689 Over how many barlines the accidental lasts.
1690 If @var{lazyness} is @code{-1} then the accidental is forget
1691 immediately, and if @var{lazyness} is @code{#t} then the accidental
1694 @c [TODO: should use +infinity for this case?]
1700 @cindex @code{\defaultAccidentals}
1701 @code{\defaultAccidentals},
1702 @cindex @code{\voiceAccidentals}
1703 @code{\voiceAccidentals},
1704 @cindex @code{\modernAccidentals}
1705 @code{\modernAccidentals},
1706 @cindex @code{\modernCautionaries}
1707 @code{\modernCautionaries},
1708 @cindex @code{\modernVoiceAccidentals}
1709 @code{\modernVoiceAccidentals},
1710 @cindex @code{\modernVoiceCautionaries}
1711 @code{\modernVoiceCautionaries},
1712 @cindex @code{\pianoAccidentals}
1713 @code{\pianoAccidentals},
1714 @cindex @code{\pianoCautionaries}
1715 @code{\pianoCautionaries},
1716 @cindex @code{\noResetKey}
1718 @cindex @code{\forgetAccidentals}
1719 @code{\forgetAccidentals}.
1723 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1724 @internalsref{AccidentalPlacement}.
1729 Currently the simultaneous notes are considered to be entered in
1730 sequential mode. This means that in a chord the accidentals are
1731 typeset as if the notes in the chord happened once at a time - in the
1732 order in which they appear in the input file.
1734 This is only a problem when there are simultaneous notes whose
1735 accidentals depend on each other. The problem only occurs when using
1736 non-default accidentals. In the default scheme, accidentals only
1737 depend on other accidentals with the same pitch on the same staff, so
1738 no conflicts possible.
1740 This example shows two examples of the same music giving different
1741 accidentals depending on the order in which the notes occur in the
1744 @lilypond[singleline,fragment,verbatim]
1745 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1746 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1747 | <cis' c''> r | <c'' cis'> r |
1750 This problem can be solved by manually inserting @code{!} and @code{?}
1751 for the problematic notes.
1753 @node Expressive marks
1754 @section Expressive marks
1762 * Analysis brackets::
1769 A slur indicates that notes are to be played bound or @emph{legato}.
1773 They are entered using parentheses:
1774 @lilypond[fragment,verbatim,center]
1775 f'( g')( a') a'8[ b'(] a'4 g'2 f'4)
1780 @c TODO: should explain that ^( and _( set directions
1781 @c should set attachments with ^ and _ ?
1783 Slurs avoid crossing stems, and are generally attached to note heads.
1784 However, in some situations with beams, slurs may be attached to stem
1785 ends. If you want to override this layout you can do this through the
1786 object property @code{attachment} of @internalsref{Slur} in
1787 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1788 the attachment type of the left and right end points:
1790 @lilypond[fragment,relative,verbatim]
1792 \property Voice.Stem \set #'length = #5.5
1794 \property Voice.Slur \set #'attachment = #'(stem . stem)
1798 If a slur would strike through a stem or beam, the slur will be moved
1799 away upward or downward. If this happens, attaching the slur to the
1800 stems might look better:
1802 @lilypond[fragment,relative,verbatim]
1805 \property Voice.Slur \set #'attachment = #'(stem . stem)
1812 @cindex @code{\slurUp}
1814 @cindex @code{\slurDown}
1816 @cindex @code{\slurBoth}
1818 @cindex @code{\slurDotted}
1820 @cindex @code{\slurSolid}
1825 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1830 Producing nice slurs is a difficult problem, and LilyPond currently
1831 uses a simple, empiric method to produce slurs. In some cases, its
1835 @cindex Adjusting slurs
1837 @node Phrasing slurs
1838 @subsection Phrasing slurs
1840 @cindex phrasing slurs
1841 @cindex phrasing marks
1843 A phrasing slur (or phrasing mark) connects chords and is used to
1844 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1847 @lilypond[fragment,verbatim,center,relative]
1848 \time 6/4 c'\( d( e) f( e) d\)
1851 Typographically, the phrasing slur behaves almost exactly like a
1852 normal slur. However, they are treated as different objects. A
1853 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1854 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1855 @code{\phrasingSlurBoth}.
1857 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1858 will only affect normal slurs and not phrasing slurs.
1862 @cindex @code{\phrasingSlurUp}
1863 @code{\phrasingSlurUp},
1864 @cindex @code{\phrasingSlurDown}
1865 @code{\phrasingSlurDown},
1866 @cindex @code{\phrasingSlurBoth}
1867 @code{\phrasingSlurBoth},
1871 See also @internalsref{PhrasingSlur}, and
1872 @internalsref{PhrasingSlurEvent}.
1876 Phrasing slurs have the same limitations in their formatting as normal
1877 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1880 @subsection Breath marks
1882 Breath marks are entered using @code{\breathe}:
1885 @lilypond[fragment,relative,verbatim]
1889 The glyph of the breath mark can be tweaked by overriding the
1890 @code{text} property of the @code{BreathingSign} layout object with
1891 any markup text. For example,
1892 @lilypond[fragment,verbatim,relative]
1894 \property Voice.BreathingSign \override #'text
1895 = #(make-musicglyph-markup "scripts-rvarcomma")
1902 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1903 @inputfileref{input/regression,breathing-sign.ly}.
1906 @node Metronome marks
1907 @subsection Metronome marks
1910 @cindex beats per minute
1911 @cindex metronome marking
1913 Metronome settings can be entered as follows:
1915 \tempo @var{duration} = @var{perminute}
1918 In the MIDI output, they are interpreted as a tempo change, and in the
1919 paper output, a metronome marking is printed:
1920 @cindex @code{\tempo}
1921 @lilypond[fragment,verbatim]
1927 @internalsref{MetronomeChangeEvent}.
1932 @subsection Text spanners
1933 @cindex Text spanners
1935 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1936 are written as texts, and extended over many measures with dotted
1937 lines. You can create such texts using text spanners: attach
1938 @code{\startTextSpan} and @code{\stopTextSpan} to the
1939 start and ending note of the spanner.
1941 The string to be printed, as well as the style, is set through object
1944 @lilypond[fragment,relative,verbatim]
1946 \property Voice.TextSpanner \set #'direction = #-1
1947 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1948 c2\startTextSpan b c\stopTextSpan a }
1954 @internalsref{TextSpanEvent},
1955 @internalsref{TextSpanner}, and
1956 @inputfileref{input/regression,text-spanner.ly}.
1959 @node Analysis brackets
1960 @subsection Analysis brackets
1962 @cindex phrasing brackets
1963 @cindex musicological analysis
1964 @cindex note grouping bracket
1966 Brackets are used in musical analysis to indicate structure in musical
1967 pieces. LilyPond supports a simple form of nested horizontal brackets.
1968 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1969 @internalsref{Staff} context. A bracket is started with
1970 @code{\startGroup} and closed with @code{\stopGroup}:
1972 @lilypond[singleline,verbatim]
1973 \score { \notes \relative c'' {
1974 c4\startGroup\startGroup
1977 c4\stopGroup\stopGroup
1979 \paper { \translator {
1980 \StaffContext \consists "Horizontal_bracket_engraver"
1986 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
1987 @inputfileref{input/regression,note-group-bracket.ly}.
1991 @section Articulations
1992 @cindex Articulations
1994 @cindex articulations
1998 A variety of symbols can appear above and below notes to indicate
1999 different characteristics of the performance. They are added to a note
2000 by adding a dash and the character signifying the
2001 articulation. They are demonstrated here:
2003 @lilypondfile[notexidoc]{script-abbreviations.ly}
2005 The meanings of these shorthands can be changed: see
2006 @file{ly/script-init.ly} for examples.
2009 The script is automatically placed, but if you need to force
2010 directions, you can use @code{_} to force them down, or @code{^} to
2012 @lilypond[fragment, verbatim]
2016 Other symbols can be added using the syntax
2017 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2018 can be forced up or down using @code{^} and @code{_},
2021 @lilypond[verbatim,fragment,relative 2]
2022 c\fermata c^\fermata c_\fermata
2029 @cindex staccatissimo
2038 @cindex organ pedal marks
2047 @cindex prallmordent
2051 @cindex thumb marking
2056 @lilypondfile[notexidoc]{script-chart.ly}
2061 @cindex @code{\scriptUp}
2063 @cindex @code{\scriptDown}
2065 @cindex @code{\scriptBoth}
2070 @internalsref{ScriptEvent}, and @internalsref{Script}.
2074 All of these note ornaments appear in the printed output but have no
2075 effect on the MIDI rendering of the music.
2078 @node Fingering instructions
2079 @section Fingering instructions
2083 Fingering instructions can be entered using
2085 @var{note}-@var{digit}
2087 For finger changes, use markup texts:
2089 @lilypond[verbatim, singleline, fragment]
2090 c'4-1 c'4-2 c'4-3 c'4-4
2091 c'^\markup { \fontsize #-3 \number "2-3" }
2094 @cindex finger change
2099 You can use the thumb-script to indicate that a note should be
2100 played with your thumb (used in cello music):
2102 @lilypond[verbatim, singleline, fragment]
2103 <a' a''-3>8(_\thumb[ <b' b''-3>)_\thumb
2104 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb]
2107 Fingerings for chords can also be added to individual notes
2108 of the chord by adding them after the pitches:
2109 @lilypond[verbatim,singleline,fragment,relative=1]
2110 < c-1 e-2 g-3 b-5 > 4
2113 Setting @code{fingeringOrientations} will put fingerings next
2116 @lilypond[verbatim,singleline,fragment,relative=1]
2117 \property Voice.fingeringOrientations = #'(left down)
2118 <c-1 es-2 g-4 bes-5 > 4
2119 \property Voice.fingeringOrientations = #'(up right down)
2120 <c-1 es-2 g-4 bes-5 > 4
2125 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2136 @subsection Text scripts
2137 @cindex Text scripts
2139 It is possible to place arbitrary strings of text or markup text (see
2140 @ref{Text markup}) above or below notes by using a string:
2141 @code{c^"text"}. By default, these indications do not influence the
2142 note spacing, but by using the command @code{\fatText}, the widths
2143 will be taken into account:
2145 @lilypond[fragment,singleline,verbatim] \relative c' {
2146 c4^"longtext" \fatText c4_"longlongtext" c4 }
2149 It is possible to use @TeX{} commands in the strings, but this should
2150 be avoided because the exact dimensions of the string can then no
2156 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2162 @subsection Grace notes
2165 @c should have blurb about accaciatura / appogiatura
2167 @cindex @code{\grace}
2171 Grace notes are ornaments that are written out. The most common ones
2172 are acciaccatura, which should be played as very short. It is denoted
2173 by a slurred small note with a slashed stem. The appoggiatura is a
2174 grace note that takes a fixed fraction of the main note, is and
2175 denoted as a slurred note in small print without a slash.
2176 They are entered with the commands @code{\acciaccatura} and
2177 @code{\appoggiatura}, as demonstrated in the following example:
2180 @cindex appoggiatura
2181 @cindex acciaccatura
2183 @lilypond[relative=2,verbatim,fragment]
2184 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2185 \acciaccatura { g16 f } e4
2188 Both are special forms of the @code{\grace} command. By prefixing this
2189 keyword to a music expression, a new one is formed, which will be
2190 printed in a smaller font and takes up no logical time in a measure.
2191 @lilypond[relative=2,verbatim,fragment]
2192 c4 \grace c16 c4 \grace {
2195 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2196 @code{\grace} command does not start a slur.
2198 Internally, timing for grace notes is done using a second, `grace'
2199 time. Every point in time consists of two rational numbers: one
2200 denotes the logical time, one denotes the grace timing. The above
2201 example is shown here with timing tuples:
2203 @lilypond[singleline]
2206 c4 \grace c16 c4 \grace {
2209 \new Lyrics \lyrics {
2212 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2213 \markup { (\fraction 1 4 , 0 ) } 4
2215 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2216 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2218 \markup { ( \fraction 2 4 , 0 ) }
2223 The placement of grace notes is synchronized between different staves.
2224 In the following example, there are two sixteenth graces notes for
2225 every eighth grace note:
2227 @lilypond[relative=2,verbatim,fragment]
2228 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2229 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2234 If you want to end a note with a grace note, then the standard trick
2235 is to put the grace notes before a phantom ``space note'', e.g.
2236 @lilypond[fragment,verbatim, relative=2]
2239 { s2 \grace { c16[ d] } } >>
2245 By adjusting the duration of the skip note (here it is a half-note),
2246 the space between the main-note and the grace is adjusted.
2249 A @code{\grace} section will introduce special typesetting settings,
2250 for example, to produce smaller type, and set directions. Hence, when
2251 introducing layout tweaks, they should be inside the grace section,
2253 @lilypond[fragment,verbatim,relative 2]
2256 \property Voice.Stem \override #'direction = #-1
2258 \property Voice.Stem \revert #'direction
2265 The overrides should also be reverted inside the grace section.
2267 If the layout of grace sections must be changed throughout the music,
2268 then this can be accomplished through the function
2269 @code{add-grace-property}. The following example
2270 undefines the Stem direction grace section, so stems do not always
2275 #(add-grace-property "Voice" Stem direction '())
2281 Another option is to change the variables @code{startGraceMusic},
2282 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2283 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2284 @code{stopAppoggiaturaMstuic}. More information is in the file
2285 @file{ly/grace-init.ly}
2290 @internalsref{GraceMusic}.
2294 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2296 A score that starts with an @code{\grace} section needs an explicit
2297 @code{\context Voice} declaration, otherwise the main note and grace
2298 note end up on different staves.
2300 Grace note synchronization can also lead to surprises. Staff notation,
2301 such as key signatures, barlines, etc. are also synchronized. Take
2302 care when you mix staves with grace notes and staves without, for example,
2304 @lilypond[relative=2,verbatim,fragment]
2305 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2306 \new Staff { c4 \bar "|:" d4 } >>
2309 Grace sections should only be used within sequential music
2310 expressions. Nesting or juxtaposing grace sections is not supported,
2311 and might produce crashes or other errors.
2313 Overriding settings cannot be done in separate styles for appoggiatura
2318 @subsection Glissando
2321 @cindex @code{\glissando}
2323 A glissando is a smooth change in pitch. It is denoted by a line or a
2324 wavy line between two notes.
2328 A glissando line can be requested by attaching a @code{\glissando} to
2331 @lilypond[fragment,relative,verbatim]
2337 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2342 Additional texts (such as @emph{gliss.}) is not supported.
2346 @subsection Dynamics
2359 @cindex @code{\ffff}
2369 Absolute dynamic marks are specified using an variable after a
2370 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2371 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2372 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2373 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2375 @lilypond[verbatim,singleline,fragment,relative]
2376 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2382 @cindex @code{\decr}
2383 @cindex @code{\rced}
2390 A crescendo mark is started with @code{\<} and terminated with
2391 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2392 with @code{\!}. Because these marks are bound to notes, if you must
2393 use spacer notes if multiple marks during one note are needed:
2395 @lilypond[fragment,verbatim,center,quote]
2396 c''\< c''\! d''\decr e''\rced
2397 << f''1 { s4 s4\< s4\! \> s4\! } >>
2399 This may give rise to very short hairpins. Use @code{minimum-length}
2400 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2404 \property Staff.Hairpin \override #'minimum-length = #5
2407 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2408 is an example how to do it:
2410 @lilypond[fragment,relative=2,verbatim]
2411 c4 \cresc c4 c c c \endcresc c4
2417 You can also supply your own texts:
2418 @lilypond[fragment,relative,verbatim]
2420 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2421 \property Voice.crescendoSpanner = #'dashed-line
2431 @cindex @code{\dynamicUp}
2433 @cindex @code{\dynamicDown}
2434 @code{\dynamicDown},
2435 @cindex @code{\dynamicBoth}
2436 @code{\dynamicBoth}.
2438 @cindex direction, of dynamics
2442 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2443 @internalsref{AbsoluteDynamicEvent}.
2445 Dynamics are objects of @internalsref{DynamicText} and
2446 @internalsref{Hairpin}. Vertical positioning of these symbols is
2447 handled by the @internalsref{DynamicLineSpanner} object.
2449 If you want to adjust padding or vertical direction of the dynamics, you
2450 must set properties for the @internalsref{DynamicLineSpanner} object.
2458 @cindex @code{\repeat}
2461 Repetition is a central concept in music, and multiple notations exist
2462 for repetitions. In LilyPond, most of these notations can be captured
2463 in a uniform syntax. One of the advantages is, all these repetitions
2464 can be rendered in MIDI accurately.
2466 The following types of repetition are supported:
2470 Repeated music is fully written (played) out. Useful for MIDI
2471 output, and entering repetitive music.
2474 This is the normal notation: Repeats are not written out, but
2475 alternative endings (voltas) are printed, left to right.
2479 Alternative endings are written stacked. This has limited use but may be
2480 used to typeset two lines of lyrics in songs with repeats, see
2481 @inputfileref{input,star-spangled-banner.ly}.
2488 Make beat or measure repeats. These look like percent signs.
2494 * Repeats and MIDI::
2495 * Manual repeat commands::
2497 * Tremolo subdivisions::
2502 @subsection Repeat syntax
2506 LilyPond has one syntactic construct for specifying different types of
2507 repeats. The syntax is
2510 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2513 If you have alternative endings, you may add
2514 @cindex @code{\alternative}
2516 \alternative @code{@{} @var{alternative1}
2518 @var{alternative3} @dots{} @code{@}}
2520 where each @var{alternative} is a music expression. If you do not
2521 give enough alternatives for all of the repeats, then the first
2522 alternative is assumed to be played more than once.
2524 Normal notation repeats are used like this:
2525 @lilypond[fragment,verbatim]
2527 \repeat volta 2 { c'4 d' e' f' }
2528 \repeat volta 2 { f' e' d' c' }
2531 With alternative endings:
2532 @lilypond[fragment,verbatim]
2534 \repeat volta 2 {c'4 d' e' f'}
2535 \alternative { {d'2 d'} {f' f} }
2539 @lilypond[fragment,verbatim]
2543 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2544 \alternative { { g4 g g } { a | a a a a | b2. } }
2551 If you do a nested repeat like
2560 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2561 belongs. This ambiguity is resolved by always having the
2562 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2563 it is advisable to use braces in such situations.
2566 @node Repeats and MIDI
2567 @subsection Repeats and MIDI
2569 @cindex expanding repeats
2571 For instructions on how to unfold repeats for MIDI output, see the
2572 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2577 Timing information is not remembered at the start of an alternative,
2578 so after a repeat timing information must be reset by hand, for
2579 example by setting @code{Score.measurePosition} or entering
2580 @code{\partial}. Similarly, slurs or ties are also not repeated.
2583 @node Manual repeat commands
2584 @subsection Manual repeat commands
2586 @cindex @code{repeatCommands}
2588 The property @code{repeatCommands} can be used to control the layout of
2589 repeats. Its value is a Scheme list of repeat commands, where each repeat
2593 @item the symbol @code{start-repeat},
2594 which prints a @code{|:} bar line,
2595 @item the symbol @code{end-repeat},
2596 which prints a @code{:|} bar line,
2597 @item the list @code{(volta @var{text})},
2598 which prints a volta bracket saying @var{text}: The text can be specified as
2599 a text string or as a markup text, see @ref{Text markup}. Do not
2600 forget to change the font, as the default number font does not contain
2601 alphabetic characters. Or,
2602 @item the list @code{(volta #f)}, which
2603 stops a running volta bracket:
2606 @lilypond[verbatim, fragment]
2608 \property Score.repeatCommands = #'((volta "93") end-repeat)
2610 \property Score.repeatCommands = #'((volta #f))
2617 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2618 @internalsref{VoltaRepeatedMusic},
2619 @internalsref{UnfoldedRepeatedMusic}, and
2620 @internalsref{FoldedRepeatedMusic}.
2622 @node Tremolo repeats
2623 @subsection Tremolo repeats
2624 @cindex tremolo beams
2626 To place tremolo marks between notes, use @code{\repeat} with tremolo
2628 @lilypond[verbatim,center,singleline]
2630 \context Voice \notes\relative c' {
2631 \repeat "tremolo" 8 { c16 d16 }
2632 \repeat "tremolo" 4 { c16 d16 }
2633 \repeat "tremolo" 2 { c16 d16 }
2634 \repeat "tremolo" 4 c16
2641 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2642 are @internalsref{StemTremolo}s. The music expression is
2643 @internalsref{TremoloEvent}.
2648 The single stem tremolo must be entered without @code{@{} and
2651 @node Tremolo subdivisions
2652 @subsection Tremolo subdivisions
2653 @cindex tremolo marks
2654 @cindex @code{tremoloFlags}
2656 Tremolo marks can be printed on a single note by adding
2657 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2658 A @var{length} value of 8 gives one line across the note stem. If the
2659 length is omitted, then then the last value (stored in
2660 @code{Voice.tremoloFlags}) is used:
2662 @lilypond[verbatim,fragment,center]
2663 c'2:8 c':32 | c': c': |
2666 @c [TODO : stok is te kort bij 32en]
2670 Tremolos in this style do not carry over into the MIDI output.
2673 @node Measure repeats
2674 @subsection Measure repeats
2676 @cindex percent repeats
2677 @cindex measure repeats
2679 In the @code{percent} style, a note pattern can be repeated. It is
2680 printed once, and then the pattern is replaced with a special sign.
2681 Patterns of a one and two measures are replaced by percent-like signs,
2682 patterns that divide the measure length are replaced by slashes:
2684 @lilypond[verbatim,singleline]
2685 \context Voice { \repeat "percent" 4 { c'4 }
2686 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2692 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2693 @internalsref{PercentRepeatedMusic}, and
2694 @internalsref{DoublePercentRepeat}.
2698 @node Rhythmic music
2699 @section Rhythmic music
2701 Sometimes you might want to show only the rhythm of a melody. This
2702 can be done with the rhythmic staff. All pitches of notes on such a
2703 staff are squashed, and the staff itself has a single line:
2705 @lilypond[fragment,relative,verbatim]
2706 \context RhythmicStaff {
2708 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2713 * Percussion staves::
2714 * Percussion MIDI output::
2717 @node Percussion staves
2718 @subsection Percussion staves
2722 A percussion part for more than one instrument typically uses a
2723 multiline staff where each position in the staff refers to one piece
2728 Percussion staves are typeset with help of a set of Scheme
2729 functions. The system is based on the general MIDI drum-pitches.
2730 Include @file{drumpitch-init.ly} to use drum pitches. This file
2731 defines the pitches from the Scheme variable @code{drum-pitch-names},
2732 the definition of which can be read in @file{scm/drums.scm}. Each
2733 piece of percussion has a full name and an abbreviated name, and either
2734 the full name or the abbreviation may be used in input files.
2736 To typeset the music on a staff apply the function @code{drums->paper}
2737 to the percussion music. This function takes a list of percussion
2738 instrument names, notehead scripts and staff positions (that is:
2739 pitches relative to the C-clef) and transforms the input
2740 music by moving the pitch, changing the notehead and (optionally)
2743 @lilypond[singleline,verbatim,quote]
2744 \include "drumpitch-init.ly"
2745 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2746 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2748 \apply #(drums->paper 'drums) \context Staff <<
2750 \new Voice { \voiceOne \up }
2751 \new Voice { \voiceTwo \down }
2756 In the above example the music was transformed using the list @code{'drums}.
2757 The following lists are defined in @file{scm/drums.scm}:
2760 to typeset a typical drum kit on a five-line staff:
2763 \include "drumpitch-init.ly"
2764 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2765 bd sn ss tomh tommh tomml toml tomfh tomfl }
2766 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2767 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2770 \apply #(drums->paper 'drums) \context Staff <<
2774 \context Lyrics \nam
2777 linewidth = 100.0\mm
2780 \remove Bar_engraver
2781 \remove Time_signature_engraver
2782 minimumVerticalExtent = #'(-4.0 . 5.0)
2786 \remove Stem_engraver
2792 The drum scheme supports six different toms. When there fewer toms, simply
2793 select the toms that produce the desired result, i.e. to get toms on
2794 the three middle lines you use @code{tommh}, @code{tomml} and
2797 Because general MIDI does not contain rimshots the sidestick is used
2798 for this purpose instead.
2800 to typeset timbales on a two line staff:
2802 @lilypond[singleline]
2803 \include "drumpitch-init.ly"
2804 nam = \lyrics { timh ssh timl ssl cb }
2805 mus = \notes { timh ssh timl ssl cb s16 }
2808 \apply #(drums->paper 'timbales) \context Staff <<
2812 \context Lyrics \nam
2817 \remove Bar_engraver
2818 \remove Time_signature_engraver
2819 StaffSymbol \override #'line-count = #2
2820 StaffSymbol \override #'staff-space = #2
2821 minimumVerticalExtent = #'(-3.0 . 4.0)
2825 \remove Stem_engraver
2832 to typeset congas on a two line staff:
2834 @lilypond[singleline]
2835 \include "drumpitch-init.ly"
2836 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2837 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2840 \apply #(drums->paper 'congas) \context Staff <<
2844 \context Lyrics \nam
2849 \remove Bar_engraver
2850 \remove Time_signature_engraver
2851 StaffSymbol \override #'line-count = #2
2852 StaffSymbol \override #'staff-space = #2
2853 minimumVerticalExtent = #'(-3.0 . 4.0)
2857 \remove Stem_engraver
2863 to typeset bongos on a two line staff:
2865 @lilypond[singleline]
2866 \include "drumpitch-init.ly"
2867 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2868 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2871 \apply #(drums->paper 'bongos) \context Staff <<
2875 \context Lyrics \nam
2880 \remove Bar_engraver
2881 \remove Time_signature_engraver
2882 StaffSymbol \override #'line-count = #2
2883 StaffSymbol \override #'staff-space = #2
2884 minimumVerticalExtent = #'(-3.0 . 4.0)
2888 \remove Stem_engraver
2894 to typeset all kinds of simple percussion on one line staves:
2895 @lilypond[singleline]
2896 \include "drumpitch-init.ly"
2897 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2898 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2901 \apply #(drums->paper 'percussion) \context Staff <<
2905 \context Lyrics \nam
2910 \remove Bar_engraver
2911 \remove Time_signature_engraver
2912 StaffSymbol \override #'line-count = #1
2913 minimumVerticalExtent = #'(-2.0 . 3.0)
2917 \remove Stem_engraver
2924 If you do not like any of the predefined lists you can define your own
2925 list at the top of your file:
2927 @lilypond[singleline, verbatim]
2928 #(set-drum-kit 'mydrums `(
2929 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2930 (snare default #f ,(ly:make-pitch 0 1 0))
2931 (hihat cross #f ,(ly:make-pitch 0 5 0))
2932 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2933 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2935 \include "drumpitch-init.ly"
2936 up = \notes { hh8 hh hh hh hhp4 hhp }
2937 down = \notes { bd4 sn bd toml8 toml }
2939 \apply #(drums->paper 'mydrums) \context Staff <<
2941 \new Voice { \voiceOne \up }
2942 \new Voice { \voiceTwo \down }
2947 To use a modified existing list, one can prepend modifications to the
2951 #(set-drum-kit 'mydrums (append `(
2952 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2953 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2954 ) (get-drum-kit 'drums)))
2957 You can easily combine percussion notation with pitched notation.
2958 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2959 names, so you will have to reinclude @file{nederlands.ly} after the
2960 drum-pattern-definitions to enter normal notes:
2962 @lilypond[singleline,verbatim]
2963 \include "drumpitch-init.ly"
2964 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2965 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2966 \include "nederlands.ly"
2967 bass = \notes \transpose c c,, { a4. e8 r e g e }
2970 \apply #(drums->paper 'drums) \new Staff <<
2972 \new Voice { \voiceOne \up }
2973 \new Voice { \voiceTwo \down }
2975 \new Staff { \clef "F_8" \bass }
2980 @node Percussion MIDI output
2981 @subsection Percussion MIDI output
2983 In order to produce correct MIDI output you need to produce two score
2984 blocks---one for the paper and one for the MIDI output. To use the
2985 percussion channel you set the property @code{instrument} to
2986 @code{'drums}. Because the drum-pitches themselves are similar to the
2987 general MIDI pitches all you have to do is to insert the voices with
2988 none of the scheme functions to get the correct MIDI output:
2992 \apply #(drums->paper 'mydrums) \context Staff <<
3001 \property Staff.instrument = #'drums
3010 This scheme is a temporary implementation.
3014 @section Piano music
3016 Piano staves are two normal staves coupled with a brace. The staves
3017 are largely independent, but sometimes voices can cross between the
3018 two staves. The same notation is also used for harps and other key
3019 instruments. The @internalsref{PianoStaff} is especially built to
3020 handle this cross-staffing behavior. In this section we discuss the
3021 @internalsref{PianoStaff} and some other pianistic peculiarities.
3025 * Automatic staff changes::
3026 * Manual staff switches::
3029 * Staff switch lines::
3034 There is no support for putting chords across staves. You can get
3035 this result by increasing the length of the stem in the lower stave so
3036 it reaches the stem in the upper stave, or vice versa. An example is
3037 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3039 Dynamics are not centered, but kludges do exist. See
3040 @inputfileref{input/template,piano-dynamics.ly}.
3042 @cindex cross staff stem
3043 @cindex stem, cross staff
3046 @c fixme: should have hyperlinks as well.
3052 @node Automatic staff changes
3053 @subsection Automatic staff changes
3054 @cindex Automatic staff changes
3056 Voices can switch automatically between the top and the bottom
3057 staff. The syntax for this is
3059 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3061 The two staffs of the piano staff must be named @code{up} and
3064 The autochanger switches on basis of pitch (central C is the turning
3065 point), and it looks ahead skipping over rests to switch in
3066 advance. Here is a practical example:
3068 @lilypond[verbatim,singleline,quote]
3069 \score { \notes \context PianoStaff <<
3070 \context Staff = "up" {
3071 \autochange Staff \context Voice = VA << \relative c' {
3072 g4 a b c d r4 a g } >> }
3073 \context Staff = "down" {
3080 In this example, spacer rests are used to prevent the bottom staff from
3081 terminating too soon.
3086 @internalsref{AutoChangeMusic}.
3090 The staff switches often do not end up in optimal places. For high
3091 quality output staff switches should be specified manually.
3095 @node Manual staff switches
3096 @subsection Manual staff switches
3098 @cindex manual staff switches
3099 @cindex staff switch, manual
3101 Voices can be switched between staves manually, using the following command:
3103 \translator Staff = @var{staffname} @var{music}
3107 The string @var{staffname} is the name of the staff. It switches the
3108 current voice from its current staff to the Staff called
3109 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3117 Pianos have pedals that alter the way sound are produced. Generally, a
3118 piano has three pedals, sustain, una corda, and sostenuto.
3122 Piano pedal instruction can be expressed by attaching
3123 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3124 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3127 @lilypond[fragment,verbatim]
3128 c'4\sustainDown c'4\sustainUp
3131 What is printed can be modified by setting @code{pedal@var{X}Strings},
3132 where @var{X} is one of the pedal types: @code{Sustain},
3133 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3134 documentation of @internalsref{SustainPedal} for more information.
3136 Pedals can also be indicated by a sequence of brackets, by setting the
3137 @code{pedalSustainStyle} property to @code{bracket} objects:
3139 @lilypond[fragment,verbatim]
3140 \property Staff.pedalSustainStyle = #'bracket
3141 c''4\sustainDown d''4 e''4
3142 a'4\sustainUp\sustainDown
3143 f'4 g'4 a'4\sustainUp
3146 A third style of pedal notation is a mixture of text and brackets,
3147 obtained by setting @code{pedal-type} to @code{mixed}:
3149 @lilypond[fragment,verbatim]
3150 \property Staff.pedalSustainStyle = #'mixed
3151 c''4\sustainDown d''4 e''4
3152 c'4\sustainUp\sustainDown
3153 f'4 g'4 a'4\sustainUp
3156 The default `*Ped' style for sustain and damper pedals corresponds to
3157 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3158 for a sostenuto pedal:
3160 @lilypond[fragment,verbatim]
3161 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3164 For fine-tuning of the appearance of a pedal bracket, the properties
3165 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3166 @code{PianoPedalBracket} objects (, see the detailed documentation of
3167 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3168 may be extended to the end of the note head:
3170 @lilypond[fragment,verbatim]
3171 \property Staff.PianoPedalBracket \override
3172 #'shorten-pair = #'(0 . -1.0)
3173 c''4\sostenutoDown d''4 e''4 c'4
3174 f'4 g'4 a'4\sostenutoUp
3178 @subsection Arpeggio
3181 @cindex broken arpeggio
3182 @cindex @code{\arpeggio}
3184 You can specify an arpeggio sign on a chord by attaching an
3185 @code{\arpeggio} to a chord:
3188 @lilypond[fragment,relative,verbatim]
3192 When an arpeggio crosses staves, you attach an arpeggio to the chords
3193 in both staves, and set
3194 @internalsref{PianoStaff}.@code{connectArpeggios}:
3196 @lilypond[fragment,relative,verbatim]
3197 \context PianoStaff <<
3198 \property PianoStaff.connectArpeggios = ##t
3199 \new Staff { <c' e g c>\arpeggio }
3200 \new Staff { \clef bass <c,, e g>\arpeggio }
3204 The direction of the arpeggio is sometimes denoted by adding an
3205 arrowhead to the wiggly line. This can be typeset by setting
3206 @code{arpeggio-direction}:
3208 @lilypond[fragment,relative,verbatim]
3210 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3212 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3217 A square bracket on the left indicates that the player should not
3218 arpeggiate the chord. To draw these brackets, set the
3219 @code{molecule-callback} property of @code{Arpeggio} or
3220 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3221 @code{\arpeggio} statements within the chords as before:
3223 @lilypond[fragment,relative,verbatim]
3224 \property PianoStaff.Arpeggio \override
3225 #'molecule-callback = \arpeggioBracket
3231 @cindex @code{\arpeggioBracket}
3232 @code{\arpeggioBracket},
3233 @cindex @code{\arpeggio}
3238 @internalsref{ArpeggioEvent} expression lead to
3239 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3240 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3244 It is not possible to mix connected arpeggios and unconnected
3245 arpeggios in one @internalsref{PianoStaff} at the same time.
3247 @node Staff switch lines
3248 @subsection Staff switch lines
3251 @cindex follow voice
3252 @cindex staff switching
3255 @cindex @code{followVoice}
3257 Whenever a voice switches to another staff a line connecting the notes
3258 can be printed automatically. This is enabled if the property
3259 @code{PianoStaff.followVoice} is set to true:
3261 @lilypond[fragment,relative,verbatim]
3262 \context PianoStaff <<
3263 \property PianoStaff.followVoice = ##t
3264 \context Staff \context Voice {
3266 \translator Staff=two
3269 \context Staff=two { \clef bass \skip 1*2 }
3273 The associated object is @internalsref{VoiceFollower}.
3277 @cindex @code{\showStaffSwitch}
3278 @code{\showStaffSwitch},
3279 @cindex @code{\hideStaffSwitch}
3280 @code{\hideStaffSwitch}.
3284 @section Vocal music
3286 This section discusses how to enter and print lyrics.
3290 * The Lyrics context::
3295 @node Entering lyrics
3296 @subsection Entering lyrics
3300 @cindex @code{\lyrics}
3303 Lyrics are entered in a special input mode. This mode is is introduced
3304 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3305 punctuation and accents without any hassle. Syllables are entered like
3306 notes, but with pitches replaced by text. For example,
3308 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3311 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3312 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3313 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3314 any 8-bit character with ASCII code over 127, or a two-character
3315 combination of a backslash followed by one of @code{`}, @code{'},
3316 @code{"}, or @code{^}.
3318 Subsequent characters of a word can be any character that is not a digit
3319 and not white space. One important consequence of this is that a word
3320 can end with @code{@}}. The following example is usually a bug. The
3321 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3323 \lyrics @{ twinkle@}
3326 @cindex @code{\property}, in @code{\lyrics}
3327 Similarly, a period following a alphabetic sequence, is included in the
3328 resulting string. As a consequence, spaces must be inserted around
3329 @code{\property} commands:
3331 \property Lyrics . LyricText \set #'font-shape = #'italic
3335 @cindex spaces, in lyrics
3336 @cindex quotes, in lyrics
3338 Any @code{_} character which appears in an unquoted word is converted
3339 to a space. This provides a mechanism for introducing spaces into words
3340 without using quotes. Quoted words can also be used in Lyrics mode to
3341 specify words that cannot be written with the above rules:
3344 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3348 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3353 These will be attached to the end of the first syllable.
3355 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3356 as a separate word between syllables. The hyphen will have variable
3357 length depending on the space between the syllables and it will be
3358 centered between the syllables.
3363 When a lyric is sung over many notes (this is called a melisma), this is
3364 indicated with a horizontal line centered between a syllable and the
3365 next one. Such a line is called an extender line, and it is entered as
3370 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3371 @internalsref{ExtenderEvent}.
3375 The definition of lyrics mode is too complex.
3377 @node The Lyrics context
3378 @subsection The Lyrics context
3380 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3382 \context Lyrics \lyrics @dots{}
3385 @cindex automatic syllable durations
3386 @cindex @code{\addlyrics}
3387 @cindex lyrics and melodies
3389 This will place the lyrics according to the durations that were
3390 entered. The lyrics can also be aligned under a given melody
3391 automatically. In this case, it is no longer necessary to enter the
3392 correct duration for each syllable. This is achieved by combining the
3393 melody and the lyrics with the @code{\addlyrics} expression:
3397 \context Lyrics @dots{}
3400 @cindex staff order, with @code{\addlyrics}
3402 Normally, this will put the lyrics below the staff. For different or
3403 more complex orderings, the best way is to setup the hierarchy of
3404 staves and lyrics first, e.g.
3406 \context ChoirStaff \notes <<
3407 \new Lyrics @{ s1 @}
3409 \new Lyrics @{ s1 @}
3413 and then combine the appropriate melodies and lyric lines:
3416 \new Staff @emph{the music}
3417 \new Lyrics @emph{the lyrics}
3420 putting both together, you would get
3422 \context ChoirStaff \notes <<
3430 @cindex choral score
3432 A complete example of a SATB score setup is in the file
3433 @inputfileref{input/template,satb.ly}.
3437 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3438 @inputfileref{input/template,satb.ly}.
3442 @code{\addlyrics} is not automatic enough: melismata are not detected
3443 automatically, and melismata are not stopped when they hit a rest. A
3444 melisma on the last note in a melody is not printed.
3448 @subsection More stanzas
3451 @cindex phrasing, in lyrics
3453 When multiple stanzas are printed underneath each other, the vertical
3454 groups of syllables should be aligned around punctuation. This can be
3455 done automatically when corresponding lyric lines and melodies are
3458 To this end, give the @internalsref{Voice} context an identity:
3460 \context Voice = duet @{
3465 Then set the @internalsref{LyricsVoice} contexts to names starting with
3466 that identity followed by a dash. In the preceding example, the
3467 @internalsref{Voice} identity is @code{duet}, so the identities of the
3468 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3470 \context LyricsVoice = "duet-1" @{
3471 Hi, my name is bert. @}
3472 \context LyricsVoice = "duet-2" @{
3473 Ooooo, ch\'e -- ri, je t'aime. @}
3475 The convention for naming @internalsref{LyricsVoice} and
3476 @internalsref{Voice} must also be used to get melismata correct in
3477 conjunction with rests.
3479 The complete example is shown here:
3480 @lilypond[singleline,verbatim]
3483 \notes \relative c'' \context Voice = duet { \time 3/4
3485 \lyrics \context Lyrics <<
3486 \context LyricsVoice = "duet-1" {
3487 \property LyricsVoice . stanza = "Bert"
3488 Hi, my name is bert. }
3489 \context LyricsVoice = "duet-2" {
3490 \property LyricsVoice . stanza = "Ernie"
3491 Ooooo, ch\'e -- ri, je t'aime. }
3496 Stanza numbers, or the names of the singers can be added by setting
3497 @code{LyricsVoice.Stanza} (for the first system) and
3498 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3499 surrounded with spaces in @code{\lyrics} mode:
3502 \property LyricsVoice . stanza = "Bert"
3504 \property LyricsVoice . stanza = "Ernie"
3507 To make empty spaces in lyrics, use @code{\skip}.
3515 Input for lyrics introduces a syntactical ambiguity:
3522 is interpreted as assigning a string identifier @code{\foo} such that
3523 it contains @code{"bar"}. However, it could also be interpreted as
3524 making or a music identifier @code{\foo} containing the syllable
3525 `bar'. The force the latter interpretation, use
3535 The term @emph{ambitus} denotes a range of pitches for a given voice in
3536 a part of music. It also may denote the pitch range that a musical
3537 instrument is capable of playing. Most musical instruments have their
3538 ambitus standardized (or at least there is agreement upon the minimal
3539 ambitus of a particular type of instrument), such that a composer or
3540 arranger of a piece of music can easily meet the ambitus constraints of
3541 the targeted instrument. However, the ambitus of the human voice
3542 depends on individual physiological state, including education and
3543 training of the voice. Therefore, a singer potentially has to check for
3544 each piece of music if the ambitus of that piece meets his individual
3545 capabilities. This is why the ambitus of a piece may be of particular
3546 value to vocal performers.
3548 The ambitus is typically notated on a per-voice basis at the very
3549 beginning of a piece, e.g. nearby the initial clef or time signature of
3550 each staff. The range is graphically specified by two noteheads, that
3551 represent the minimum and maximum pitch. Some publishers use a textual
3552 notation: they put the range in words in front of the corresponding
3553 staff. LilyPond only supports the graphical ambitus notation.
3555 To apply, add the @internalsref{Ambitus_engraver} to the
3556 @internalsref{Voice} context, i.e.
3562 \consists Ambitus_engraver
3569 @lilypond[singleline]
3570 upper = \notes \relative c {
3573 as'' c e2 bes f cis d4 e f2 g
3575 lower = \notes \relative c {
3578 e'4 b g a c es fis a cis b a g f e d2
3581 \context ChoirStaff {
3583 \new Staff { \upper }
3584 \new Staff { \lower }
3590 \consists Ambitus_engraver
3596 If you have multiple voices in a single staff, and you want a single
3597 ambitus per staff rather than per each voice, then add the
3598 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3599 rather than to the @internalsref{Voice} context.
3601 If you have a score with multiple staves and you want the ambitus to
3602 appear only in some of the staves, then you have to declare a new
3603 context type derived from the @internalsref{Voice} context or
3604 @internalsref{Staff} context. The derived context must consist of the
3605 @internalsref{Ambitus_engraver} and it must be accepted by a proper
3606 parent context, in the below example the @internalsref{Staff} context
3607 or @internalsref{Score} context, respectively. The original context
3608 and the derived context can then be used in parallel in the same
3611 @lilypond[singleline]
3612 voiceA = \notes \transpose c c'' {
3615 voiceB = \notes \transpose c c' {
3616 e4 f g2 g8 a g f e4 c
3619 \context ChoirStaff <<
3621 \new VoiceWithAmbitus { \stemUp \voiceA }
3622 \new VoiceWithAmbitus { \stemDown \voiceB }
3624 \new StaffWithAmbitus <<
3625 \new Voice { \stemUp \voiceA }
3626 \new Voice { \stemDown \voiceB }
3629 \new Voice { \stemUp \voiceA }
3630 \new Voice { \stemDown \voiceB }
3637 \name "VoiceWithAmbitus"
3639 \consists Ambitus_engraver
3643 \name "StaffWithAmbitus"
3645 \consists Ambitus_engraver
3649 \accepts "VoiceWithAmbitus"
3653 \accepts "StaffWithAmbitus"
3662 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3666 There is no collision handling in the case of multiple per-voice
3667 ambitus. To avoid collision, multiple ambitus in a single staff
3668 should be printed horizontally one after the other rather than on top
3669 of each other in the same horizontal position.
3674 Tablature notation is used for notating music for plucked string
3675 instruments. It notates pitches not by using note heads, but by
3676 indicating on which string and fret a note must be played. LilyPond
3677 offers limited support for tablature.
3680 * Tablatures basic::
3681 * Non-guitar tablatures::
3684 @node Tablatures basic
3685 @subsection Tablatures basic
3686 @cindex Tablatures basic
3688 The string number associated to a note is given as a backslash
3689 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3690 string. By default, string 1 is the highest one, and the tuning
3691 defaults to the standard guitar tuning (with 6 strings). The notes
3692 are printed as tablature, by using @internalsref{TabStaff} and
3693 @internalsref{TabVoice} contexts:
3695 @lilypond[fragment,verbatim]
3696 \notes \context TabStaff {
3702 When no string is specified, the first string that does not give a
3703 fret number less than @code{minimumFret} is selected. The default
3704 value for @code{minimumFret} is 0:
3708 e8 fis gis a b cis' dis' e'
3709 \property TabStaff.minimumFret = #8
3710 e8 fis gis a b cis' dis' e'
3715 e8 fis gis a b cis' dis' e'
3716 \property TabStaff.minimumFret = #8
3717 e8 fis gis a b cis' dis' e'
3720 \context StaffGroup <<
3721 \context Staff { \clef "G_8" \frag }
3722 \context TabStaff { \frag }
3729 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3730 @internalsref{StringNumberEvent}.
3734 Chords are not handled in a special way, and hence the automatic
3735 string selector may easily select the same string to two notes in a
3739 @node Non-guitar tablatures
3740 @subsection Non-guitar tablatures
3741 @cindex Non-guitar tablatures
3743 You can change the number of strings, by setting the number of lines
3744 in the @internalsref{TabStaff} (the @code{line-count} property of
3745 @internalsref{TabStaff} can only be changed using
3746 @code{\outputproperty}, for more information, see @ref{Tuning
3749 You can change the tuning of the strings. A string tuning is given as
3750 a Scheme list with one integer number for each string, the number
3751 being the pitch (measured in semitones relative to central C) of an
3752 open string. The numbers specified for @code{stringTuning} are the
3753 numbers of semitones to subtract or add, starting the specified pitch
3754 by default middle C, in string order. Thus, the notes are e, a, d, and
3757 @lilypond[fragment,verbatim]
3758 \context TabStaff <<
3760 \outputproperty #(make-type-checker 'staff-symbol-interface)
3762 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3765 a,4 c' a e' e c' a e'
3770 It is possible to change the Scheme function to format the tablature
3771 note text. The default is @code{fret-number-tablature-format}, which
3772 uses the fret number. For instruments that do not use this notation,
3773 you can create a special tablature formatting function. This function
3774 takes three argument: string number, string tuning and note pitch.
3778 Most of the guitar special effects such as bend have not been
3784 @section Chord names
3787 LilyPond has support for both printing chord names. Chords may be
3788 entered in musical chord notation, i.e. @code{< .. >}, but they can
3789 also be entered by name. Internally, the chords are represented as a
3790 set of pitches, so they can be transposed:
3793 @lilypond[verbatim,singleline]
3794 twoWays = \notes \transpose c c' {
3804 << \context ChordNames \twoWays
3805 \context Voice \twoWays >> }
3808 This example also shows that the chord printing routines do not try to
3809 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3815 * Printing chord names::
3820 @subsection Chords mode
3823 Chord mode is a mode where you can input sets of pitches using common
3824 names. It is introduced by the keyword @code{\chords}.
3825 In chords mode, a chord is entered by the root, which is entered
3826 like a common pitch:
3827 @lilypond[fragment,verbatim,quote, relative=1]
3828 \chords { es4. d8 c2 }
3833 Other chords may be entered by suffixing a colon, and introducing a
3834 modifier, and optionally, a number:
3836 @lilypond[fragment,verbatim,quote]
3837 \chords { e1:m e1:7 e1:m7 }
3839 The first number following the root is taken to be the `type' of the
3840 chord, thirds are added to the root until it reaches the specified
3842 @lilypond[fragment,verbatim]
3843 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3846 @cindex root of chord
3847 @cindex additions, in chords
3848 @cindex removals, in chords
3850 More complex chords may also be constructed adding separate steps
3851 to a chord. Additions are added after the number following
3852 the colon, and are separated by dots:
3854 @lilypond[verbatim,fragment,quote]
3855 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3857 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3859 @lilypond[verbatim,fragment,quote]
3860 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3862 Removals are specified similarly, and are introduced by a caret. They
3863 must come after the additions:
3864 @lilypond[verbatim,fragment]
3865 \chords { c^3 c:7^5 c:9^3.5 }
3868 Modifiers can be used to change pitches. The following modifiers are
3872 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3874 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3877 is the augmented chord. This modifier raises the 5th step.
3879 is the major 7th chord. This modifier raises the 7th step if present.
3881 is the suspended 4th or 2nd. This modifier removes the 3rd
3882 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3885 Modifiers can be mixed with additions:
3886 @lilypond[verbatim,fragment]
3887 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3890 @cindex modifiers, in chords.
3897 Since an unaltered 11 does not sound good when combined with an
3898 unaltered 13, the 11 is removed in this case (, unless it is added
3900 @lilypond[fragment,verbatim]
3901 \chords { c:13 c:13.11 c:m13 }
3906 An inversion (putting one pitch of the chord on the bottom), as well
3907 as bass notes, can be specified by appending
3908 @code{/}@var{pitch} to the chord:
3909 @lilypond[fragment,verbatim,center]
3910 \chords { c1 c/g c/f }
3914 A bass note can be added instead of transposed out of the chord,
3915 by using @code{/+}@var{pitch}.
3917 @lilypond[fragment,verbatim,center]
3918 \chords { c1 c/+g c/+f }
3921 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3922 of the commands continue to work, for example, @code{r} and
3923 @code{\skip} can be used to insert rests and spaces, and
3924 @code{\property} may be used to change various settings.
3930 Each step can only be present in a chord once. The following
3931 simply produces the augmented chord, since @code{5+} is interpreted
3934 @lilypond[verbatim,fragment]
3935 \chords { c:5.5-.5+ }
3939 @node Printing chord names
3940 @subsection Printing chord names
3942 @cindex printing chord names
3946 For displaying printed chord names, use the @internalsref{ChordNames} context.
3947 The chords may be entered either using the notation
3948 described above, or directly using @code{<} and @code{>}:
3950 @lilypond[verbatim,singleline]
3952 \chords {a1 b c} <d' f' a'> <e' g' b'>
3956 \context ChordNames \scheme
3957 \context Staff \scheme
3962 You can make the chord changes stand out by setting
3963 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3964 display chord names when there is a change in the chords scheme and at
3965 the start of a new line:
3967 @lilypond[verbatim, linewidth=9cm]
3969 c1:m c:m \break c:m c:m d
3973 \context ChordNames {
3974 \property ChordNames.chordChanges = ##t
3976 \context Staff \transpose c c' \scheme
3981 The default chord name layout is a system for Jazz music, proposed by
3982 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3983 following properties:
3986 @cindex chordNameExceptions
3987 @item chordNameExceptions
3988 This is a list that contains the chords that have special formatting.
3990 @inputfileref{input/regression,chord-name-exceptions.ly}.
3991 @cindex exceptions, chord names.
3994 @cindex majorSevenSymbol
3995 @item majorSevenSymbol
3996 This property contains the markup object used for the 7th step, when
3997 it is major. Predefined options are @code{whiteTriangleMarkup} and
3998 @code{blackTriangleMarkup}. See
3999 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4001 @cindex chordNameSeparator
4002 @item chordNameSeparator
4003 Different parts of a chord name are normally separated by a
4004 slash. By setting @code{chordNameSeparator}, you can specify other
4006 @lilypond[fragment,verbatim]
4007 \context ChordNames \chords {
4009 \property ChordNames.chordNameSeparator
4010 = \markup { \typewriter "|" }
4014 @cindex chordRootNamer
4015 @item chordRootNamer
4016 The root of a chord is usually printed as a letter with an optional
4017 alteration. The transformation from pitch to letter is done by this
4018 function. Special note names (for example, the German ``H'' for a
4019 B-chord) can be produced by storing a new function in this property.
4021 @cindex chordNoteNamer
4022 @item chordNoteNamer
4023 The default is to print single pitch, e.g. the bass note, using the
4024 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4025 to a specialized function to change this behavior. For example, the
4026 base can be printed in lower case.
4031 There are also two other chord name schemes implemented: an alternate
4032 Jazz chord notation, and a systematic scheme called Banter chords. The
4033 alternate jazz notation is also shown on the chart in @ref{Chord name
4034 chart}. Turning on these styles is described in the input file
4035 @inputfileref{input/test/,chord-names-jazz.ly}.
4039 @cindex chords, jazz
4044 @cindex @code{\germanChords}
4045 @code{\germanChords},
4046 @cindex @code{\semiGermanChords}
4047 @code{\semiGermanChords}.
4054 @inputfileref{input/regression,chord-name-major7.ly},
4055 @inputfileref{input/regression,chord-name-exceptions.ly},
4056 @inputfileref{input/test,chord-names-jazz.ly},
4057 @inputfileref{input/test,chord-names-german.ly},
4058 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4063 Chord names are determined solely from the list of pitches. Chord
4064 inversions are not identified, and neither are added bass notes. This
4065 may result in strange chord names when chords are entered with the
4066 @code{< .. >} syntax.
4071 @node Orchestral music
4072 @section Orchestral music
4074 @cindex Writing parts
4076 Orchestral music involves some special notation, both in the full
4077 score and the individual parts. This section explains how to tackle
4078 some common problems in orchestral music.
4083 * Multiple staff contexts::
4086 * Instrument names::
4088 * Multi measure rests::
4089 * Automatic part combining::
4091 * Different editions from one source::
4092 * Sound output for transposing instruments::
4095 @node Multiple staff contexts
4096 @subsection Multiple staff contexts
4098 Polyphonic scores consist of many staves. These staves can be
4099 constructed in three different ways:
4101 @item The group is started with a brace at the left. This is done with the
4102 @internalsref{GrandStaff} context.
4103 @item The group is started with a bracket. This is done with the
4104 @internalsref{StaffGroup} context
4105 @item The group is started with a vertical line. This is the default
4109 @cindex Staff, multiple
4110 @cindex bracket, vertical
4111 @cindex brace, vertical
4118 @node Rehearsal marks
4119 @subsection Rehearsal marks
4120 @cindex Rehearsal marks
4122 @cindex @code{\mark}
4124 To print a rehearsal mark, use the @code{\mark} command:
4125 @lilypond[fragment,verbatim]
4135 The mark is incremented automatically if you use @code{\mark
4136 \default}. The value to use is stored in the property
4137 @code{rehearsalMark} is used and automatically incremented.
4139 The @code{\mark} command can also be used to put signs like coda,
4140 segno and fermatas on a barline. Use @code{\markup} to
4141 to access the appropriate symbol:
4143 @lilypond[fragment,verbatim,relative=1]
4144 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4148 In this case, during line breaks,
4149 marks must also be printed at the end of the line, and not at the
4150 beginning. Use the following to force that behavior:
4152 \property Score.RehearsalMark \override
4153 #'break-visibility = #begin-of-line-invisible
4156 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4162 @cindex barlines, putting symbols on
4166 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4167 @inputfileref{input/test,boxed-molecule.ly}.
4171 @subsection Bar numbers
4175 @cindex measure numbers
4176 @cindex currentBarNumber
4178 Bar numbers are printed by default at the start of the line. The
4179 number itself is stored in the
4180 @code{currentBarNumber} property,
4181 which is normally updated automatically for every measure.
4183 Bar numbers can be typeset at regular intervals instead of at the
4184 beginning of each line. This is illustrated in the following example,
4185 whose source is available as
4186 @inputfileref{input/test,bar-number-regular-interval.ly}:
4188 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4193 @internalsref{BarNumber},
4194 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4195 @inputfileref{input/test,bar-number-regular-interval.ly}.
4199 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4200 there is one at the top. To solve this, the
4201 @code{padding} property of @internalsref{BarNumber} can be
4202 used to position the number correctly.
4204 @node Instrument names
4205 @subsection Instrument names
4207 In an orchestral score, instrument names are printed left side of the
4210 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4211 and @internalsref{Staff}.@code{instr}. This will print a string before
4212 the start of the staff. For the first start, @code{instrument} is
4213 used, for the next ones @code{instr} is used:
4215 @lilypond[verbatim,singleline]
4216 \property Staff.instrument = "ploink " { c''4 }
4219 You can also use markup texts to construct more complicated instrument
4222 @lilypond[fragment,verbatim,singleline]
4224 \property Staff.instrument = \markup {
4225 \column < "Clarinetti"
4227 \smaller \musicglyph #"accidentals--1"
4238 @internalsref{InstrumentName}.
4242 When you put a name on a grand staff or piano staff the width of the
4243 brace is not taken into account. You must add extra spaces to the end of
4244 the name to avoid a collision.
4247 @subsection Transpose
4249 @cindex transposition of pitches
4250 @cindex @code{\transpose}
4252 A music expression can be transposed with @code{\transpose}. The syntax
4255 \transpose @var{from} @var{to} @var{musicexpr}
4258 This means that @var{musicexpr} is transposed by the interval
4259 between @var{from} and @var{to}.
4261 @code{\transpose} distinguishes between enharmonic pitches: both
4262 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4263 half a tone. The first version will print sharps and the second
4264 version will print flats:
4266 @lilypond[singleline, verbatim]
4267 mus =\notes { \key d \major cis d fis g }
4268 \score { \notes \context Staff {
4271 \transpose c g' \mus
4272 \transpose c f' \mus
4278 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4282 If you want to use both @code{\transpose} and @code{\relative}, then
4283 you must put @code{\transpose} outside of @code{\relative}, since
4284 @code{\relative} will have no effect music that appears inside a
4290 @node Multi measure rests
4291 @subsection Multi measure rests
4292 @cindex multi measure rests
4293 @cindex Rests, multi measure
4297 Multi measure rests are entered using `@code{R}'. It is specifically
4298 meant for full bar rests and for entering parts: the rest can expand to
4299 fill a score with rests, or it can be printed as a single multimeasure
4300 rest. This expansion is controlled by the property
4301 @code{Score.skipBars}. If this is set to true, Lily will not expand
4302 empty measures, and the appropriate number is added automatically:
4304 @lilypond[fragment,verbatim]
4305 \time 4/4 r1 | R1 | R1*2
4306 \property Score.skipBars = ##t R1*17 R1*4
4309 The @code{1} in @code{R1} is similar to the duration notation used for
4310 notes. Hence, for time signatures other than 4/4, you must enter other
4311 durations. This can be done with augmentation dots or fractions:
4313 @lilypond[fragment,verbatim]
4314 \property Score.skipBars = ##t
4322 An @code{R} spanning a single measure is printed as either a whole rest
4323 or a breve, centered in the measure regardless of the time signature.
4325 @cindex text on multi-measure rest
4326 @cindex script on multi-measure rest
4327 @cindex fermata on multi-measure rest
4329 Texts can be added to multi-measure rests by using the
4330 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4331 replaced. If you need both texts and the number, you must add the
4332 number by hand. A variable (@code{\fermataMarkup}) is provided for
4336 @lilypond[verbatim,fragment]
4338 R2._\markup { "Ad lib" }
4343 @cindex whole rests for a full measure
4347 @internalsref{MultiMeasureRestEvent},
4348 @internalsref{MultiMeasureTextEvent},
4349 @internalsref{MultiMeasureRestMusicGroup}, and
4350 @internalsref{MultiMeasureRest}.
4352 The layout object @internalsref{MultiMeasureRestNumber} is for the
4353 default number, and @internalsref{MultiMeasureRestText} for user
4358 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4359 over multi-measure rests.
4361 @cindex condensing rests
4363 There is no way to automatically condense multiple rests into a single
4364 multimeasure rest. Multi measure rests do not take part in rest
4367 Be careful when entering multimeasure rests followed by whole notes,
4371 will enter two notes lasting four measures each. When @code{skipBars}
4372 is set, then the result will look OK, but the bar numbering will be
4375 @node Automatic part combining
4376 @subsection Automatic part combining
4377 @cindex automatic part combining
4378 @cindex part combiner
4381 Automatic part combining is used to merge two parts of music onto a
4382 staff. It is aimed at typesetting orchestral scores. When the two
4383 parts are identical for a period of time, only one is shown. In
4384 places where the two parts differ, they are typeset as separate
4385 voices, and stem directions are set automatically. Also, solo and
4386 @emph{a due} parts are identified and can be marked.
4390 The syntax for part combining is
4393 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4395 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4396 combined into one context of type @var{context}. The music expressions
4397 must be interpreted by contexts whose names should start with @code{one}
4400 The following example demonstrates the basic functionality of the part
4401 combiner: putting parts on one staff, and setting stem directions and
4404 @lilypond[verbatim,singleline,fragment]
4406 \context Voice=one \partcombine Voice
4407 \context Thread=one \relative c'' {
4410 \context Thread=two \relative c'' {
4416 The first @code{g} appears only once, although it was
4417 specified twice (once in each part). Stem, slur and tie directions are
4418 set automatically, depending whether there is a solo or unisono. The
4419 first part (with context called @code{one}) always gets up stems, and
4420 `solo', while the second (called @code{two}) always gets down stems and
4423 If you just want the merging parts, and not the textual markings, you
4424 may set the property @var{soloADue} to false:
4426 @lilypond[verbatim,singleline,fragment]
4428 \property Staff.soloADue = ##f
4429 \context Voice=one \partcombine Voice
4430 \context Thread=one \relative c'' {
4433 \context Thread=two \relative c'' {
4441 @internalsref{PartCombineMusic},
4442 @internalsref{Thread_devnull_engraver}, and
4443 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4447 The syntax for naming contexts in inconsistent with the syntax for
4450 In @code{soloADue} mode, when the two voices play the same notes on and
4451 off, the part combiner may typeset @code{a2} more than once in a
4454 @lilypond[fragment,singleline]
4456 \context Voice=one \partcombine Voice
4457 \context Thread=one \relative c'' {
4460 \context Thread=two \relative c'' {
4466 The part combiner is rather buggy, and it will be replaced by a better
4467 mechanism in the near future.
4469 @cindex @code{Thread_devnull_engraver}
4470 @cindex @code{Voice_engraver}
4471 @cindex @code{A2_engraver}
4474 @subsection Hiding staves
4476 @cindex Frenched scores
4477 @cindex Hiding staves
4479 In orchestral scores, staff lines that only have rests are usually
4480 removed. This saves some space. This style is called `French Score'.
4481 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4482 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4483 switched on by default. When these line of these contexts turn out
4484 empty after the line-breaking process, they are removed.
4486 For normal staves, a specialized @internalsref{Staff} context is
4487 available, which does the same: staves containing nothing (or only
4488 multi measure rests) are removed. The context definition is stored in
4489 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4490 in this example disappears in the second line:
4495 \notes \relative c' <<
4496 \new Staff { e4 f g a \break c1 }
4497 \new Staff { c4 d e f \break R1 }
4501 \translator { \RemoveEmptyStaffContext }
4506 In orchestral scores, the first page usually shows all staffs in
4507 full. To prevent empty staffs from being discarded from the first
4508 page, set @code{remove-first} to false in
4509 @internalsref{RemoveEmptyVerticalGroup}.
4511 @node Different editions from one source
4512 @subsection Different editions from one source
4514 The @code{\tag} command marks music expressions with a name. These
4515 tagged expressions can be filtered out later. With this mechanism it
4516 is possible to make different versions of the same music source.
4518 In the following example, we see two versions of a piece of music, one
4519 for the full score, and one with cue notes for the instrumental part:
4527 \property Voice.fontSize = #-1
4535 The same can be applied to articulations, texts, etc.: they are
4538 -\tag #@var{your-tag}
4540 to an articulation, for example,
4545 This defines a note with a conditional fingering indication.
4547 By applying the @code{remove-tag} function, tagged expressions can be
4548 filtered. For example,
4552 \apply #(remove-tag 'score) @var{the music}
4553 \apply #(remove-tag 'part) @var{the music}
4558 @lilypondfile[notexidoc]{tag-filter.ly}
4560 The argument of the @code{\tag} command should be a symbol, or a list
4561 of symbols, for example,
4563 \tag #'(original-part transposed-part) @dots{}
4568 @inputfileref{input/regression,tag-filter.ly}
4571 @node Sound output for transposing instruments
4572 @subsection Sound output for transposing instruments
4574 When you want to make a MIDI file from a score containing transposed
4575 and untransposed instruments, you have to instruct LilyPond the pitch
4576 offset (in semitones) for the transposed instruments. This is done
4577 using the @code{transposing} property. It does not affect printed
4580 @cindex @code{transposing}
4583 \property Staff.instrument = #"Cl. in B-flat"
4584 \property Staff.transposing = #-2
4588 @node Ancient notation
4589 @section Ancient notation
4591 @cindex Vaticana, Editio
4592 @cindex Medicaea, Editio
4597 @c [TODO: write more comprehensive introduction on ancient notation]
4599 Support for ancient notation is still under heavy development.
4600 Regardless of all of the current limitations (see the bugs section
4601 below for details), it includes features for mensural
4602 notation and Gregorian Chant notation. There is also limited support
4603 for figured bass notation.
4605 Many graphical objects provide a @code{style} property, see
4606 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4607 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4608 signatures}. By manipulating such a grob property, the typographical
4609 appearance of the affected graphical objects can be accomodated for a
4610 specific notation flavour without need for introducing any new
4614 Other aspects of ancient notation can not that easily be expressed as
4615 in terms of just changing a style property of a graphical object.
4616 Therefore, some notational concepts are introduced specifically for
4617 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4618 @ref{Ligatures}, and @ref{Figured bass}.
4622 * Ancient note heads::
4623 * Ancient accidentals::
4627 * Ancient time signatures::
4632 * Vaticana style contexts::
4635 If this all is way too much of documentation for you, and you just
4636 want to dive into typesetting without worrying too much about the
4637 details on how to customize a context, then you may have a look at the
4638 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4639 set up predefined style-specific voice and staff contexts, and
4640 directly go ahead with the note entry.
4644 Ligatures need special spacing that has not yet been implemented. As
4645 a result, there is too much space between ligatures most of the time,
4646 and line breaking often is unsatisfactory. Also, lyrics do not
4647 correctly align with ligatures.
4649 Accidentals must not be printed within a ligature, but instead need to
4650 be collected and printed in front of it.
4652 Augmentum dots within ligatures are not handled correctly.
4655 @node Ancient note heads
4656 @subsection Ancient note heads
4662 For ancient notation, a note head style other than the @code{default}
4663 style may be chosen. This is accomplished by setting the @code{style}
4664 property of the NoteHead object to the desired value (@code{baroque},
4665 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4666 differs from the @code{default} style only in using a square shape for
4667 @code{\breve} note heads. The @code{neo_mensural} style differs from
4668 the @code{baroque} style in that it uses rhomboidal heads for whole
4669 notes and all smaller durations. Stems are centered on the note
4670 heads. This style is in particular useful when transcribing mensural
4671 music, e.g. for the incipit. The @code{mensural} style finally
4672 produces note heads that mimick the look of note heads in historic
4673 printings of the 16th century.
4675 The following example demonstrates the @code{neo_mensural} style:
4677 @lilypond[fragment,singleline,verbatim]
4678 \property Voice.NoteHead \set #'style = #'neo_mensural
4679 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4682 When typesetting a piece in Gregorian Chant notation, a Gregorian
4683 ligature engraver will automatically select the proper note heads,
4684 such there is no need to explicitly set the note head style. Still,
4685 the note head style can be set e.g. to @code{vaticana_punctum} to
4686 produce punctum neumes. Similarly, a mensural ligature engraver is
4687 used to automatically assemble mensural ligatures. See
4688 @ref{Ligatures} for how ligature engravers work.
4692 @inputfileref{input/regression,note-head-style.ly} gives an overview
4693 over all available note head styles.
4695 @ref{Percussion staves} use note head styles of their own that are
4696 frequently used in contemporary music notation.
4698 @node Ancient accidentals
4699 @subsection Ancient accidentals
4705 Use the @code{style} property of grob @internalsref{Accidental} to
4706 select ancient accidentals. Supported styles are
4707 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4709 @lilypond[singleline,26pt]
4717 { " " \musicglyph #"accidentals-vaticana-1"
4718 " " \musicglyph #"accidentals-vaticana0" }
4722 { " " \musicglyph #"accidentals-medicaea-1" }
4726 { " " \musicglyph #"accidentals-hufnagel-1" }
4730 { " " \musicglyph #"accidentals-mensural-1"
4731 " " \musicglyph #"accidentals-mensural1" }
4740 \remove "Bar_number_engraver"
4744 \remove "Clef_engraver"
4745 \remove "Key_engraver"
4746 \remove "Time_signature_engraver"
4747 \remove "Staff_symbol_engraver"
4748 minimumVerticalExtent = ##f
4754 As shown, not all accidentals are supported by each style. When
4755 trying to access an unsupported accidental, LilyPond will switch to a
4756 different style, as demonstrated in
4757 @inputfileref{input/test,ancient-accidentals.ly}.
4759 Similarly to local accidentals, the style of the key signature can be
4760 controlled by the @code{style} property of the
4761 @internalsref{KeySignature} grob.
4765 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4766 a general introduction into the use of accidentals. @ref{Key
4767 signature} gives a general introduction into the use of key
4772 @subsection Ancient rests
4778 Use the @code{style} property of grob @internalsref{Rest} to select
4779 ancient accidentals. Supported styles are @code{classical},
4780 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4781 from the @code{default} style only in that the quarter rest looks like
4782 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4783 well for e.g. the incipit of a transcribed mensural piece of music.
4784 The @code{mensural} style finally mimicks the appearance of rests as
4785 in historic prints of the 16th century.
4787 The following example demonstrates the @code{neo_mensural} style:
4789 @lilypond[fragment,singleline,verbatim]
4790 \property Voice.Rest \set #'style = #'neo_mensural
4791 r\longa r\breve r1 r2 r4 r8 r16
4794 There are no 32th and 64th rests specifically for the mensural or
4795 neo-mensural style. Instead, the rests from the default style will be
4796 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4799 There are no rests in Gregorian Chant notation; instead, it uses
4804 @ref{Rests} gives a general introduction into the use of rests.
4808 @subsection Ancient clefs
4814 LilyPond supports a variety of clefs, many of them ancient.
4816 The following table shows all ancient clefs that are supported via the
4817 @code{\clef} command. Some of the clefs use the same glyph, but
4818 differ only with respect to the line they are printed on. In such
4819 cases, a trailing number in the name is used to enumerate these clefs.
4820 Still, you can manually force a clef glyph to be typeset on an
4821 arbitrary line, as described in @ref{Clef}. The note printed to the
4822 right side of each clef in the example column denotes the @code{c'}
4823 with respect to that clef.
4825 @multitable @columnfractions .3 .3 .3 .1
4829 @b{Description} @tab
4830 @b{Supported Clefs} @tab
4834 @code{clefs-neo_mensural_c} @tab
4835 modern style mensural C clef @tab
4836 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4837 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4838 @lilypond[relative 0, notime]
4839 \property Staff.TimeSignature \set #'transparent = ##t
4840 \clef "neo_mensural_c2" c
4844 @code{clefs-petrucci_c1}
4845 @code{clefs-petrucci_c2}
4846 @code{clefs-petrucci_c3}
4847 @code{clefs-petrucci_c4}
4848 @code{clefs-petrucci_c5}
4851 petrucci style mensural C clefs, for use on different stafflines
4852 (the examples shows the 2nd staffline C clef).
4862 @lilypond[relative 0, notime]
4863 \property Staff.TimeSignature \set #'transparent = ##t
4864 \clef "petrucci_c2" c
4868 @code{clefs-petrucci_f} @tab
4869 petrucci style mensural F clef @tab
4870 @code{petrucci_f} @tab
4871 @lilypond[relative 0, notime]
4872 \property Staff.TimeSignature \set #'transparent = ##t
4873 \clef "petrucci_f" c
4877 @code{clefs-petrucci_g} @tab
4878 petrucci style mensural G clef @tab
4879 @code{petrucci_g} @tab
4880 @lilypond[relative 0, notime]
4881 \property Staff.TimeSignature \set #'transparent = ##t
4882 \clef "petrucci_g" c
4886 @code{clefs-mensural_c} @tab
4887 historic style mensural C clef @tab
4888 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4889 @code{mensural_c4} @tab
4890 @lilypond[relative 0, notime]
4891 \property Staff.TimeSignature \set #'transparent = ##t
4892 \clef "mensural_c2" c
4896 @code{clefs-mensural_f} @tab
4897 historic style mensural F clef @tab
4898 @code{mensural_f} @tab
4899 @lilypond[relative 0, notime]
4900 \property Staff.TimeSignature \set #'transparent = ##t
4901 \clef "mensural_f" c
4905 @code{clefs-mensural_g} @tab
4906 historic style mensural G clef @tab
4907 @code{mensural_g} @tab
4908 @lilypond[relative 0, notime]
4909 \property Staff.TimeSignature \set #'transparent = ##t
4910 \clef "mensural_g" c
4914 @code{clefs-vaticana_do} @tab
4915 Editio Vaticana style do clef @tab
4916 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4917 @lilypond[relative 0, notime]
4919 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4920 \property Staff.TimeSignature \set #'transparent = ##t
4921 \clef "vaticana_do2" c
4925 @code{clefs-vaticana_fa} @tab
4926 Editio Vaticana style fa clef @tab
4927 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4928 @lilypond[relative 0, notime]
4930 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4931 \property Staff.TimeSignature \set #'transparent = ##t
4932 \clef "vaticana_fa2" c
4936 @code{clefs-medicaea_do} @tab
4937 Editio Medicaea style do clef @tab
4938 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4939 @lilypond[relative 0, notime]
4941 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4942 \property Staff.TimeSignature \set #'transparent = ##t
4943 \clef "medicaea_do2" c
4947 @code{clefs-medicaea_fa} @tab
4948 Editio Medicaea style fa clef @tab
4949 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4950 @lilypond[relative 0, notime]
4952 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4953 \property Staff.TimeSignature \set #'transparent = ##t
4954 \clef "medicaea_fa2" c
4958 @code{clefs-hufnagel_do} @tab
4959 historic style hufnagel do clef @tab
4960 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4961 @lilypond[relative 0, notime]
4963 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4964 \property Staff.TimeSignature \set #'transparent = ##t
4965 \clef "hufnagel_do2" c
4969 @code{clefs-hufnagel_fa} @tab
4970 historic style hufnagel fa clef @tab
4971 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4972 @lilypond[relative 0, notime]
4974 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4975 \property Staff.TimeSignature \set #'transparent = ##t
4976 \clef "hufnagel_fa2" c
4980 @code{clefs-hufnagel_do_fa} @tab
4981 historic style hufnagel combined do/fa clef @tab
4982 @code{hufnagel_do_fa} @tab
4983 @lilypond[relative 0, notime]
4984 \property Staff.TimeSignature \set #'transparent = ##t
4985 \clef "hufnagel_do_fa" c
4990 @c --- This should go somewhere else: ---
4991 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4994 @c @code{percussion}
4996 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4998 @c @item modern style tab clef (glyph: @code{clefs-tab})
5003 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5005 @emph{Modern style} means ``as is typeset in contemporary editions of
5006 transcribed mensural music''.
5008 @emph{Petrucci style} means ``inspired by printings published by the
5009 famous engraver Petrucci (1466-1539)''.
5011 @emph{Historic style} means ``as was typeset or written in historic
5012 editions (other than those of Petrucci)''.
5014 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5016 Petrucci used C clefs with differently balanced left-side vertical
5017 beams, depending on which staffline it is printed.
5021 For modern clefs, see @ref{Clef}. For the percussion clef, see
5022 @ref{Percussion staves}. For the @code{TAB} clef, see
5027 @subsection Ancient flags
5033 Use the @code{flag-style} property of grob @internalsref{Stem} to
5034 select ancient flags. Besides the @code{default} flag style,
5035 only @code{mensural} style is supported:
5037 @lilypond[fragment,singleline,verbatim]
5038 \property Voice.Stem \set #'flag-style = #'mensural
5039 \property Voice.Stem \set #'thickness = #1.0
5040 \property Voice.NoteHead \set #'style = #'mensural
5042 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5043 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5046 Note that the innermost flare of each mensural flag always is
5047 vertically aligned with a staff line. If you do not like this
5048 behaviour, you can set the @code{adjust-if-on-staffline} property of
5049 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5050 of the end of each flare is different between notes on staff lines and
5051 notes between staff lines:
5053 @lilypond[fragment,singleline]
5054 \property Voice.Stem \set #'flag-style = #'mensural
5055 \property Voice.Stem \set #'thickness = #1.0
5056 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5057 \property Voice.NoteHead \set #'style = #'mensural
5059 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5060 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5063 There is no particular flag style for neo-mensural notation. Hence,
5064 when typesetting e.g. the incipit of a transcibed piece of mensural
5065 music, the default flag style should be used. There are no flags in
5066 Gregorian Chant notation.
5069 @node Ancient time signatures
5070 @subsection Ancient time signatures
5072 @cindex time signatures
5076 There is limited support for mensural time signatures. The
5077 glyphs are hard-wired to particular time fractions. In other words,
5078 to get a particular mensural signature glyph with the @code{\time n/m}
5079 command, @code{n} and @code{m} have to be chosen according to the
5085 \property Score.timing = ##f
5086 \property Score.barAlways = ##t
5087 s_\markup { "$\\backslash$time 4/4" }
5088 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5090 s_\markup { "$\\backslash$time 2/2" }
5091 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5093 s_\markup { "$\\backslash$time 6/4" }
5094 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5096 s_\markup { "$\\backslash$time 6/8" }
5097 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5099 s_\markup { "$\\backslash$time 3/2" }
5100 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5102 s_\markup { "$\\backslash$time 3/4" }
5103 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5105 s_\markup { "$\\backslash$time 9/4" }
5106 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5108 s_\markup { "$\\backslash$time 9/8" }
5109 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5111 s_\markup { "$\\backslash$time 4/8" }
5112 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5114 s_\markup { "$\\backslash$time 2/4" }
5115 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5123 \remove Staff_symbol_engraver
5124 \remove Clef_engraver
5125 \remove Time_signature_engraver
5131 Use the @code{style} property of grob @internalsref{TimeSignature} to
5132 select ancient time signatures. Supported styles are
5133 @code{neo_mensural} and @code{mensural}. The above table uses the
5134 @code{neo_mensural} style. This style is appropriate e.g. for the
5135 incipit of transcriptions of mensural pieces. The @code{mensural}
5136 style mimicks the look of historical printings of the 16th century.
5138 @inputfileref{input/test,time.ly} gives an overview over all available
5139 ancient and modern styles.
5143 @ref{Time signature} gives a general introduction into the use of time
5148 Mensural signature glyphs are mapped to time fractions in a
5149 hard-wired way. This mapping is sensible, but still arbitrary: given
5150 a mensural time signature, the time fraction represents a modern meter
5151 that usually will be a good choice when transcribing a mensural piece
5152 of music. For a particular piece of mensural music, however, the
5153 mapping may be unsatisfactory. In particular, the mapping assumes a
5154 fixed transcription of durations (e.g. brevis = half note in 2/2,
5155 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5156 are not at all accessible through the @code{\time} command.
5158 Mensural time signatures are supported typographically, but not yet
5159 musically. The internal representation of durations is
5160 based on a purely binary system; a ternary division such as 1 brevis =
5161 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5162 prolatione maiori) is not correctly handled: event times in ternary
5163 modes will be badly computed, resulting e.g. in horizontally
5164 misaligned note heads, and bar checks are likely to erroneously fail.
5166 The syntax and semantics of the @code{\time} command for mensural
5167 music is subject to change.
5170 @subsection Custodes
5175 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5176 symbol that appears at the end of a staff. It anticipates the pitch
5177 of the first note(s) of the following line and thus helps the player
5178 or singer to manage line breaks during performance, thus enhancing
5179 readability of a score.
5181 Custodes were frequently used in music notation until the 17th
5182 century. Nowadays, they have survived only in a few particular forms
5183 of musical notation such as contemporary editions of Gregorian chant
5184 like the @emph{editio vaticana}. There are different custos glyphs
5185 used in different flavours of notational style.
5189 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5190 @internalsref{Staff} context when declaring the @code{\paper} block,
5191 as shown in the following example:
5197 \consists Custos_engraver
5198 Custos \override #'style = #'mensural
5203 The result looks like this:
5209 \property Staff.Custos \set #'style = #'mensural
5216 \consists Custos_engraver
5223 The custos glyph is selected by the @code{style} property. The styles
5224 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5225 @code{mensural}. They are demonstrated in the following fragment:
5235 { " " \musicglyph #"custodes-vaticana-u0" }
5239 { " " \musicglyph #"custodes-medicaea-u0" }
5243 { " " \musicglyph #"custodes-hufnagel-u0" }
5247 { " " \musicglyph #"custodes-mensural-u0" }
5256 \remove "Bar_number_engraver"
5260 \remove "Clef_engraver"
5261 \remove "Key_engraver"
5262 \remove "Time_signature_engraver"
5263 \remove "Staff_symbol_engraver"
5264 minimumVerticalExtent = ##f
5270 If the boolean property @code{adjust-if-on-staffline} is set to
5271 @code{#t} (which it is by default), lily typesets slightly different
5272 variants of the custos glyph, depending on whether the custos, is
5273 typeset on or between stafflines. The glyph will
5274 optically fit well into the staff, with the appendage on the right of
5275 the custos always ending at the same vertical position between two
5276 stafflines regardless of the pitch. If you set
5277 @code{adjust-if-on-staffline} to @code{#f}, then
5278 a compromise between both forms is used.
5280 Just like stems can be attached to noteheads in two directions
5281 @emph{up} and @emph{down}, each custos glyph is available with its
5282 appendage pointing either up or down. If the pitch of a custos is
5283 above a selectable position, the appendage will point downwards; if
5284 the pitch is below this position, the appendage will point upwards.
5285 Use property @code{neutral-position} to select this position. By
5286 default, it is set to @code{0}, such that the neutral position is the
5287 center of the staff. Use property @code{neutral-direction} to control
5288 what happens if a custos is typeset on the neutral position itself.
5289 By default, this property is set to @code{-1}, such that the appendage
5290 will point downwards. If set to @code{1}, the appendage will point
5291 upwards. Other values such as @code{0} are reserved for future
5292 extensions and should not be used.
5296 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5300 @subsection Divisiones
5306 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5307 `division') is a staff context symbol that is used to structure
5308 Gregorian music into phrases and sections. The musical meaning of
5309 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5310 can be characterized as short, medium and long pause, somewhat like
5311 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5312 a chant, but is also frequently used within a single
5313 antiphonal/responsorial chant to mark the end of each section.
5317 To use divisiones, include the file @code{gregorian-init.ly}. It
5318 contains definitions that you can apply by just inserting
5319 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5320 and @code{\finalis} at proper places in the input. Some editions use
5321 @emph{virgula} or @emph{caesura} instead of divisio minima.
5322 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5325 @lilypondfile[notexidoc]{divisiones.ly}
5329 @cindex @code{\virgula}
5331 @cindex @code{\caesura}
5333 @cindex @code{\divisioMinima}
5334 @code{\divisioMinima},
5335 @cindex @code{\divisioMaior}
5336 @code{\divisioMaior},
5337 @cindex @code{\divisioMaxima}
5338 @code{\divisioMaxima},
5339 @cindex @code{\finalis}
5344 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5345 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5348 @subsection Ligatures
5352 @c TODO: Should double check if I recalled things correctly when I wrote
5353 @c down the following paragraph by heart.
5355 In musical terminology, a ligature is a coherent graphical symbol that
5356 represents at least two distinct notes. Ligatures originally appeared
5357 in the manuscripts of Gregorian chant notation roughly since the 9th
5358 century as an allusion to the accent symbols of greek lyric poetry to
5359 denote ascending or descending sequences of notes. Both, the shape
5360 and the exact meaning of ligatures changed tremendously during the
5361 following centuries: In early notation, ligatures were used for
5362 monophonic tunes (Gregorian chant) and very soon denoted also the way
5363 of performance in the sense of articulation. With upcoming
5364 multiphony, the need for a metric system arised, since multiple voices
5365 of a piece have to be synchronized some way. New notation systems
5366 were invented that used the manifold shapes of ligatures to now denote
5367 rhythmical patterns (e.g. black mensural notation, mannered notation,
5368 ars nova). With the invention of the metric system of the white
5369 mensural notation, the need for ligatures to denote such patterns
5370 disappeared. Nevertheless, ligatures were still in use in the
5371 mensural system for a couple of decades until they finally disappeared
5372 during the late 16th / early 17th century. Still, ligatures have
5373 survived in contemporary editions of Gregorian chant such as the
5374 Editio Vaticana from 1905/08.
5378 Syntactically, ligatures are simply enclosed by @code{\[} and
5379 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5380 additional input syntax specific for this particular type of ligature.
5381 By default, the @internalsref{LigatureBracket} engraver just puts a
5382 square bracket above the ligature:
5384 @lilypond[singleline,verbatim]
5386 \notes \transpose c c' {
5394 To select a specific style of ligatures, a proper ligature engraver
5395 has to be added to the @internalsref{Voice} context, as explained in
5396 the following subsections. Only white mensural ligatures
5397 are supported with certain limitations. Support for Editio Vaticana
5398 will be added in the future.
5401 * White mensural ligatures::
5402 * Gregorian square neumes ligatures::
5405 @node White mensural ligatures
5406 @subsubsection White mensural ligatures
5408 @cindex Mensural ligatures
5409 @cindex White mensural ligatures
5411 There is limited support for white mensural ligatures. The
5412 implementation is still experimental; it may output strange
5413 warnings or even crash in some cases or produce weird results on more
5418 To engrave white mensural ligatures, in the paper block the
5419 @internalsref{Mensural_ligature_engraver} has to be put into the
5420 @internalsref{Voice} context, and remove the
5421 @internalsref{Ligature_bracket_engraver}:
5427 \remove Ligature_bracket_engraver
5428 \consists Mensural_ligature_engraver
5433 There is no additional input language to describe the shape of a
5434 white mensural ligature. The shape is rather determined solely from
5435 the pitch and duration of the enclosed notes. While this approach may
5436 take a new user a while to get accustomed, it has the great advantage
5437 that the full musical information of the ligature is known internally.
5438 This is not only required for correct MIDI output, but also allows for
5439 automatic transcription of the ligatures.
5444 \property Score.timing = ##f
5445 \property Score.defaultBarType = "empty"
5446 \property Voice.NoteHead \set #'style = #'neo_mensural
5447 \property Staff.TimeSignature \set #'style = #'neo_mensural
5449 \[ g\longa c\breve a\breve f\breve d'\longa \]
5451 \[ e1 f1 a\breve g\longa \]
5453 @lilypond[singleline]
5455 \notes \transpose c c' {
5456 \property Score.timing = ##f
5457 \property Score.defaultBarType = "empty"
5458 \property Voice.NoteHead \set #'style = #'neo_mensural
5459 \property Staff.TimeSignature \set #'style = #'neo_mensural
5461 \[ g\longa c\breve a\breve f\breve d'\longa \]
5463 \[ e1 f1 a\breve g\longa \]
5468 \remove Ligature_bracket_engraver
5469 \consists Mensural_ligature_engraver
5475 Without replacing @internalsref{Ligature_bracket_engraver} with
5476 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5479 @lilypond[singleline]
5481 \notes \transpose c c' {
5482 \property Score.timing = ##f
5483 \property Score.defaultBarType = "empty"
5484 \property Voice.NoteHead \set #'style = #'neo_mensural
5485 \property Staff.TimeSignature \set #'style = #'neo_mensural
5487 \[ g\longa c\breve a\breve f\breve d'\longa \]
5489 \[ e1 f1 a\breve g\longa \]
5495 @node Gregorian square neumes ligatures
5496 @subsubsection Gregorian square neumes ligatures
5498 @cindex Square neumes ligatures
5499 @cindex Gregorian square neumes ligatures
5501 Gregorian square neumes notation (following the style of the Editio
5502 Vaticana) is under heavy development, but not yet really usable for
5503 production purposes. Core ligatures can already be typeset, but
5504 essential issues for serious typesetting are still under development,
5505 such as (among others) horizontal alignment of multiple ligatures,
5506 lyrics alignment and proper accidentals handling. Still, this section
5507 gives a sneak preview of what Gregorian chant may look like once it
5510 The following table contains the extended neumes table of the 2nd
5511 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5512 1983 by the monks of Solesmes.
5514 @multitable @columnfractions .4 .2 .2 .2
5517 @b{Neuma aut@*Neumarum Elementa} @tab
5518 @b{Figurae@*Rectae} @tab
5519 @b{Figurae@*Liquescentes Auctae} @tab
5520 @b{Figurae@*Liquescentes Deminutae}
5522 @c TODO: \paper block is identical in all of the below examples.
5523 @c Therefore, it should somehow be included rather than duplicated all
5526 @c why not make identifiers in ly/engraver-init.ly? --hwn
5528 @c Because it's just used to typeset plain notes without
5529 @c a staff for demonstration purposes rather than something
5530 @c special of Gregorian chant notation. --jr
5535 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5536 \include "gregorian-init.ly"
5538 \notes \transpose c c' {
5541 \noBreak s^\markup {"a"} \noBreak
5543 % Punctum Inclinatum
5545 \noBreak s^\markup {"b"}
5551 \remove "Bar_number_engraver"
5555 \remove "Clef_engraver"
5556 \remove "Key_engraver"
5557 StaffSymbol \set #'transparent = ##t
5558 \remove "Time_signature_engraver"
5559 \remove "Bar_engraver"
5560 minimumVerticalExtent = ##f
5564 \remove Ligature_bracket_engraver
5565 \consists Vaticana_ligature_engraver
5566 NoteHead \set #'style = #'vaticana_punctum
5567 Stem \set #'transparent = ##t
5573 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5574 \include "gregorian-init.ly"
5576 \notes \transpose c c' {
5577 % Punctum Auctum Ascendens
5578 \[ \auctum \ascendens b \]
5579 \noBreak s^\markup {"c"} \noBreak
5581 % Punctum Auctum Descendens
5582 \[ \auctum \descendens b \]
5583 \noBreak s^\markup {"d"} \noBreak
5585 % Punctum Inclinatum Auctum
5586 \[ \inclinatum \auctum b \]
5587 \noBreak s^\markup {"e"}
5593 \remove "Bar_number_engraver"
5597 \remove "Clef_engraver"
5598 \remove "Key_engraver"
5599 StaffSymbol \set #'transparent = ##t
5600 \remove "Time_signature_engraver"
5601 \remove "Bar_engraver"
5602 minimumVerticalExtent = ##f
5606 \remove Ligature_bracket_engraver
5607 \consists Vaticana_ligature_engraver
5608 NoteHead \set #'style = #'vaticana_punctum
5609 Stem \set #'transparent = ##t
5615 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5616 \include "gregorian-init.ly"
5618 \notes \transpose c c' {
5619 % Punctum Inclinatum Parvum
5620 \[ \inclinatum \deminutum b \]
5621 \noBreak s^\markup {"f"}
5627 \remove "Bar_number_engraver"
5631 \remove "Clef_engraver"
5632 \remove "Key_engraver"
5633 StaffSymbol \set #'transparent = ##t
5634 \remove "Time_signature_engraver"
5635 \remove "Bar_engraver"
5636 minimumVerticalExtent = ##f
5640 \remove Ligature_bracket_engraver
5641 \consists Vaticana_ligature_engraver
5642 NoteHead \set #'style = #'vaticana_punctum
5643 Stem \set #'transparent = ##t
5652 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5653 \include "gregorian-init.ly"
5655 \notes \transpose c c' {
5658 \noBreak s^\markup {"g"}
5664 \remove "Bar_number_engraver"
5668 \remove "Clef_engraver"
5669 \remove "Key_engraver"
5670 StaffSymbol \set #'transparent = ##t
5671 \remove "Time_signature_engraver"
5672 \remove "Bar_engraver"
5673 minimumVerticalExtent = ##f
5677 \remove Ligature_bracket_engraver
5678 \consists Vaticana_ligature_engraver
5679 NoteHead \set #'style = #'vaticana_punctum
5680 Stem \set #'transparent = ##t
5689 @code{3. Apostropha vel Stropha}
5691 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5692 \include "gregorian-init.ly"
5694 \notes \transpose c c' {
5697 \noBreak s^\markup {"h"}
5703 \remove "Bar_number_engraver"
5707 \remove "Clef_engraver"
5708 \remove "Key_engraver"
5709 StaffSymbol \set #'transparent = ##t
5710 \remove "Time_signature_engraver"
5711 \remove "Bar_engraver"
5712 minimumVerticalExtent = ##f
5716 \remove Ligature_bracket_engraver
5717 \consists Vaticana_ligature_engraver
5718 NoteHead \set #'style = #'vaticana_punctum
5719 Stem \set #'transparent = ##t
5725 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5726 \include "gregorian-init.ly"
5728 \notes \transpose c c' {
5730 \[ \stropha \auctum b \]
5731 \noBreak s^\markup {"i"}
5737 \remove "Bar_number_engraver"
5741 \remove "Clef_engraver"
5742 \remove "Key_engraver"
5743 StaffSymbol \set #'transparent = ##t
5744 \remove "Time_signature_engraver"
5745 \remove "Bar_engraver"
5746 minimumVerticalExtent = ##f
5750 \remove Ligature_bracket_engraver
5751 \consists Vaticana_ligature_engraver
5752 NoteHead \set #'style = #'vaticana_punctum
5753 Stem \set #'transparent = ##t
5763 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5764 \include "gregorian-init.ly"
5766 \notes \transpose c c' {
5769 \noBreak s^\markup {"j"}
5775 \remove "Bar_number_engraver"
5779 \remove "Clef_engraver"
5780 \remove "Key_engraver"
5781 StaffSymbol \set #'transparent = ##t
5782 \remove "Time_signature_engraver"
5783 \remove "Bar_engraver"
5784 minimumVerticalExtent = ##f
5788 \remove Ligature_bracket_engraver
5789 \consists Vaticana_ligature_engraver
5790 NoteHead \set #'style = #'vaticana_punctum
5791 Stem \set #'transparent = ##t
5800 @code{5. Clivis vel Flexa}
5802 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5803 \include "gregorian-init.ly"
5805 \notes \transpose c c' {
5814 \remove "Bar_number_engraver"
5818 \remove "Clef_engraver"
5819 \remove "Key_engraver"
5820 StaffSymbol \set #'transparent = ##t
5821 \remove "Time_signature_engraver"
5822 \remove "Bar_engraver"
5823 minimumVerticalExtent = ##f
5827 \remove Ligature_bracket_engraver
5828 \consists Vaticana_ligature_engraver
5829 NoteHead \set #'style = #'vaticana_punctum
5830 Stem \set #'transparent = ##t
5836 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5837 \include "gregorian-init.ly"
5839 \notes \transpose c c' {
5840 % Clivis Aucta Descendens
5841 \[ b \flexa \auctum \descendens g \]
5842 \noBreak s^\markup {"l"} \noBreak
5844 % Clivis Aucta Ascendens
5845 \[ b \flexa \auctum \ascendens g \]
5846 \noBreak s^\markup {"m"}
5852 \remove "Bar_number_engraver"
5856 \remove "Clef_engraver"
5857 \remove "Key_engraver"
5858 StaffSymbol \set #'transparent = ##t
5859 \remove "Time_signature_engraver"
5860 \remove "Bar_engraver"
5861 minimumVerticalExtent = ##f
5865 \remove Ligature_bracket_engraver
5866 \consists Vaticana_ligature_engraver
5867 NoteHead \set #'style = #'vaticana_punctum
5868 Stem \set #'transparent = ##t
5874 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5875 \include "gregorian-init.ly"
5877 \notes \transpose c c' {
5879 \[ b \flexa \deminutum g \]
5886 \remove "Bar_number_engraver"
5890 \remove "Clef_engraver"
5891 \remove "Key_engraver"
5892 StaffSymbol \set #'transparent = ##t
5893 \remove "Time_signature_engraver"
5894 \remove "Bar_engraver"
5895 minimumVerticalExtent = ##f
5899 \remove Ligature_bracket_engraver
5900 \consists Vaticana_ligature_engraver
5901 NoteHead \set #'style = #'vaticana_punctum
5902 Stem \set #'transparent = ##t
5909 @code{6. Podatus vel Pes}
5911 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5912 \include "gregorian-init.ly"
5914 \notes \transpose c c' {
5923 \remove "Bar_number_engraver"
5927 \remove "Clef_engraver"
5928 \remove "Key_engraver"
5929 StaffSymbol \set #'transparent = ##t
5930 \remove "Time_signature_engraver"
5931 \remove "Bar_engraver"
5932 minimumVerticalExtent = ##f
5936 \remove Ligature_bracket_engraver
5937 \consists Vaticana_ligature_engraver
5938 NoteHead \set #'style = #'vaticana_punctum
5939 Stem \set #'transparent = ##t
5945 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5946 \include "gregorian-init.ly"
5948 \notes \transpose c c' {
5949 % Pes Auctus Descendens
5950 \[ g \pes \auctum \descendens b \]
5951 \noBreak s^\markup {"p"} \noBreak
5953 % Pes Auctus Ascendens
5954 \[ g \pes \auctum \ascendens b \]
5955 \noBreak s^\markup {"q"}
5961 \remove "Bar_number_engraver"
5965 \remove "Clef_engraver"
5966 \remove "Key_engraver"
5967 StaffSymbol \set #'transparent = ##t
5968 \remove "Time_signature_engraver"
5969 \remove "Bar_engraver"
5970 minimumVerticalExtent = ##f
5974 \remove Ligature_bracket_engraver
5975 \consists Vaticana_ligature_engraver
5976 NoteHead \set #'style = #'vaticana_punctum
5977 Stem \set #'transparent = ##t
5983 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5984 \include "gregorian-init.ly"
5986 \notes \transpose c c' {
5988 \[ g \pes \deminutum b \]
5995 \remove "Bar_number_engraver"
5999 \remove "Clef_engraver"
6000 \remove "Key_engraver"
6001 StaffSymbol \set #'transparent = ##t
6002 \remove "Time_signature_engraver"
6003 \remove "Bar_engraver"
6004 minimumVerticalExtent = ##f
6008 \remove Ligature_bracket_engraver
6009 \consists Vaticana_ligature_engraver
6010 NoteHead \set #'style = #'vaticana_punctum
6011 Stem \set #'transparent = ##t
6018 @code{7. Pes Quassus}
6020 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6021 \include "gregorian-init.ly"
6023 \notes \transpose c c' {
6025 \[ \oriscus g \pes \virga b \]
6032 \remove "Bar_number_engraver"
6036 \remove "Clef_engraver"
6037 \remove "Key_engraver"
6038 StaffSymbol \set #'transparent = ##t
6039 \remove "Time_signature_engraver"
6040 \remove "Bar_engraver"
6041 minimumVerticalExtent = ##f
6045 \remove Ligature_bracket_engraver
6046 \consists Vaticana_ligature_engraver
6047 NoteHead \set #'style = #'vaticana_punctum
6048 Stem \set #'transparent = ##t
6054 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6055 \include "gregorian-init.ly"
6057 \notes \transpose c c' {
6058 % Pes Quassus Auctus Descendens
6059 \[ \oriscus g \pes \auctum \descendens b \]
6066 \remove "Bar_number_engraver"
6070 \remove "Clef_engraver"
6071 \remove "Key_engraver"
6072 StaffSymbol \set #'transparent = ##t
6073 \remove "Time_signature_engraver"
6074 \remove "Bar_engraver"
6075 minimumVerticalExtent = ##f
6079 \remove Ligature_bracket_engraver
6080 \consists Vaticana_ligature_engraver
6081 NoteHead \set #'style = #'vaticana_punctum
6082 Stem \set #'transparent = ##t
6090 @code{8. Quilisma Pes}
6092 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6093 \include "gregorian-init.ly"
6095 \notes \transpose c c' {
6097 \[ \quilisma g \pes b \]
6104 \remove "Bar_number_engraver"
6108 \remove "Clef_engraver"
6109 \remove "Key_engraver"
6110 StaffSymbol \set #'transparent = ##t
6111 \remove "Time_signature_engraver"
6112 \remove "Bar_engraver"
6113 minimumVerticalExtent = ##f
6117 \remove Ligature_bracket_engraver
6118 \consists Vaticana_ligature_engraver
6119 NoteHead \set #'style = #'vaticana_punctum
6120 Stem \set #'transparent = ##t
6126 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6127 \include "gregorian-init.ly"
6129 \notes \transpose c c' {
6130 % Quilisma Pes Auctus Descendens
6131 \[ \quilisma g \pes \auctum \descendens b \]
6138 \remove "Bar_number_engraver"
6142 \remove "Clef_engraver"
6143 \remove "Key_engraver"
6144 StaffSymbol \set #'transparent = ##t
6145 \remove "Time_signature_engraver"
6146 \remove "Bar_engraver"
6147 minimumVerticalExtent = ##f
6151 \remove Ligature_bracket_engraver
6152 \consists Vaticana_ligature_engraver
6153 NoteHead \set #'style = #'vaticana_punctum
6154 Stem \set #'transparent = ##t
6162 @code{9. Podatus Initio Debilis}
6164 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6165 \include "gregorian-init.ly"
6167 \notes \transpose c c' {
6168 % Pes Initio Debilis
6169 \[ \deminutum g \pes b \]
6176 \remove "Bar_number_engraver"
6180 \remove "Clef_engraver"
6181 \remove "Key_engraver"
6182 StaffSymbol \set #'transparent = ##t
6183 \remove "Time_signature_engraver"
6184 \remove "Bar_engraver"
6185 minimumVerticalExtent = ##f
6189 \remove Ligature_bracket_engraver
6190 \consists Vaticana_ligature_engraver
6191 NoteHead \set #'style = #'vaticana_punctum
6192 Stem \set #'transparent = ##t
6198 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6199 \include "gregorian-init.ly"
6201 \notes \transpose c c' {
6202 % Pes Auctus Descendens Initio Debilis
6203 \[ \deminutum g \pes \auctum \descendens b \]
6210 \remove "Bar_number_engraver"
6214 \remove "Clef_engraver"
6215 \remove "Key_engraver"
6216 StaffSymbol \set #'transparent = ##t
6217 \remove "Time_signature_engraver"
6218 \remove "Bar_engraver"
6219 minimumVerticalExtent = ##f
6223 \remove Ligature_bracket_engraver
6224 \consists Vaticana_ligature_engraver
6225 NoteHead \set #'style = #'vaticana_punctum
6226 Stem \set #'transparent = ##t
6236 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6237 \include "gregorian-init.ly"
6239 \notes \transpose c c' {
6241 \[ a \pes b \flexa g \]
6248 \remove "Bar_number_engraver"
6252 \remove "Clef_engraver"
6253 \remove "Key_engraver"
6254 StaffSymbol \set #'transparent = ##t
6255 \remove "Time_signature_engraver"
6256 \remove "Bar_engraver"
6257 minimumVerticalExtent = ##f
6261 \remove Ligature_bracket_engraver
6262 \consists Vaticana_ligature_engraver
6263 NoteHead \set #'style = #'vaticana_punctum
6264 Stem \set #'transparent = ##t
6270 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6271 \include "gregorian-init.ly"
6273 \notes \transpose c c' {
6274 % Torculus Auctus Descendens
6275 \[ a \pes b \flexa \auctum \descendens g \]
6282 \remove "Bar_number_engraver"
6286 \remove "Clef_engraver"
6287 \remove "Key_engraver"
6288 StaffSymbol \set #'transparent = ##t
6289 \remove "Time_signature_engraver"
6290 \remove "Bar_engraver"
6291 minimumVerticalExtent = ##f
6295 \remove Ligature_bracket_engraver
6296 \consists Vaticana_ligature_engraver
6297 NoteHead \set #'style = #'vaticana_punctum
6298 Stem \set #'transparent = ##t
6304 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6305 \include "gregorian-init.ly"
6307 \notes \transpose c c' {
6308 % Torculus Deminutus
6309 \[ a \pes b \flexa \deminutum g \]
6316 \remove "Bar_number_engraver"
6320 \remove "Clef_engraver"
6321 \remove "Key_engraver"
6322 StaffSymbol \set #'transparent = ##t
6323 \remove "Time_signature_engraver"
6324 \remove "Bar_engraver"
6325 minimumVerticalExtent = ##f
6329 \remove Ligature_bracket_engraver
6330 \consists Vaticana_ligature_engraver
6331 NoteHead \set #'style = #'vaticana_punctum
6332 Stem \set #'transparent = ##t
6339 @code{11. Torculus Initio Debilis}
6341 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6342 \include "gregorian-init.ly"
6344 \notes \transpose c c' {
6345 % Torculus Initio Debilis
6346 \[ \deminutum a \pes b \flexa g \]
6353 \remove "Bar_number_engraver"
6357 \remove "Clef_engraver"
6358 \remove "Key_engraver"
6359 StaffSymbol \set #'transparent = ##t
6360 \remove "Time_signature_engraver"
6361 \remove "Bar_engraver"
6362 minimumVerticalExtent = ##f
6366 \remove Ligature_bracket_engraver
6367 \consists Vaticana_ligature_engraver
6368 NoteHead \set #'style = #'vaticana_punctum
6369 Stem \set #'transparent = ##t
6375 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6376 \include "gregorian-init.ly"
6378 \notes \transpose c c' {
6379 % Torculus Auctus Descendens Initio Debilis
6380 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6387 \remove "Bar_number_engraver"
6391 \remove "Clef_engraver"
6392 \remove "Key_engraver"
6393 StaffSymbol \set #'transparent = ##t
6394 \remove "Time_signature_engraver"
6395 \remove "Bar_engraver"
6396 minimumVerticalExtent = ##f
6400 \remove Ligature_bracket_engraver
6401 \consists Vaticana_ligature_engraver
6402 NoteHead \set #'style = #'vaticana_punctum
6403 Stem \set #'transparent = ##t
6409 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6410 \include "gregorian-init.ly"
6412 \notes \transpose c c' {
6413 % Torculus Deminutus Initio Debilis
6414 \[ \deminutum a \pes b \flexa \deminutum g \]
6421 \remove "Bar_number_engraver"
6425 \remove "Clef_engraver"
6426 \remove "Key_engraver"
6427 StaffSymbol \set #'transparent = ##t
6428 \remove "Time_signature_engraver"
6429 \remove "Bar_engraver"
6430 minimumVerticalExtent = ##f
6434 \remove Ligature_bracket_engraver
6435 \consists Vaticana_ligature_engraver
6436 NoteHead \set #'style = #'vaticana_punctum
6437 Stem \set #'transparent = ##t
6444 @code{12. Porrectus}
6446 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6447 \include "gregorian-init.ly"
6449 \notes \transpose c c' {
6451 \[ a \flexa g \pes b \]
6458 \remove "Bar_number_engraver"
6462 \remove "Clef_engraver"
6463 \remove "Key_engraver"
6464 StaffSymbol \set #'transparent = ##t
6465 \remove "Time_signature_engraver"
6466 \remove "Bar_engraver"
6467 minimumVerticalExtent = ##f
6471 \remove Ligature_bracket_engraver
6472 \consists Vaticana_ligature_engraver
6473 NoteHead \set #'style = #'vaticana_punctum
6474 Stem \set #'transparent = ##t
6480 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6481 \include "gregorian-init.ly"
6483 \notes \transpose c c' {
6484 % Porrectus Auctus Descendens
6485 \[ a \flexa g \pes \auctum \descendens b \]
6492 \remove "Bar_number_engraver"
6496 \remove "Clef_engraver"
6497 \remove "Key_engraver"
6498 StaffSymbol \set #'transparent = ##t
6499 \remove "Time_signature_engraver"
6500 \remove "Bar_engraver"
6501 minimumVerticalExtent = ##f
6505 \remove Ligature_bracket_engraver
6506 \consists Vaticana_ligature_engraver
6507 NoteHead \set #'style = #'vaticana_punctum
6508 Stem \set #'transparent = ##t
6514 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6515 \include "gregorian-init.ly"
6517 \notes \transpose c c' {
6518 % Porrectus Deminutus
6519 \[ a \flexa g \pes \deminutum b \]
6526 \remove "Bar_number_engraver"
6530 \remove "Clef_engraver"
6531 \remove "Key_engraver"
6532 StaffSymbol \set #'transparent = ##t
6533 \remove "Time_signature_engraver"
6534 \remove "Bar_engraver"
6535 minimumVerticalExtent = ##f
6539 \remove Ligature_bracket_engraver
6540 \consists Vaticana_ligature_engraver
6541 NoteHead \set #'style = #'vaticana_punctum
6542 Stem \set #'transparent = ##t
6551 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6552 \include "gregorian-init.ly"
6554 \notes \transpose c c' {
6556 \[ \virga b \inclinatum a \inclinatum g \]
6563 \remove "Bar_number_engraver"
6567 \remove "Clef_engraver"
6568 \remove "Key_engraver"
6569 StaffSymbol \set #'transparent = ##t
6570 \remove "Time_signature_engraver"
6571 \remove "Bar_engraver"
6572 minimumVerticalExtent = ##f
6576 \remove Ligature_bracket_engraver
6577 \consists Vaticana_ligature_engraver
6578 NoteHead \set #'style = #'vaticana_punctum
6579 Stem \set #'transparent = ##t
6585 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6586 \include "gregorian-init.ly"
6588 \notes \transpose c c' {
6590 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6597 \remove "Bar_number_engraver"
6601 \remove "Clef_engraver"
6602 \remove "Key_engraver"
6603 StaffSymbol \set #'transparent = ##t
6604 \remove "Time_signature_engraver"
6605 \remove "Bar_engraver"
6606 minimumVerticalExtent = ##f
6610 \remove Ligature_bracket_engraver
6611 \consists Vaticana_ligature_engraver
6612 NoteHead \set #'style = #'vaticana_punctum
6613 Stem \set #'transparent = ##t
6619 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6620 \include "gregorian-init.ly"
6622 \notes \transpose c c' {
6623 % Climacus Deminutus
6624 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6631 \remove "Bar_number_engraver"
6635 \remove "Clef_engraver"
6636 \remove "Key_engraver"
6637 StaffSymbol \set #'transparent = ##t
6638 \remove "Time_signature_engraver"
6639 \remove "Bar_engraver"
6640 minimumVerticalExtent = ##f
6644 \remove Ligature_bracket_engraver
6645 \consists Vaticana_ligature_engraver
6646 NoteHead \set #'style = #'vaticana_punctum
6647 Stem \set #'transparent = ##t
6654 @code{14. Scandicus}
6656 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6657 \include "gregorian-init.ly"
6659 \notes \transpose c c' {
6661 \[ g \pes a \virga b \]
6668 \remove "Bar_number_engraver"
6672 \remove "Clef_engraver"
6673 \remove "Key_engraver"
6674 StaffSymbol \set #'transparent = ##t
6675 \remove "Time_signature_engraver"
6676 \remove "Bar_engraver"
6677 minimumVerticalExtent = ##f
6681 \remove Ligature_bracket_engraver
6682 \consists Vaticana_ligature_engraver
6683 NoteHead \set #'style = #'vaticana_punctum
6684 Stem \set #'transparent = ##t
6690 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6691 \include "gregorian-init.ly"
6693 \notes \transpose c c' {
6694 % Scandicus Auctus Descendens
6695 \[ g \pes a \pes \auctum \descendens b \]
6702 \remove "Bar_number_engraver"
6706 \remove "Clef_engraver"
6707 \remove "Key_engraver"
6708 StaffSymbol \set #'transparent = ##t
6709 \remove "Time_signature_engraver"
6710 \remove "Bar_engraver"
6711 minimumVerticalExtent = ##f
6715 \remove Ligature_bracket_engraver
6716 \consists Vaticana_ligature_engraver
6717 NoteHead \set #'style = #'vaticana_punctum
6718 Stem \set #'transparent = ##t
6724 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6725 \include "gregorian-init.ly"
6727 \notes \transpose c c' {
6728 % Scandicus Deminutus
6729 \[ g \pes a \pes \deminutum b \]
6736 \remove "Bar_number_engraver"
6740 \remove "Clef_engraver"
6741 \remove "Key_engraver"
6742 StaffSymbol \set #'transparent = ##t
6743 \remove "Time_signature_engraver"
6744 \remove "Bar_engraver"
6745 minimumVerticalExtent = ##f
6749 \remove Ligature_bracket_engraver
6750 \consists Vaticana_ligature_engraver
6751 NoteHead \set #'style = #'vaticana_punctum
6752 Stem \set #'transparent = ##t
6761 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6762 \include "gregorian-init.ly"
6764 \notes \transpose c c' {
6766 \[ g \oriscus a \pes \virga b \]
6773 \remove "Bar_number_engraver"
6777 \remove "Clef_engraver"
6778 \remove "Key_engraver"
6779 StaffSymbol \set #'transparent = ##t
6780 \remove "Time_signature_engraver"
6781 \remove "Bar_engraver"
6782 minimumVerticalExtent = ##f
6786 \remove Ligature_bracket_engraver
6787 \consists Vaticana_ligature_engraver
6788 NoteHead \set #'style = #'vaticana_punctum
6789 Stem \set #'transparent = ##t
6795 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6796 \include "gregorian-init.ly"
6798 \notes \transpose c c' {
6799 % Salicus Auctus Descendens
6800 \[ g \oriscus a \pes \auctum \descendens b \]
6807 \remove "Bar_number_engraver"
6811 \remove "Clef_engraver"
6812 \remove "Key_engraver"
6813 StaffSymbol \set #'transparent = ##t
6814 \remove "Time_signature_engraver"
6815 \remove "Bar_engraver"
6816 minimumVerticalExtent = ##f
6820 \remove Ligature_bracket_engraver
6821 \consists Vaticana_ligature_engraver
6822 NoteHead \set #'style = #'vaticana_punctum
6823 Stem \set #'transparent = ##t
6833 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6834 \include "gregorian-init.ly"
6836 \notes \transpose c c' {
6838 \[ \stropha b \stropha b \stropha a \]
6845 \remove "Bar_number_engraver"
6849 \remove "Clef_engraver"
6850 \remove "Key_engraver"
6851 StaffSymbol \set #'transparent = ##t
6852 \remove "Time_signature_engraver"
6853 \remove "Bar_engraver"
6854 minimumVerticalExtent = ##f
6858 \remove Ligature_bracket_engraver
6859 \consists Vaticana_ligature_engraver
6860 NoteHead \set #'style = #'vaticana_punctum
6861 Stem \set #'transparent = ##t
6873 Unlike most other neumes notation systems, the input language for
6874 neumes does not necessarily reflect directly the typographical
6875 appearance, but is designed to solely focuse on musical meaning. For
6876 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6877 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6878 a Porrectus with a curved flexa shape and only a single Punctum head.
6879 There is no command to explicitly typeset the curved flexa shape; the
6880 decision of when to typeset a curved flexa shape is purely taken from
6881 the musical input. The idea of this approach is to separate the
6882 musical aspects of the input from the notation style of the output.
6883 This way, the same input can be reused to typeset the same music in a
6884 different style of Gregorian chant notation such as Hufnagel (also
6885 known as German gothic neumes) or Medicaea (kind of a very simple
6886 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6887 engraver and Medicaea ligature engraver will have been implemented, it
6888 will be as simple as replacing the ligature engraver in the
6889 @internalsref{Voice} context to get the desired notation style from
6892 The following table shows the code fragments that produce the
6893 ligatures in the above neumes table. The letter in the first column
6894 in each line of the below table indicates to which ligature in the
6895 above table it refers. The second column gives the name of the
6896 ligature. The third column shows the code fragment that produces this
6897 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6899 @multitable @columnfractions .1 .4 .5
6913 Punctum Inclinatum @tab
6914 @code{\[ \inclinatum b \]}
6918 Punctum Auctum Ascendens @tab
6919 @code{\[ \auctum \ascendens b \]}
6923 Punctum Auctum Descendens @tab
6924 @code{\[ \auctum \descendens b \]}
6928 Punctum Inclinatum Auctum @tab
6929 @code{\[ \inclinatum \auctum b \]}
6933 Punctum Inclinatum Parvum @tab
6934 @code{\[ \inclinatum \deminutum b \]}
6939 @code{\[ \virga b \]}
6944 @code{\[ \stropha b \]}
6949 @code{\[ \stropha \auctum b \]}
6954 @code{\[ \oriscus b \]}
6958 Clivis vel Flexa @tab
6959 @code{\[ b \flexa g \]}
6963 Clivis Aucta Descendens @tab
6964 @code{\[ b \flexa \auctum \descendens g \]}
6968 Clivis Aucta Ascendens @tab
6969 @code{\[ b \flexa \auctum \ascendens g \]}
6974 @code{\[ b \flexa \deminutum g \]}
6978 Podatus vel Pes @tab
6979 @code{\[ g \pes b \]}
6983 Pes Auctus Descendens @tab
6984 @code{\[ g \pes \auctum \descendens b \]}
6988 Pes Auctus Ascendens @tab
6989 @code{\[ g \pes \auctum \ascendens b \]}
6994 @code{\[ g \pes \deminutum b \]}
6999 @code{\[ \oriscus g \pes \virga b \]}
7003 Pes Quassus Auctus Descendens @tab
7004 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7009 @code{\[ \quilisma g \pes b \]}
7013 Quilisma Pes Auctus Descendens @tab
7014 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7018 Pes Initio Debilis @tab
7019 @code{\[ \deminutum g \pes b \]}
7023 Pes Auctus Descendens Initio Debilis @tab
7024 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7029 @code{\[ a \pes b \flexa g \]}
7033 Torculus Auctus Descendens @tab
7034 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7038 Torculus Deminutus @tab
7039 @code{\[ a \pes b \flexa \deminutum g \]}
7043 Torculus Initio Debilis @tab
7044 @code{\[ \deminutum a \pes b \flexa g \]}
7048 Torculus Auctus Descendens Initio Debilis @tab
7049 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7053 Torculus Deminutus Initio Debilis @tab
7054 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7059 @code{\[ a \flexa g \pes b \]}
7063 Porrectus Auctus Descendens @tab
7064 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7068 Porrectus Deminutus @tab
7069 @code{\[ a \flexa g \pes \deminutum b \]}
7074 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7078 Climacus Auctus @tab
7079 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7083 Climacus Deminutus @tab
7084 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7089 @code{\[ g \pes a \virga b \]}
7093 Scandicus Auctus Descendens @tab
7094 @code{\[ g \pes a \pes \auctum \descendens b \]}
7098 Scandicus Deminutus @tab
7099 @code{\[ g \pes a \pes \deminutum b \]}
7104 @code{\[ g \oriscus a \pes \virga b \]}
7108 Salicus Auctus Descendens @tab
7109 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7114 @code{\[ \stropha b \stropha b \stropha a \]}
7120 The following head prefixes are supported:
7122 @cindex @code{\virga}
7124 @cindex @code{\stropha}
7126 @cindex @code{\inclinatum}
7128 @cindex @code{\auctum}
7130 @cindex @code{\descendens}
7132 @cindex @code{\ascendens}
7134 @cindex @code{\oriscus}
7136 @cindex @code{\quilisma}
7138 @cindex @code{\deminutum}
7141 Head prefixes can be accumulated, though restrictions apply. For
7142 example, either @code{\descendens} or @code{\ascendens} can be applied
7143 to a head, but not both to the same head.
7146 @cindex @code{\flexa}
7147 Two adjacent heads can be tied together with the @code{\pes} and
7148 @code{\flexa} infix commands for a rising and falling line of melody,
7153 Trigonus: apply equal spacing, regardless of pitch.
7156 @subsection Figured bass
7158 @cindex Basso continuo
7160 @c TODO: musicological blurb about FB
7164 LilyPond has limited support for figured bass:
7166 @lilypond[verbatim,fragment]
7168 \context Voice \notes { \clef bass dis4 c d ais}
7169 \context FiguredBass
7171 < 6 >4 < 7 >8 < 6+ [_!] >
7177 The support for figured bass consists of two parts: there is an input
7178 mode, introduced by @code{\figures}, where you can enter bass figures
7179 as numbers, and there is a context called @internalsref{FiguredBass} that
7180 takes care of making @internalsref{BassFigure} objects.
7182 In figures input mode, a group of bass figures is delimited by
7183 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7188 \context FiguredBass
7192 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7199 \context FiguredBass
7200 \figures { <4- 6+ 7!> }
7203 Spaces or dashes may be inserted by using @code{_}. Brackets are
7204 introduced with @code{[} and @code{]}:
7210 \context FiguredBass
7211 \figures { < [4 6] 8 [_! 12]> }
7214 Although the support for figured bass may superficially resemble chord
7215 support, it works much simpler. The @code{\figures} mode simply
7216 stores the numbers , and @internalsref{FiguredBass} context prints
7217 them as entered. There is no conversion to pitches, and no
7218 realizations of the bass are played in the MIDI file.
7220 Internally, the code produces markup texts. You can use any of the
7221 markup text properties to override formatting. For example, the
7222 vertical spacing of the figures may be set with @code{baseline-skip}.
7226 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7227 and @internalsref{FiguredBass} context.
7231 Slash notation for alterations is not supported.
7234 @node Vaticana style contexts
7235 @subsection Vaticana style contexts
7237 @cindex VaticanaVoiceContext
7238 @cindex VaticanaStaffContext
7240 The predefined @code{VaticanaVoiceContext} and
7241 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7242 Gregorian Chant in the style of the Editio Vaticana. These contexts
7243 initialize all relevant context properties and grob properties to
7244 proper values. With these contexts, you can immediately go ahead
7245 entering the chant, as the following short excerpt demonstrates:
7247 @lilypond[raggedright,verbatim,noindent]
7248 \include "gregorian-init.ly"
7251 \context VaticanaVoice {
7252 \property Score.BarNumber \set #'transparent = ##t
7254 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7255 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7256 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7259 \context Lyrics \lyrics {
7260 San- ctus, San- ctus, San- ctus
7265 @node Contemporary notation
7266 @section Contemporary notation
7268 In the 20th century, composers have greatly expanded the musical
7269 vocabulary. With this expansion, many innovations in musical notation
7270 have been tried. For a comprehensive overview, refer to @cite{Stone
7271 1980} (see @ref{Literature list}). In general, the use of new, innovative
7272 notation makes a piece harder to understand and perform and its use
7273 should therefore be avoided if possible. For this reason, support for
7274 contemporary notation in LilyPond is limited.
7283 @subsection Clusters
7287 In musical terminology, a @emph{cluster} denotes a range of
7288 simultaneously sounding pitches that may change over time. The set of
7289 available pitches to apply usually depends on the accoustic source.
7290 Thus, in piano music, a cluster typically consists of a continous range
7291 of the semitones as provided by the piano's fixed set of a chromatic
7292 scale. In choral music, each singer of the choir typically may sing an
7293 arbitrary pitch within the cluster's range that is not bound to any
7294 diatonic, chromatic or other scale. In electronic music, a cluster
7295 (theoretically) may even cover a continuous range of pitches, thus
7296 resulting in coloured noise, such as pink noise.
7298 Clusters can be denoted in the context of ordinary staff notation by
7299 engraving simple geometrical shapes that replace ordinary notation of
7300 notes. Ordinary notes as musical events specify starting time and
7301 duration of pitches; however, the duration of a note is expressed by the
7302 shape of the note head rather than by the horizontal graphical extent of
7303 the note symbol. In contrast, the shape of a cluster geometrically
7304 describes the development of a range of pitches (vertical extent) over
7305 time (horizontal extent). Still, the geometrical shape of a cluster
7306 covers the area in wich any single pitch contained in the cluster would
7307 be notated as an ordinary note. From this point of view, it is
7308 reasonable to specify a cluster as the envelope of a set of notes.
7312 A cluster is engraved as the envelope of a set of
7313 cluster-notes. Cluster notes are created by applying the function
7314 @code{notes-to-clusters} to a sequence of chords, e.g.
7316 @lilypond[relative 1,verbatim]
7317 \apply #notes-to-clusters { <c e > <b f'> }
7320 The following example (from
7321 @inputfileref{input/regression,cluster.ly}) shows what the result
7324 @lilypondfile[notexidoc]{cluster.ly}
7326 By default, @internalsref{Cluster_spanner_engraver} is in the
7327 @internalsref{Voice} context. This allows putting ordinary notes and
7328 clusters together in the same staff, even simultaneously. In such a
7329 case no attempt is made to automatically avoid collisions between
7330 ordinary notes and clusters.
7334 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7335 @inputfileref{input/regression,cluster.ly},
7336 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7340 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7341 accurately. Use @code{<g a>8 <e a>8} instead.
7346 @subsection Fermatas
7352 Contemporary music notation frequently uses special fermata symbols to
7353 indicate fermatas of differing lengths.
7357 The following are supported
7359 @lilypond[singleline]
7361 << \addlyrics \notes {
7381 \context Lyrics \lyrics {
7382 "shortfermata" "fermata" "longfermata" "verylongfermata"
7387 See @ref{Articulations} for general instructions how to apply scripts
7388 such as fermatas to a @code{\notes@{@}} block.
7391 @section Tuning output
7393 There are situations where default layout decisions are not
7394 sufficient. In this section we discuss ways to override these
7397 Formatting is internally done by manipulating so called objects
7398 (graphic objects). Each object carries with it a set of properties
7399 (object or layout properties) specific to that object. For example, a
7400 stem object has properties that specify its direction, length and
7403 The most direct way of tuning the output is by altering the values of
7404 these properties. There are two ways of doing that: first, you can
7405 temporarily change the definition of one type of object, thus
7406 affecting a whole set of objects. Second, you can select one specific
7407 object, and set a layout property in that object.
7409 Do not confuse layout properties with translation
7410 properties. Translation properties always use a mixed caps style
7411 naming, and are manipulated using @code{\property}:
7413 \property Context.propertyName = @var{value}
7415 Layout properties are use Scheme style variable naming, i.e. lower
7416 case words separated with dashes. They are symbols, and should always
7417 be quoted using @code{#'}. For example, this could be an imaginary
7418 layout property name:
7420 #'layout-property-name
7425 * Constructing a tweak::
7434 @node Tuning objects
7435 @subsection Tuning objects
7437 @cindex object description
7439 The definition of an object is a list of default object
7440 properties. For example, the definition of the Stem object (available
7441 in @file{scm/define-grobs.scm}), includes the following definitions
7442 for @internalsref{Stem}:
7446 (beamed-lengths . (0.0 2.5 2.0 1.5))
7447 (Y-extent-callback . ,Stem::height)
7452 Adding variables on top of this existing definition overrides the
7453 system default, and alters the resulting appearance of the layout
7459 Changing a variable for only one object is commonly achieved with
7463 \once \property @var{context}.@var{objectname}
7464 \override @var{symbol} = @var{value}
7466 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7467 and @var{objectname} is a string and @var{value} is a Scheme expression.
7468 This command applies a setting only during one moment in the score.
7470 In the following example, only one @internalsref{Stem} object is
7471 changed from its original setting:
7473 @lilypond[verbatim, fragment, relative=1]
7475 \once \property Voice.Stem \set #'thickness = #4
7479 @cindex @code{\once}
7481 For changing more objects, the same command, without @code{\once} can
7484 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7486 This command adds @code{@var{symbol} = @var{value}} to the definition
7487 of @var{objectname} in the context @var{context}, and this definition
7488 stays in place until it is removed.
7490 An existing definition may be removed by the following command:
7493 \property @var{context}.@var{objectname} \revert @var{symbol}
7496 All @code{\override} and @code{\revert} commands should be balanced.
7497 The @code{\set} shorthand performs a revert followed by an override,
7498 and is often more convenient to use
7501 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7505 @lilypond[verbatim,quote]
7506 c'4 \property Voice.Stem \override #'thickness = #4.0
7508 c'4 \property Voice.Stem \revert #'thickness
7512 The following example gives exactly the same result as the previous
7513 one (assuming the system default for stem thickness is 1.3):
7515 @lilypond[verbatim,quote]
7516 c'4 \property Voice.Stem \set #'thickness = #4.0
7518 c'4 \property Voice.Stem \set #'thickness = #1.3
7522 Reverting a setting which was not set in the first place has no
7523 effect. However, if the setting was set as a system default, this may
7524 remove the default value, and this may give surprising results,
7525 including crashes. In other words, @code{\override} and
7526 @code{\revert} must be carefully balanced. The following are examples
7527 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7531 a clumsy but correct form:
7533 \override \revert \override \revert \override \revert
7537 shorter version of the same:
7539 \override \set \set \revert
7543 a short form, using only @code{\set}. This requires you to know the
7546 \set \set \set \set @var{to default value}
7550 if there is no default (i.e. by default, the object property is unset),
7553 \set \set \set \revert
7557 For the digirati, the object description is an Scheme association
7558 list. Since a Scheme list is a singly linked list, we can treat it as
7559 a stack, and @code{\override} and @code{\revert} are push and pop
7560 operations. The association list is stored in a normal context
7563 \property Voice.NoteHead = #'()
7565 will effectively erase @internalsref{NoteHead}s from the current
7566 @internalsref{Voice}. However, this mechanism is not guaranteed to
7567 work, and may cause crashes or other anomalous behavior.
7571 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7572 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7573 @internalsref{All-layout-objects}.
7578 The backend is not very strict in type-checking object properties.
7579 Cyclic references in @var{value} cause hangs and/or crashes.
7580 Similarly, reverting properties that are system defaults may also lead
7583 @node Constructing a tweak
7584 @subsection Constructing a tweak
7587 @cindex internal documentation
7588 @cindex finding graphical objects
7589 @cindex graphical object descriptions
7591 @cindex @code{\override}
7593 @cindex internal documentation
7597 Three pieces of information are required to use @code{\override} and
7598 @code{\set}: the name of the layout object, the context and the name
7599 of the property. We demonstrate how to glean this information from
7600 the notation manual and the generated documentation.
7602 The generated documentation is a set of HTML pages which should be
7603 included if you installed a binary distribution, typically in
7604 @file{/usr/share/doc/lilypond}. They are also available on the web:
7605 go to the @uref{http://lilypond.org,LilyPond website}, click
7606 ``Documentation'', and then ``Program reference'' on the side bar. It
7607 is advisable to bookmark either the local HTML files if possible. They
7608 will load faster than the ones on the web. If you use the version
7609 from the web, you must check whether the documentation matches the
7610 program version: the documentation is generated from the definitions
7611 that the program uses, and therefore it is strongly tied to the
7615 @c [TODO: revise for new site.]
7617 Suppose we want to move the fingering indication in the fragment below:
7619 @lilypond[relative=2,verbatim]
7625 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7626 instructions}), you will notice that there is written:
7631 @internalsref{FingerEvent} and @internalsref{Fingering}.
7635 In other words, the fingerings once entered, are internally stored as
7636 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7637 layout object is created for every @code{FingerEvent}.
7639 The Fingering object has a number of different functions, and each of
7640 those is captured in an interface, when we look up
7641 @internalsref{Fingering} in the generated documentation.
7645 The @code{Fingering} object has a fixed size
7646 (@internalsref{item-interface}), the symbol is a piece of text
7647 (@internalsref{text-interface}), whose font can be set
7648 (@internalsref{font-interface}). It is centered horizontally
7649 (@internalsref{self-alignment-interface}), it is placed next to other
7650 objects (@internalsref{side-position-interface}) vertically, and its
7651 placement is coordinated with other scripts
7652 (@internalsref{text-script-interface}). It also has the standard
7653 @internalsref{grob-interface} (grob stands for Graphical object)
7655 @cindex graphical object
7656 @cindex layout object
7657 @cindex object, layout
7658 with all the variables that come with
7659 it. Finally, it denotes a fingering instruction, so it has
7660 @internalsref{finger-interface}.
7662 For the vertical placement, we have to look under
7663 @code{side-position-interface}:
7665 @code{side-position-interface}
7667 Position a victim object (this one) next to other objects (the
7668 support). In this case, the direction signifies where to put the
7669 victim object relative to the support (left or right, up or down?)
7674 below this description, the variable @code{padding} is described as
7678 (dimension, in staff space)
7680 add this much extra space between objects that are next to each
7681 other. Default value: @code{0.6}
7685 By increasing the value of @code{padding}, we can move away the
7686 fingering. The following command inserts 3 staff spaces of white
7687 between the note and the fingering:
7689 \once \property Voice.Fingering \set #'padding = #3
7692 Inserting this command before the Fingering object is created,
7693 i.e. before @code{c2}, yields the following result:
7695 @lilypond[relative=2,fragment,verbatim]
7696 \once \property Voice.Fingering
7703 The context name @code{Voice} in the example above can be determined
7704 as follows. In the documentation for @internalsref{Fingering}, it says
7706 Fingering grobs are created by: @internalsref{Fingering_engraver}
7709 Clicking @code{Fingering_engraver} shows the documentation of
7710 the module responsible for interpreting the fingering instructions and
7711 translating them to a @code{Fingering} object. Such a module is called
7712 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7715 Fingering_engraver is part of contexts: Voice
7717 so tuning the settings for Fingering should be done with
7719 \property Voice.Fingering \set @dots{}
7722 Of course, the tweak may also done in a larger context than
7723 @code{Voice}, for example, @internalsref{Staff} or
7724 @internalsref{Score}.
7726 The internals document also contains alphabetical lists of
7727 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7728 @internalsref{Music-expressions}, so you can also find which objects to
7729 tweak by browsing the internals document.
7733 @subsection Applyoutput
7735 The most versatile way of tuning an object is @code{\applyoutput}. Its
7738 \applyoutput @var{proc}
7742 where @var{proc} is a Scheme function, taking four arguments.
7744 When interpreted, the function @var{proc} is called for every layout object found
7745 in the context, with the following arguments:
7747 @item the layout object itself,
7748 @item the context where the layout object was created, and
7749 @item the context where @code{\applyoutput} is processed.
7752 In addition, the cause of the layout object, i.e. the music
7753 expression or object that was responsible for creating it, is in the
7754 object property @code{cause}. For example, for a note head, this is a
7755 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7756 this is a @internalsref{NoteHead} object.
7759 @node Outputproperty
7760 @subsection Outputproperty
7762 @cindex @code{\outputproperty}
7764 Another way of tuning objects is the more arcane @code{\outputproperty}
7765 feature. The syntax is as follows:
7767 \outputproperty @var{predicate} @var{symbol} = @var{value}
7769 Here @code{predicate} is a Scheme function taking an object argument, and
7770 returning a boolean. This statement is processed by the
7771 @code{Output_property_engraver}. It instructs the engraver to feed all
7772 objects that it sees to @var{predicate}. Whenever the predicate returns
7773 true, the object property @var{symbol} will be set to @var{value}.
7775 You will need to combine this statement with @code{\context} to select
7776 the appropriate context to apply this to.
7777 @inputfileref{input/regression,output-property.ly} shows an example of
7778 the use of @code{\outputproperty}.
7782 This command is slated for removal. Please use the
7783 @code{\applyoutput} command, see @ref{Applyoutput}.
7786 @node Font selection
7787 @subsection Font selection
7789 The most common thing to change about the appearance of fonts is their
7790 size. The font size of any context can be easily changed by setting
7791 the @code{fontSize} property for that context. Its value is an
7792 integer: negative numbers make the font smaller, positive numbers
7793 larger. An example is given below:
7795 @lilypond[fragment,relative=1,verbatim,quote]
7796 c4 c4 \property Voice.fontSize = #-1
7799 This command will set @code{font-relative-size} (see below), and does
7800 not change the size of variable symbols, such as beams or slurs.
7803 One of the uses of @code{fontSize} is to get smaller symbol for cue
7804 notes. An elaborate example of those is in
7805 @inputfileref{input/test,cue-notes.ly}.
7807 @cindex magnification
7809 The size of the font may be scaled with the object property
7810 @code{font-magnification}. For example, @code{2.0} blows up all
7811 letters by a factor 2 in both directions.
7820 The font used for printing a object can be selected by setting
7821 @code{font-name}, e.g.
7823 \property Staff.TimeSignature
7824 \set #'font-name = #"cmr17"
7828 Any font can be used, as long as it is available to @TeX{}. Possible
7829 fonts include foreign fonts or fonts that do not belong to the
7830 Computer Modern font family.
7832 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7833 can also be adjusted with a more fine-grained mechanism. By setting
7834 the object properties described below, you can select a different font;
7835 all three mechanisms work for every object that supports
7836 @code{font-interface}:
7840 is a symbol indicating the general class of the typeface. Supported are
7841 @code{roman} (Computer Modern), @code{braces} (for piano staff
7842 braces), @code{music} (the standard music font, including ancient
7843 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7846 is a symbol indicating the shape of the font, there are typically several
7847 font shapes available for each font family. Choices are @code{italic},
7848 @code{caps} and @code{upright}.
7851 is a symbol indicating the series of the font. There are typically several
7852 font series for each font family and shape. Choices are @code{medium}
7855 @item font-relative-size
7856 is a number indicating the size relative the standard size. For example,
7857 with 20pt staff height, relative size -1 corresponds to 16pt staff
7858 height, and relative size +1 corresponds to 23 pt staff height.
7860 There are small differences in design between fonts designed for
7861 different sizes, hence @code{font-relative-size} is preferred over
7862 @code{font-magnification} for changing font sizes.
7865 @item font-design-size
7866 is a number indicating the design size of the font.
7868 This is a feature of the Computer Modern Font: each point size has a
7869 slightly different design. Smaller design sizes are relatively wider,
7870 which enhances readability.
7873 For any of these properties, the value @code{*} (i.e. the symbol
7874 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7875 to override default setting, which are always present. For example:
7877 \property Lyrics . LyricText \override #'font-series = #'bold
7878 \property Lyrics . LyricText \override #'font-family = #'typewriter
7879 \property Lyrics . LyricText \override #'font-shape = #'*
7882 @cindex @code{font-style}
7886 The following commands set @code{fontSize} for the current voice.
7888 @cindex @code{\tiny}
7890 @cindex @code{\small}
7892 @cindex @code{\normalsize}
7897 Relative size is not linked to any real size.
7899 There is no style sheet provided for other fonts besides the @TeX{}
7900 family, and the style sheet cannot be modified easily.
7902 @cindex font selection
7903 @cindex font magnification
7904 @cindex @code{font-interface}
7908 @subsection Text markup
7913 @cindex typeset text
7915 LilyPond has an internal mechanism to typeset texts. You can access it
7916 with the keyword @code{\markup}. Within markup mode, you can enter texts
7917 similar to lyrics: simply enter them, surrounded by spaces:
7920 @lilypond[verbatim,fragment,relative=1]
7921 c1^\markup { hello }
7922 c1_\markup { hi there }
7923 c1^\markup { hi \bold there, is \italic anyone home? }
7926 @cindex font switching
7928 The markup in the example demonstrates font switching commands. The
7929 command @code{\bold} and @code{\italic} only apply to the first
7930 following word; enclose a set of texts with braces to apply a command
7933 \markup @{ \bold @{ hi there @} @}
7937 For clarity, you can also do this for single arguments, e.g.
7939 \markup @{ is \italic @{ anyone @} home @}
7942 @cindex font size, texts
7944 The following size commands set absolute sizes:
7946 @cindex @code{\teeny}
7947 @cindex @code{\tiny}
7948 @cindex @code{\small}
7949 @cindex @code{\large}
7950 @cindex @code{\huge}
7960 You can also make letter larger or smaller relative to their neighbors,
7961 with the commands @code{\larger} and @code{\smaller}.
7965 @cindex font style, for texts
7966 @cindex @code{\bold}
7967 @cindex @code{\dynamic}
7968 @cindex @code{\number}
7969 @cindex @code{\italic}
7971 The following font change commands are defined:
7974 changes to the font used in dynamic signs. This font does not
7975 contain all characters of the alphabet, so when producing ``piu f'',
7976 the ``piu'' should be done in a different font.
7980 changes to the font used in time signatures. It only contains
7981 numbers and a few punctuation marks.
7983 changes @code{font-shape} to @code{italic}.
7985 changes @code{font-series} to @code{bold}.
7988 @cindex raising text
7989 @cindex lowering text
7991 @cindex translating text
7994 @cindex @code{\super}
7996 Raising and lowering texts can be done with @code{\super} and
7999 @lilypond[verbatim,fragment,relative=1]
8000 c1^\markup { E "=" mc \super "2" }
8003 @cindex @code{\raise}
8005 If you want to give an explicit amount for lowering or raising, use
8006 @code{\raise}. This command takes a Scheme valued first argument, and
8007 a markup object as second argument:
8009 @lilypond[verbatim,fragment,relative=1,quote]
8010 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8012 The argument to @code{\raise} is the vertical displacement amount,
8013 measured in (global) staff spaces. @code{\raise} and @code{\super}
8014 raise objects in relation to their surrounding markups. They cannot be
8015 used to move a single text up or down, when it is above or below a
8016 note, since the mechanism that positions it next to the note cancels
8017 any vertical shift. For vertical positioning, use the @code{padding}
8018 and/or @code{extra-offset} properties.
8020 Other commands taking single arguments include
8023 @item \bracket, \hbracket
8024 Bracket the argument markup with normal and horizontal brackets
8028 @cindex @code{\musicglyph}
8029 This is converted to a musical symbol, e.g. @code{\musicglyph
8030 #"accidentals-0"} will select the natural sign from the music font.
8031 See @ref{The Feta font} for a complete listing of the possible glyphs.
8033 This produces a single character, e.g. @code{\char #65} produces the
8036 @item \note @var{log} @var{dots} @var{dir}
8037 @cindex @code{\note}
8039 This produces a note with a stem pointing in @var{dir} direction, with
8040 duration log @var{log} and @var{dots} augmentation dots. The duration
8041 log is the negative 2-logarithm of the duration denominator. For
8042 example, a quarter note has log 2, an eighth note 3 and a breve has
8045 @item \hspace #@var{amount}
8046 @cindex @code{\hspace}
8047 This produces a invisible object taking horizontal space.
8049 \markup @{ A \hspace #2.0 B @}
8051 will put extra space between A and B, on top of the space that is
8052 normally inserted before elements on a line.
8054 @item \fontsize #@var{size}
8055 @cindex @code{\fontsize}
8056 This sets the relative font size, eg.
8058 A \fontsize #2 @{ B C @} D
8062 This will enlarge the B and the C by two steps.
8063 @item \translate #(cons @var{x} @var{y})
8065 This translates an object. Its first argument is a cons of numbers
8067 A \translate #(cons 2 -3) @{ B C @} D
8069 This moves `B C' 2 spaces to the right, and 3 down.
8071 @item \magnify #@var{mag}
8072 @cindex @code{\magnify}
8073 This sets the font magnification for the its argument. In the following
8074 example, the middle A will be 10% larger:
8076 A \magnify #1.1 @{ A @} A
8080 @item \override #(@var{key} . @var{value})
8081 @cindex @code{\override}
8082 This overrides a formatting property for its argument. The argument
8083 should be a key/value pair, e.g.
8085 m \override #'(font-family . math) m m
8089 In markup mode you can compose expressions, similar to mathematical
8090 expressions, XML documents and music expressions. The braces group
8091 notes into horizontal lines. Other types of lists also exist: you can
8092 stack expressions grouped with @code{<}, and @code{>} vertically with
8093 the command @code{\column}. Similarly, @code{\center} aligns texts by
8096 @lilypond[verbatim,fragment,relative=1]
8097 c1^\markup { \column < a bbbb c > }
8098 c1^\markup { \center < a bbbb c > }
8099 c1^\markup { \line < a b c > }
8102 The markup mechanism is extensible. Refer to
8103 @file{scm/new-markup.scm} for more information.
8109 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8116 Text layout is ultimately done by @TeX{}, which does kerning of
8117 letters. LilyPond does not account for kerning, so texts will be
8118 spaced slightly too wide.
8120 Syntax errors for markup mode are confusing.
8122 Markup texts cannot be used in the titling of the @code{\header}
8123 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8130 @section Global layout
8132 The global layout determined by three factors: the page layout, the
8133 line breaks and the spacing. These all influence each other. The
8134 choice of spacing determines how densely each system of music is set,
8135 which influences where line breaks breaks are chosen, and thus
8136 ultimately how many pages a piece of music takes. In this section, the
8137 algorithm for spacing music is explained, and how spacing can be
8140 Globally spoken, this procedure happens in three steps: first,
8141 flexible distances (``springs'') are chosen, based on durations. All
8142 possible line breaking combination are tried, and the one with the
8143 best results---a layout that has uniform density and requires as
8144 little stretching or cramping as possible---is chosen. When the score
8145 is processed by @TeX{}, each page is filled with systems, and page breaks
8146 are chosen whenever the page gets full.
8151 * Vertical spacing::
8152 * Horizontal spacing::
8159 @node Vertical spacing
8160 @subsection Vertical spacing
8162 @cindex vertical spacing
8163 @cindex distance between staves
8164 @cindex staff distance
8165 @cindex between staves, distance
8166 @cindex staffs per page
8167 @cindex space between staves
8169 The height of each system is determined automatically by LilyPond, to
8170 keep systems from bumping into each other, some minimum distances are
8171 set. By changing these, you can put staves closer together, and thus
8172 put more systems onto one page.
8174 Normally staves are stacked vertically. To make
8175 staves maintain a distance, their vertical size is padded. This is
8176 done with the property @code{minimumVerticalExtent}. It takes a pair
8177 of numbers, so if you want to make it smaller from its, then you could
8180 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8182 This sets the vertical size of the current staff to 4 staff-space on
8183 either side of the center staff line. The argument of
8184 @code{minimumVerticalExtent} is interpreted as an interval, where the
8185 center line is the 0, so the first number is generally negative. The
8186 staff can be made larger at the bottom by setting it to @code{(-6
8189 The piano staves are handled a little differently: to make cross-staff
8190 beaming work correctly, it is necessary that the distance between staves
8191 is fixed beforehand. This is also done with a
8192 @internalsref{VerticalAlignment} object, created in
8193 @internalsref{PianoStaff}. In this object the distance between the
8194 staves is fixed by setting @code{forced-distance}. If you want to
8195 override this, use a @code{\translator} block as follows:
8199 VerticalAlignment \override #'forced-distance = #9
8202 This would bring the staves together at a distance of 9 staff spaces,
8203 measured from the center line of each staff.
8207 Vertical alignment of staves is handled by the
8208 @internalsref{VerticalAlignment} object.
8212 @node Horizontal spacing
8213 @subsection Horizontal Spacing
8215 The spacing engine translates differences in durations into
8216 stretchable distances (``springs'') of differing lengths. Longer
8217 durations get more space, shorter durations get less. The shortest
8218 durations get a fixed amount of space (which is controlled by
8219 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8220 /The longer the duration, the more space it gets: doubling a
8221 duration adds a fixed amount (this amount is controlled by
8222 @code{spacing-increment}) of space to the note.
8224 For example, the following piece contains lots of half, quarter and
8225 8th notes, the eighth note is followed by 1 note head width (NHW).
8226 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8227 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8231 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8232 width of a note head, and @code{shortest-duration-space} is set to
8233 2.0, meaning that the shortest note gets 2 NHW (2 times
8234 @code{shortest-duration-space}) of space. For normal notes, this space
8235 is always counted from the left edge of the symbol, so the shortest
8236 notes are generally followed by one NHW of space.
8238 If one would follow the above procedure exactly, then adding a single
8239 32th note to a score that uses 8th and 16th notes, would widen up the
8240 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8241 thus adding 2 noteheads of space to every note. To prevent this, the
8242 shortest duration for spacing is not the shortest note in the score,
8243 but the most commonly found shortest note. Notes that are even
8244 shorter this are followed by a space that is proportonial to their
8245 duration relative to the common shortest note. So if we were to add
8246 only a few 16th notes to the example above, they would be followed by
8249 @lilypond[fragment, verbatim, relative=2]
8250 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8253 The most common shortest duration is determined as follows: in every
8254 measure, the shortest duration is determined. The most common short
8255 duration, is taken as the basis for the spacing, with the stipulation
8256 that this shortest duration should always be equal to or shorter than
8257 1/8th note. The shortest duration is printed when you run lilypond
8258 with @code{--verbose}. These durations may also be customized. If you
8259 set the @code{common-shortest-duration} in
8260 @internalsref{SpacingSpanner}, then this sets the base duration for
8261 spacing. The maximum duration for this base (normally 1/8th), is set
8262 through @code{base-shortest-duration}.
8264 @cindex @code{common-shortest-duration}
8265 @cindex @code{base-shortest-duration}
8266 @cindex @code{stem-spacing-correction}
8267 @cindex @code{spacing}
8269 In the introduction it was explained that stem directions influence
8270 spacing. This is controlled with @code{stem-spacing-correction}
8271 property in @internalsref{NoteSpacing}, which are generated for every
8272 @internalsref{Voice} context. The @code{StaffSpacing} object
8273 (generated at @internalsref{Staff} context) contains the same property
8274 for controlling the stem/barline spacing. The following example
8275 shows these corrections, once with default settings, and once with
8276 exaggerated corrections:
8282 \property Staff.NoteSpacing \override #'stem-spacing-correction
8284 \property Staff.StaffSpacing \override #'stem-spacing-correction
8289 \paper { raggedright = ##t } }
8292 @cindex SpacingSpanner, overriding properties
8294 Properties of the @internalsref{SpacingSpanner} must be overridden
8295 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8296 created before any @code{\property} statements are interpreted.
8298 \paper @{ \translator @{
8300 SpacingSpanner \override #'spacing-increment = #3.0
8307 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8308 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8309 @internalsref{SeparatingGroupSpanner}.
8313 Spacing is determined on a score wide basis. If you have a score that
8314 changes its character (measured in durations) halfway during the
8315 score, the part containing the longer durations will be spaced too
8318 There is no convenient mechanism to manually override spacing.
8323 @subsection Font size
8324 @cindex font size, setting
8325 @cindex staff size, setting
8326 @cindex @code{paper} file
8328 The Feta font provides musical symbols at seven different sizes.
8329 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8330 26 point. The point size of a font is the height of the corresponding
8331 staff (excluding line thicknesses).
8333 Definitions for these sizes are the files @file{paperSZ.ly}, where
8334 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8335 of these files, the variables @code{paperEleven},
8336 @code{paperThirteen}, @code{paperSixteen},
8337 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8338 are defined respectively. The default @code{\paper} block is also
8339 set. These files should be imported at toplevel, i.e.
8341 \include "paper26.ly"
8345 The default font size settings for each staff heights are generated
8346 from the 20pt style sheet. For more details, see the file
8347 @file{scm/font.scm}.
8351 @subsection Line breaking
8354 @cindex breaking lines
8356 Line breaks are normally computed automatically. They are chosen such
8357 that lines look neither cramped nor loose, and that consecutive lines
8358 have similar density.
8360 Occasionally you might want to override the automatic breaks; you can
8361 do this by specifying @code{\break}. This will force a line break at
8362 this point. Line breaks can only occur at places where there are bar
8363 lines. If you want to have a line break where there is no bar line,
8364 you can force an invisible bar line by entering @code{\bar
8365 ""}. Similarly, @code{\noBreak} forbids a line break at a
8369 @cindex regular line breaks
8370 @cindex four bar music.
8372 For linebreaks at regular intervals use @code{\break} separated by
8373 skips and repeated with @code{\repeat}:
8375 << \repeat unfold 7 @{ s1 * 4 \break @}
8376 @emph{the real music}
8381 This makes the following 28 measures (assuming 4/4 time) be broken every
8386 @internalsref{BreakEvent}.
8390 @subsection Page layout
8393 @cindex breaking pages
8395 @cindex @code{indent}
8396 @cindex @code{linewidth}
8398 The most basic settings influencing the spacing are @code{indent} and
8399 @code{linewidth}. They are set in the @code{\paper} block. They
8400 control the indentation of the first line of music, and the lengths of
8403 If @code{raggedright} is set to true in the @code{\paper}
8404 block, then the lines are justified at their natural length. This
8405 useful for short fragments, and for checking how tight the natural
8409 @cindex vertical spacing
8411 The page layout process happens outside the LilyPond formatting
8412 engine: variables controlling page layout are passed to the output,
8413 and are further interpreted by @code{lilypond} wrapper program. It
8414 responds to the following variables in the @code{\paper} block. The
8415 variable @code{textheight} sets the total height of the music on each
8416 page. The spacing between systems is controlled with
8417 @code{interscoreline}, its default is 16pt. The distance between the
8418 score lines will stretch in order to fill the full page
8419 @code{interscorelinefill} is set to a positive number. In that case
8420 @code{interscoreline} specifies the minimum spacing.
8422 @cindex @code{textheight}
8423 @cindex @code{interscoreline}
8424 @cindex @code{interscorelinefill}
8426 If the variable @code{lastpagefill} is defined,
8427 @c fixme: this should only be done if lastpagefill == #t
8428 systems are evenly distributed vertically on the last page. This
8429 might produce ugly results in case there are not enough systems on the
8430 last page. The @command{lilypond-book} command ignores
8431 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8434 @cindex @code{lastpagefill}
8436 Page breaks are normally computed by @TeX{}, so they are not under
8437 direct control of LilyPond. However, you can insert a commands into
8438 the @file{.tex} output to instruct @TeX{} where to break pages. This
8439 is done by setting the @code{between-systems-strings} on the
8440 @internalsref{NonMusicalPaperColumn} where the system is broken.
8441 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8442 The predefined command @code{\newpage} also does this.
8446 @cindex @code{papersize}
8448 To change the paper size, you must first set the @code{papersize} paper
8449 variable variable as in the example below. Set it to
8450 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8451 specification, you must set the font as described above. If you want
8452 the default font, then use the 20 point font.
8455 \paper@{ papersize = "a4" @}
8456 \include "paper16.ly"
8459 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8460 will set the paper variables @code{hsize} and @code{vsize} (used by
8461 @code{lilypond-book} and @code{lilypond}).
8466 @cindex @code{\newpage}
8472 @ref{Invoking lilypond},
8473 @inputfileref{input/regression,between-systems.ly}, and
8474 @internalsref{NonMusicalPaperColumn}.
8478 LilyPond has no concept of page layout, which makes it difficult to
8479 reliably choose page breaks in longer pieces.
8488 Entered music can also be converted to MIDI output. The performance
8489 is good enough for proof-hearing the music for errors.
8491 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8492 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8493 marks translate to a fixed fraction of the available MIDI volume
8494 range, crescendi and decrescendi make the volume vary linearly between
8495 their two extremities. The fractions can be adjusted by
8496 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8497 For each type of MIDI instrument, a volume range can be defined. This
8498 gives a basic equalizer control, which can enhance the quality of
8499 the MIDI output remarkably. The equalizer can be controlled by
8500 setting @code{instrumentEqualizer}.
8504 Many musically interesting effects, such as swing, articulation,
8505 slurring, etc., are not translated to MIDI.
8510 * MIDI instrument names::
8515 @subsection MIDI block
8519 The MIDI block is analogous to the paper block, but it is somewhat
8520 simpler. The @code{\midi} block can contain:
8524 @item a @code{\tempo} definition, and
8525 @item context definitions.
8528 Assignments in the @code{\midi} block are not allowed.
8530 A number followed by a period is interpreted as a real number, so
8531 for setting the tempo for dotted notes, an extra space should be
8532 inserted, for example:
8535 \midi @{ \tempo 4 . = 120 @}
8539 @cindex context definition
8541 Context definitions follow precisely the same syntax as within the
8542 \paper block. Translation modules for sound are called performers.
8543 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8546 @node MIDI instrument names
8547 @subsection MIDI instrument names
8549 @cindex instrument names
8550 @cindex @code{Staff.midiInstrument}
8551 @cindex @code{Staff.instrument}
8553 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8554 property or, if that property is not set, the @code{Staff.instrument}
8555 property. The instrument name should be chosen from the list in
8556 @ref{MIDI instruments}.
8560 If the selected string does not exactly match, then LilyPond uses the
8561 default (Grand Piano). It is not possible to select an instrument by