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
15 * Easier music entry::
22 * Fingering instructions::
31 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This chapter describes all the different types of notation supported
44 by LilyPond. It is intended as a reference for users that are already
45 somewhat familiar with using LilyPond.
51 * Chromatic alterations::
59 * Easy Notation note heads ::
67 A note is printed by specifying its pitch and then its duration:
68 @footnote{Notes constitute the most basic elements of LilyPond input,
69 but they do not form valid input on their own without a @code{\score}
70 block. However, for the sake of brevity and simplicity we will
71 generally omit @code{\score} blocks and @code{\paper} declarations in
74 @lilypond[fragment,verbatim]
83 @cindex Note specification
85 @cindex entering notes
87 The most common syntax for pitch entry is used in @code{\chords} and
88 @code{\notes} mode. In Note and Chord mode, pitches may be designated
89 by names. The notes are specified by the letters @code{a} through
90 @code{g}, while the octave is formed with notes ranging from @code{c}
91 to @code{b}. The pitch @code{c} is an octave below middle C and the
92 letters span the octave above that C:
94 @lilypond[fragment,verbatim]
96 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
99 @cindex note names, Dutch
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses}. These
104 names are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as} in Dutch, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted.
108 There are predefined sets of note names for various other languages.
109 To use them, include the language specific init file. For
110 example: @code{\include "english.ly"}. The available language files
111 and the note names they define are:
116 Note Names sharp flat
117 nederlands.ly c d e f g a bes b -is -es
118 english.ly c d e f g a bf b -s/-sharp -f/-flat
119 deutsch.ly c d e f g a b h -is -es
120 norsk.ly c d e f g a b h -iss/-is -ess/-es
121 svenska.ly c d e f g a b h -iss -ess
122 italiano.ly do re mi fa sol la sib si -d -b
123 catalan.ly do re mi fa sol la sib si -d/-s -b
124 espanol.ly do re mi fa sol la sib si -s -b
133 The optional octave specification takes the form of a series of
134 single quote (`@code{'}') characters or a series of comma
135 (`@code{,}') characters. Each @code{'} raises the pitch by one
136 octave; each @code{,} lowers the pitch by an octave:
138 @lilypond[fragment,verbatim,center]
139 c' c'' es' g' as' gisis' ais'
143 There is also a verbose syntax for pitch specification:
146 @cindex @code{\pitch}
148 \pitch @var{scmpitch}
152 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
156 Notes can be hidden and unhidden with the following commands:
158 @cindex @code{\hideNotes}
160 @cindex @code{\unHideNotes}
167 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
169 @node Chromatic alterations
170 @subsection Chromatic alterations
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 @cindex reminder accidental
176 can be forced by adding an exclamation mark @code{!}
177 after the pitch. A cautionary accidental
178 @cindex cautionary accidental
179 @cindex parenthesized accidental
180 (an accidental within parentheses) can be obtained by adding the
181 question mark `@code{?}' after the pitch:
183 @lilypond[fragment,verbatim]
184 cis' cis' cis'! cis'?
188 The automatic production of accidentals can be tuned in many
189 ways. For more information, refer to @ref{Accidentals}.
194 A chord is formed by a enclosing a set of pitches in @code{<<} and
195 @code{>>}. A chord may be followed by a duration, and a set of
196 articulations, just like simple notes.
206 Rests are entered like notes, with the note name @code{r}:
208 @lilypond[singleline,verbatim]
212 Whole bar rests, centered in middle of the bar,
213 must be done with multi measure rests. They are discussed in
214 @ref{Multi measure rests}.
217 A rest's vertical position may be explicitly specified by entering a
218 note with the @code{\rest} keyword appended. This makes manual
219 formatting in polyphonic music easier. Rest collision testing will
220 leave these rests alone:
222 @lilypond[singleline,verbatim]
228 @internalsref{RestEvent}, and @internalsref{Rest}.
235 @cindex Invisible rest
238 An invisible rest (also called a `skip') can be entered like a note
239 with note name `@code{s}' or with @code{\skip @var{duration}}:
241 @lilypond[singleline,verbatim]
245 The @code{s} syntax is only available in Note mode and Chord mode. In
246 other situations, you should use the @code{\skip} command:
248 @lilypond[singleline,verbatim]
251 { \time 4/8 \skip 2 \time 4/4 }
252 \notes\relative c'' { a2 a1 }
257 The skip command is merely an empty musical placeholder. It does not
258 produce any output, not even transparent output.
262 @internalsref{SkipEvent}.
267 @subsection Durations
271 @cindex @code{\duration}
274 In Note, Chord, and Lyrics mode, durations are designated by numbers
275 and dots: durations are entered as their reciprocal values. For example,
276 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
277 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
278 longer than a whole you must use variables:
280 @c FIXME: what is an identifier? I do not think it's been introduced yet.
281 @c and if it has, I obviously skipped that part. - Graham
285 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
287 r1 r2 r4 r8 r16 r32 r64 r64
292 \notes \relative c'' {
294 a1 a2 a4 a8 a16 a32 a64 a64
296 r1 r2 r4 r8 r16 r32 r64 r64
301 \remove "Clef_engraver"
302 \remove "Staff_symbol_engraver"
303 \remove "Time_signature_engraver"
304 \consists "Pitch_squash_engraver"
311 If the duration is omitted then it is set to the previously entered
312 duration. The default for the first note is a quarter note. The duration
313 can be followed by dots (`@code{.}') in order to obtain dotted note
317 @lilypond[fragment,verbatim,center]
318 a' b' c''8 b' a'4 a'4. b'4.. c'8.
323 You can alter the length of duration by a fraction @var{N/M}
324 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
325 will not affect the appearance of the notes or rests produced.
326 In the following example, the first three notes take up exactly two
328 @lilypond[fragment,relative 2,verbatim]
330 a4*2/3 gis4*2/3 a4*2/3
334 Durations can also be produced using the verbose syntax
335 @code{\duration @var{Scheme object}}:
336 @lilypond[verbatim,fragment]
337 c'\duration #(ly:make-duration 4 1)
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a
367 @internalsref{Stem} object is created automatically. For whole notes
368 and rests, stem objects are also created, but in those cases, the stem
373 @cindex @code{\stemUp}
375 @cindex @code{\stemDown}
377 @cindex @code{\stemBoth}
388 A tie connects two adjacent note heads of the same pitch. The tie in
389 effect extends the length of a note. Ties should not be confused with
390 slurs, which indicate articulation, or phrasing slurs, which indicate
391 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
393 @lilypond[fragment,verbatim,center]
394 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
397 When a tie is applied to a chord, all note heads whose pitches match
398 are connected. When no note heads match, no ties will be created.
400 In its meaning a tie is just a way of extending a note duration, similar
401 to the augmentation dot; in the following example there are two ways of
402 notating exactly the same concept:
404 @lilypond[fragment, singleline,quote]
405 \time 3/4 c'2. c'2 ~ c'4
407 If you need to tie a lot of notes over bars, it may be easier to use automatic
408 note splitting (See @ref{Automatic note splitting}).
413 @cindex @code{\tieUp}
415 @cindex @code{\tieDown}
417 @cindex @code{\tieBoth}
419 @cindex @code{\tieDotted}
421 @cindex @code{\tieSolid}
426 @internalsref{TieEvent}, @internalsref{NewTieEvent},
427 @internalsref{Tie}, and @ref{Automatic note splitting}.
430 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
434 Tieing only a subset of the note heads of a pair of chords is not
435 supported in a simple way. It can be achieved by moving the
436 tie-engraver into the @internalsref{Thread} context and turning on and
437 off ties per @internalsref{Thread}.
439 Switching staves when a tie is active, will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
461 The duration of @var{musicexpr} will be multiplied by the fraction.
462 In the sheet music, the fraction's denominator will be printed over
463 the notes, optionally with a bracket. The most common tuplet is the
464 triplet in which 3 notes have the length of 2, so the notes are 2/3
465 of their written length:
467 @lilypond[fragment,verbatim,center]
468 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
471 The property @code{tupletSpannerDuration} specifies how long each
472 bracket should last. With this, you can make lots of tuplets while
473 typing @code{\times} only once, saving lots of typing. In the next
474 example, there are two triplets shown, while @code{\times} was only
477 @lilypond[fragment, relative, singleline, verbatim]
478 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
479 \times 2/3 { c'8 c c c c c }
482 The format of the number is determined by the property
483 @code{tupletNumberFormatFunction}. The default prints only the
484 denominator, but if it is set to the Scheme function
485 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
489 @cindex @code{tupletNumberFormatFunction}
490 @cindex tuplet formatting
495 @cindex @code{\tupletUp}
497 @cindex @code{\tupletDown}
499 @cindex @code{\tupletBoth}
504 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
508 Nested tuplets are not formatted automatically. In this case, outer
509 tuplet brackets should be moved manually.
511 @node Easy Notation note heads
512 @subsection Easy Notation note heads
514 @cindex easy notation
517 The `easyplay' note head includes a note name inside the head. It is
518 used in music aimed at beginners.
520 @lilypond[singleline,verbatim,26pt]
522 \notes { c'2 e'4 f' | g'1 }
523 \paper { \translator { \EasyNotation } }
527 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
528 You probably will want to print it with magnification or a
529 large font size to make it more readable. To print with
530 magnification, you must create a DVI file (with @file{ly2dvi}) and
531 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
532 See the @code{dvips} documentation for more details. To print with a
533 larger font, see @ref{Font Size}.
539 If you view the result with Xdvi, then staff lines will show through
540 the letters. Printing the PostScript file obtained with ly2dvi does
541 produce the correct result.
544 @node Easier music entry
545 @section Easier music entry
548 When entering music it is easy to introduce errors. This section deals
549 with tricks and features of the input language that help when entering
550 music, and find and correct mistakes. Some features of the input
551 language ease entering music, but also have other applications. They
552 are not described in this section.
554 It is also possible to use external programs, for example GUI
555 interfaces, or MIDI transcription programs, to enter or edit
556 music. Refer to the website for more information. Finally, there are
557 tools make debugging easier, by linking the input file and the output
558 shown on screen. See @ref{Point and click} for more information.
564 * Skipping corrected music::
565 * Automatic note splitting ::
571 @node Relative octaves
572 @subsection Relative octaves
574 @cindex relative octave specification
576 Octaves are specified by adding @code{'} and @code{,} to pitch names.
577 When you copy existing music, it is easy to accidentally put a pitch
578 in the wrong octave and hard to find such an error. The relative
579 octave mode prevents these errors: a single error puts the rest of the
580 piece off by one octave:
582 @cindex @code{\relative}
584 \relative @var{startpitch} @var{musicexpr}
587 The octave of notes that appear in @var{musicexpr} are calculated as
588 follows: If no octave changing marks are used, the basic interval
589 between this and the last note is always taken to be a fourth or less
590 (; this distance is determined without regarding alterations: a
591 @code{fisis} following a @code{ceses} will be put above the
594 The octave changing marks @code{'} and @code{,} can be added to raise
595 or lower the pitch by an extra octave. Upon entering relative mode,
596 an absolute starting pitch must be specified that will act as the
597 predecessor of the first note of @var{musicexpr}.
599 Here is the relative mode shown in action:
600 @lilypond[fragment,singleline,verbatim,center]
606 Octave changing marks are used for intervals greater than a fourth:
607 @lilypond[fragment,verbatim,center]
612 If the preceding item is a chord, the first note of the chord is used
613 to determine the first note of the next chord:
615 @lilypond[fragment,verbatim,center]
622 @cindex @code{\notes}
624 The pitch after the @code{\relative} contains a note name. To parse
625 the pitch as a note name, you have to be in note mode, so there must
626 be a surrounding @code{\notes} keyword (which is not
629 The relative conversion will not affect @code{\transpose},
630 @code{\chords} or @code{\relative} sections in its argument. If you
631 want to use relative within transposed music, you must place an
632 additional @code{\relative} inside the @code{\transpose}.
636 @subsection Bar check
640 @cindex @code{barCheckSynchronize}
643 Bar checks help detect errors in the durations. A bar check is
644 entered using the bar symbol, `@code{|}'. Whenever it is encountered
645 during interpretation, it should fall on a measure boundary. If it
646 does not, a warning is printed. Depending on the value of
647 @code{barCheckSynchronize}, the beginning of the measure will be
650 In the next example, the second bar check will signal an error:
652 \time 3/4 c2 e4 | g2 |
657 @cindex skipTypesetting
659 Failed bar checks are caused by entering incorrect
660 durations. Incorrect durations often completely garble up the score,
661 especially if it is polyphonic, so you should start correcting the
662 score by scanning for failed bar checks and incorrect durations. To
663 speed up this process, you can use @code{skipTypesetting}, described
666 @node Skipping corrected music
667 @subsection Skipping corrected music
669 The property @code{Score.skipTypesetting} can be used to switch on and
670 off typesetting completely during the interpretation phase. When
671 typesetting is switched off, the music is processed much more quickly.
672 This can be used to skip over the parts of a score that have already
673 been checked for errors:
675 @lilypond[fragment,singleline,verbatim]
677 \property Score.skipTypesetting = ##t
679 \property Score.skipTypesetting = ##f
683 @node Automatic note splitting
684 @subsection Automatic note splitting
686 Long notes can be converted automatically to tied notes. This is done
687 by replacing the @internalsref{Note_heads_engraver} by the
688 @internalsref{Completion_heads_engraver}:
691 \paper @{ \translator @{
693 \remove "Note_heads_engraver"
694 \consists "Completion_heads_engraver"
698 which will make long notes tied in the following example:
701 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
708 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
710 \paper { \translator {
712 \remove "Note_heads_engraver"
713 \consists "Completion_heads_engraver"
718 This engraver splits all running notes at the bar line, and inserts
719 ties. One of its uses is to debug complex scores: if the measures are
720 not entirely filled, then the ties exactly show how much each measure
725 Not all durations (especially those containing tuplets) can be
726 represented exactly; the engraver will not insert tuplets.
732 @section Staff notation
734 This section describes music notation that occurs on staff level,
735 such as keys, clefs and time signatures.
737 @cindex Staff notation
751 @subsection Staff symbol
753 @cindex adjusting staff symbol
754 @cindex StaffSymbol, using \property
755 @cindex staff lines, setting number of
757 Notes, dynamic signs, etc. are grouped
758 with a set of horizontal lines, into a staff (plural `staves'). In our
759 system, these lines are drawn using a separate layout object called
762 This object is created whenever a @internalsref{Staff} context is
763 created. The appearance of the staff symbol cannot be changed by
764 using @code{\override} or @code{\set}. At the moment that
765 @code{\property Staff} is interpreted, a @internalsref{Staff} context
766 is made, and the @internalsref{StaffSymbol} is created before any
767 @code{\override} is effective. Properties can be changed in a
768 @code{\translator} definition, or by using @code{\outputproperty}.
772 If a staff is ended halfway a piece, the staff symbol may not end
773 exactly on the barline.
777 @subsection Key signature
778 @cindex Key signature
782 The key signature indicates the scale in which a piece is played. It
783 is denoted by a set of alterations (flats or sharps) at the start of
788 Setting or changing the key signature is done with the @code{\key}
791 @code{\key} @var{pitch} @var{type}
794 @cindex @code{\minor}
795 @cindex @code{\major}
796 @cindex @code{\minor}
797 @cindex @code{\ionian}
798 @cindex @code{\locrian}
799 @cindex @code{\aeolian}
800 @cindex @code{\mixolydian}
801 @cindex @code{\lydian}
802 @cindex @code{\phrygian}
803 @cindex @code{\dorian}
805 Here, @var{type} should be @code{\major} or @code{\minor} to get
806 @var{pitch}-major or @var{pitch}-minor, respectively.
807 The standard mode names @code{\ionian},
808 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
809 @code{\phrygian}, and @code{\dorian} are also defined.
811 This command sets the context property
812 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
813 can be specified by setting this property directly.
817 The ordering of a key cancellation is wrong when it is combined with
818 repeat bar lines. The cancellation is also printed after a line break.
822 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
824 @cindex @code{keySignature}
831 The clef indicates which lines of the staff correspond to which
836 The clef can be set or changed with the @code{\clef} command:
837 @lilypond[fragment,verbatim]
838 \key f\major c''2 \clef alto g'2
841 Supported clef-names include:
842 @c Moved standard clefs to the top /MB
844 @item treble, violin, G, G2
853 G clef on 1st line, so-called French violin clef
868 By adding @code{_8} or @code{^8} to the clef name, the clef is
869 transposed one octave down or up, respectively. Argument @var{clefname}
870 must be enclosed in quotes when it contains underscores or digits. For
876 This command is equivalent to setting @code{clefGlyph},
877 @code{clefPosition} (which controls the Y position of the clef),
878 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
879 when any of these properties are changed.
883 The object for this symbol is @internalsref{Clef}.
887 @node Ottava brackets
888 @subsection Ottava brackets
890 ``Ottava'' brackets introduce an extra transposition of an octave for
891 the staff. They are created by invoking the function
892 @code{set-octavation}:
898 @lilypond[verbatim,fragment]
907 Internally the @code{set-octavation} function sets the properties
908 @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
912 @internalsref{OttavaBracket}.
916 @code{set-octavation} will get confused when clef changes happen
917 during an octavation bracket.
920 @subsection Time signature
921 @cindex Time signature
925 Time signature indicates the metrum of a piece: a regular pattern of
926 strong and weak beats. It is denoted by a fraction at the start of the
931 The time signature is set or changed by the @code{\time}
933 @lilypond[fragment,verbatim]
934 \time 2/4 c'2 \time 3/4 c'2.
937 The symbol that is printed can be customized with the @code{style}
938 property. Setting it to @code{#'()} uses fraction style for 4/4 and
939 2/2 time. There are many more options for its layout. See
940 @inputfileref{input/test,time.ly} for more examples.
943 This command sets the property @code{timeSignatureFraction},
944 @code{beatLength} and @code{measureLength} in the @code{Timing}
945 context, which is normally aliased to @internalsref{Score}. The
946 property @code{measureLength} determines where bar lines should be
947 inserted, and how automatic beams should be generated. Changing the
948 value of @code{timeSignatureFraction} also causes the symbol to be
951 More options are available through the Scheme function
952 @code{set-time-signature}. In combination with the
953 @internalsref{Measure_grouping_engraver}, it will create
954 @internalsref{MeasureGrouping} signs. Such signs ease reading
955 rhythmically complex modern music. In the following example, the 9/8
956 measure is subdivided in 2, 2, 2 and 3. This is passed to
957 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
960 \score { \notes \relative c'' {
961 #(set-time-signature 9 8 '(2 2 2 3))
962 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
963 #(set-time-signature 5 8 '(3 2))
968 \translator { \StaffContext
969 \consists "Measure_grouping_engraver"
975 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
980 Automatic beaming does not use measure grouping specified with
981 @code{set-time-signature}.
983 @node Partial measures
984 @subsection Partial measures
987 @cindex partial measure
988 @cindex measure, partial
989 @cindex shorten measures
990 @cindex @code{\partial}
992 Partial measures, for example in upsteps, are entered using the
993 @code{\partial} command:
994 @lilypond[fragment,verbatim]
995 \partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
998 The syntax for this command is
1000 \partial @var{duration}
1002 This is internally translated into
1004 \property Timing.measurePosition = -@var{length of duration}
1007 The property @code{measurePosition} contains a rational number
1008 indicating how much of the measure has passed at this point.
1010 @node Unmetered music
1011 @subsection Unmetered music
1013 Bar lines and bar numbers are calculated automatically. For unmetered
1014 music (e.g. cadenzas), this is not desirable. By setting
1015 @code{Score.timing} to false, this automatic timing can be switched
1021 @cindex @code{\cadenzaOn}
1023 @cindex @code{\cadenzaOff}
1027 @subsection Bar lines
1031 @cindex measure lines
1035 Bar lines delimit measures, but are also used to indicate repeats.
1036 Normally, they are inserted automatically. Line breaks may only
1042 of barlines can be forced with the @code{\bar} command:
1043 @lilypond[relative=1,fragment,verbatim]
1047 The following bar types are available:
1048 @lilypond[fragment, relative, singleline, verbatim]
1060 In scores with many staves, a @code{\bar} command in one staff is
1061 automatically applied to all staffs. The resulting bar lines are
1062 connected between different staves of a @internalsref{StaffGroup}:
1064 @lilypond[fragment, verbatim]
1065 < \context StaffGroup <
1066 \context Staff = up { e'4 d'
1069 \context Staff = down { \clef bass c4 g e g } >
1070 \context Staff = pedal { \clef bass c2 c2 } >
1074 The command @code{\bar @var{bartype}} is a short cut for doing
1075 @code{\property Score.whichBar = @var{bartype}} Whenever
1076 @code{whichBar} is set to a string, a bar line of that type is
1077 created. At the start of a measure it is set to
1078 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1079 to override default measure bars.
1081 Property @code{whichBar} can also be set directly, using @code{\property}
1082 or @code{\bar}. These settings take precedence over the automatic
1083 @code{whichBar} settings.
1086 @cindex repeatCommands
1087 @cindex defaultBarType
1089 You are encouraged to use @code{\repeat} for repetitions. See
1099 The bar line objects that are created at @internalsref{Staff} level
1100 are called @internalsref{BarLine}, the bar lines that span staffs are
1101 @internalsref{SpanBar}s.
1103 The barlines at the start of each system are
1104 @internalsref{SystemStartDelimiter}s, which are spanner objects and
1105 typically must be tuned from a @code{\translator} block.
1112 The easiest way to enter fragments with more than one voice on a staff
1113 is to split chords using the separator @code{\\}. You can use it for
1114 small, short-lived voices or for single chords:
1116 @lilypond[verbatim,fragment]
1117 \context Voice = VA \relative c'' {
1118 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
1122 The separator causes @internalsref{Voice} contexts to be
1124 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1125 contexts, vertical direction of slurs, stems, etc. is set
1128 This can also be done by instantiating @internalsref{Voice} contexts
1129 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1130 a stem directions and horizontal shift for each part:
1133 @lilypond[singleline, verbatim]
1135 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1136 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1137 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1140 Normally, note heads with a different number of dots are not merged, but
1141 when the object property @code{merge-differently-dotted} is set in
1142 the @internalsref{NoteCollision} object, they are merged:
1143 @lilypond[verbatim,fragment,singleline]
1144 \relative c'' \context Voice < {
1146 \property Staff.NoteCollision \override
1147 #'merge-differently-dotted = ##t
1149 } \\ { g8.-[ f16-] g8.-[ f16-] }
1153 Similarly, you can merge half note heads with eighth notes, by setting
1154 @code{merge-differently-headed}:
1155 @lilypond[fragment, relative=2,verbatim]
1158 \property Staff.NoteCollision
1159 \override #'merge-differently-headed = ##t
1160 c8 c4. } \\ { c2 c2 } >
1163 LilyPond also vertically shifts rests that are opposite of a stem:
1166 @lilypond[singleline,fragment,verbatim]
1167 \context Voice < c''4 \\ r4 >
1175 @cindex @code{\oneVoice}
1177 @cindex @code{\voiceOne}
1179 @cindex @code{\voiceTwo}
1181 @cindex @code{\voiceThree}
1183 @cindex @code{\voiceFour}
1186 The following commands specify in what chords of the current voice
1187 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1188 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1191 @cindex @code{\shiftOn}
1193 @cindex @code{\shiftOnn}
1195 @cindex @code{\shiftOnnn}
1197 @cindex @code{\shiftOff}
1204 The objects responsible for resolving collisions are
1205 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1206 also example files @inputfileref{input/regression,collision-dots.ly},
1207 @inputfileref{input/regression,collision-head-chords.ly},
1208 @inputfileref{input/regression,collision-heads.ly},
1209 @inputfileref{input/regression,collision-mesh.ly}, and
1210 @inputfileref{input/regression,collisions.ly}.
1215 Resolving collisions is a intricate subject, and only a few situations
1216 are handled. When LilyPond cannot cope, the @code{force-hshift}
1217 property of the @internalsref{NoteColumn} object and pitched rests can
1218 be used to override typesetting decisions.
1220 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1221 note, and a downstem half note, the 8th note gets the wrong offset.
1226 Beams are used to group short notes into chunks that are aligned with
1227 the metrum. They are inserted automatically in most cases:
1229 @lilypond[fragment,verbatim, relative=2]
1230 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1233 When these automatic decisions are not good enough, beaming can be
1234 entered explicitly. It is also possible to define beaming patterns
1235 that differ from the defaults.
1239 @internalsref{Beam}.
1242 @cindex Automatic beams
1243 @subsection Manual beams
1244 @cindex beams, manual
1248 In some cases it may be necessary to override the automatic beaming
1249 algorithm. For example, the auto beamer will not put beams over rests
1250 or bar lines. Such beams are specified by manually: the begin and end
1251 point are marked with @code{[} and @code{]}:
1253 @lilypond[fragment,relative,verbatim]
1255 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1259 @cindex @code{stemLeftBeamCount}
1261 Normally, beaming patterns within a beam are determined automatically.
1262 When this mechanism fouls up, the properties
1263 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1264 be used to control the beam subdivision on a stem. If either property
1265 is set, its value will be used only once, and then it is erased.
1267 @lilypond[fragment,relative,verbatim]
1270 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1273 @cindex @code{stemRightBeamCount}
1276 The property @code{subdivideBeams} can be set in order to subdivide
1277 all 16th or shorter beams at beat positions, as defined by the
1278 @code{beatLength} property . This accomplishes the same effect as
1279 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1280 but it take less typing:
1283 @lilypond[relative=1,verbatim,noindent]
1284 c16-[ c c c c c c c-]
1285 \property Voice.subdivideBeams = ##t
1286 c16-[ c c c c c c c-]
1287 \property Score.beatLength = #(ly:make-moment 1 8)
1288 c16-[ c c c c c c c-]
1290 @cindex subdivideBeams
1292 Kneed beams are inserted automatically, when a large gap is detected
1293 between the note heads. This behavior can be tuned through the object
1294 property @code{auto-knee-gap}.
1296 @cindex beams, kneed
1298 @cindex auto-knee-gap
1306 Automatically kneed beams cannot be used together with Hara Kiri
1311 * Setting automatic beam behavior ::
1315 @no de Beam typography
1316 @sub section Beam typography
1318 One of the strong points of LilyPond is how beams are formatted. Beams
1319 are quantized, meaning that the left and right endpoints beams start
1320 exactly on staff lines. Without quantization, small wedges of white
1321 space appear between the beam and staff line, and this looks untidy.
1323 Beams are also slope-damped: melodies that go up or down should also
1324 have beams that go up or down, but the slope of the beams should be
1325 less than the slope of the notes themselves.
1327 Some beams should be horizontal. These are so-called concave beams.
1329 [TODO: some pictures.]
1333 @node Setting automatic beam behavior
1334 @subsection Setting automatic beam behavior
1336 @cindex @code{autoBeamSettings}
1337 @cindex @code{(end * * * *)}
1338 @cindex @code{(begin * * * *)}
1339 @cindex automatic beams, tuning
1340 @cindex tuning automatic beaming
1342 @c [TODO: use \applycontext]
1344 In normal time signatures, automatic beams can start on any note but can
1345 only end in a few positions within the measure: beams can end on a beat,
1346 or at durations specified by the properties in
1347 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1348 are defined in @file{scm/auto-beam.scm}.
1350 The value of @code{autoBeamSettings} is changed using
1351 @code{\override} and restored with @code{\revert}:
1353 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1354 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1356 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1357 whether the rule applies to begin or end-points. The quantity
1358 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1359 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1360 signature (wildcards, `@code{* *}' may be entered to designate all time
1363 For example, if automatic beams should end on every quarter note, use
1366 \property Voice.autoBeamSettings \override
1367 #'(end * * * *) = #(ly:make-moment 1 4)
1369 Since the duration of a quarter note is 1/4 of a whole note, it is
1370 entered as @code{(ly:make-moment 1 4)}.
1372 The same syntax can be used to specify beam starting points. In this
1373 example, automatic beams can only end on a dotted quarter note:
1375 \property Voice.autoBeamSettings \override
1376 #'(end * * * *) = #(ly:make-moment 3 8)
1378 In 4/4 time signature, this means that automatic beams could end only on
1379 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1380 3/8 has passed within the measure).
1382 Rules can also be restricted to specific time signatures. A rule that
1383 should only be applied in @var{N}/@var{M} time signature is formed by
1384 replacing the second asterisks by @var{N} and @var{M}. For example, a
1385 rule for 6/8 time exclusively looks like
1387 \property Voice.autoBeamSettings \override
1388 #'(begin * * 6 8) = ...
1391 If a rule should be to applied only to certain types of beams, use the
1392 first pair of asterisks. Beams are classified according to the
1393 shortest note they contain. For a beam ending rule that only applies
1394 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1397 If a score ends while an automatic beam has not been ended and is still
1398 accepting notes, this last beam will not be typeset at all.
1400 @cindex automatic beam generation
1402 @cindex @code{Voice.autoBeaming}
1405 For melodies that have lyrics, you may want to switch off
1406 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1411 @cindex @code{\autoBeamOff}
1412 @code{\autoBeamOff},
1413 @cindex @code{\autoBeamOn}
1419 The rules for ending a beam depend on the shortest note in a beam.
1420 So, while it is possible to have different ending rules for eight
1421 beams and sixteenth beams, a beam that contains both eight and
1422 sixteenth notes will use the rules for the sixteenth beam.
1424 In the example below, the autobeamer makes eight beams and sixteenth
1425 end at 3 eights; the third beam can only be corrected by specifying
1428 @lilypond[singleline,fragment,relative,noverbatim,quote]
1429 \property Voice.autoBeamSettings
1430 \override #'(end * * * *) = #(ly:make-moment 3 8)
1431 % rather show case where it goes wrong
1432 %\time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8-[ c-] c4
1433 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1435 It is not possible to specify beaming parameters that act differently in
1436 different parts of a measure. This means that it is not possible to use
1437 automatic beaming in irregular meters such as @code{5/8}.
1440 @section Accidentals
1443 This section describes how to change the way that accidentals are
1444 inserted automatically before the running notes.
1448 * Using the predefined accidental variables::
1449 * Customized accidental rules::
1452 @node Using the predefined accidental variables
1453 @subsection Using the predefined accidental variables
1455 The constructs for describing the accidental typesetting rules are
1456 quite hairy, so non-experts should stick to the variables
1457 defined in @file{ly/property-init.ly}.
1458 @cindex @file{property-init.ly}
1460 The variables set properties in the ``@code{Current}'' context (see
1461 @ref{Context properties}). This means that the variables should
1462 normally be added right after the creation of the context in which the
1463 accidental typesetting described by the variable is to take
1464 effect. For example, if you want to use piano-accidentals in a piano
1465 staff then issue @code{\pianoAccidentals} first thing after the
1466 creation of the piano staff:
1469 \notes \relative c'' <
1470 \context Staff = sa @{ cis4 d e2 @}
1471 \context GrandStaff <
1473 \context Staff = sb @{ cis4 d e2 @}
1474 \context Staff = sc @{ es2 c @}
1476 \context Staff = sd @{ es2 c @}
1480 @lilypond[singleline]
1482 \notes \relative c'' <
1483 \context Staff = sa { cis4 d e2 }
1484 \context GrandStaff <
1486 \context Staff = sb { cis4 d e2 }
1487 \context Staff = sc { es2 c }
1489 \context Staff = sd { es2 c }
1494 minimumVerticalExtent = #'(-4.0 . 4.0)
1502 @item \defaultAccidentals
1503 @cindex @code{\defaultAccidentals}
1504 This is the default typesetting behaviour. It should correspond
1505 to 18th century common practice: Accidentals are
1506 remembered to the end of the measure in which they occur and
1507 only on their own octave.
1509 @item \voiceAccidentals
1510 @cindex @code{\voiceAccidentals}
1512 The normal behaviour is to
1513 remember the accidentals on Staff-level. This variable, however,
1514 typesets accidentals individually for each voice. Apart from that the
1515 rule is similar to @code{\defaultAccidentals}.
1517 This leads to some weird and often unwanted results
1518 because accidentals from one voice do not get cancelled in other
1520 @lilypond[singleline,relative,fragment,verbatim,quote]
1528 Hence you should only use @code{\voiceAccidentals} if the voices
1529 are to be read solely by individual musicians. If the staff is to be
1530 used by one musician (e.g. a conductor) then you use
1531 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1534 @item \modernAccidentals
1535 @cindex @code{\modernAccidentals}
1536 This rule corresponds to the common practice in the 20th
1538 The rule is more complex than @code{\defaultAccidentals}.
1539 You get all the same accidentals, but temporary
1540 accidentals also get cancelled in other octaves. Furthermore,
1541 in the same octave, they also get cancelled in the following measure:
1542 @lilypond[singleline,fragment,verbatim]
1544 cis' c'' cis'2 | c'' c'
1547 @item \modernCautionaries
1548 @cindex @code{\modernCautionaries}
1549 This rule is similar to @code{\modernAccidentals}, but the
1550 ``extra'' accidentals (the ones not typeset by
1551 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1552 They are printed in reduced size or with parentheses:
1553 @lilypond[singleline,fragment,verbatim]
1555 cis' c'' cis'2 | c'' c'
1558 @cindex @code{\modernVoiceAccidentals}
1559 @item \modernVoiceAccidentals
1560 is used for multivoice accidentals to be read both by musicians
1561 playing one voice and musicians playing all voices. Accidentals are
1562 typeset for each voice, but they @emph{are} cancelled across voices in
1563 the same @internalsref{Staff}.
1565 @cindex @code{\modernVoiceCautionaries}
1566 @item \modernVoiceCautionaries
1567 is the same as @code{\modernVoiceAccidentals}, but with the extra
1568 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1569 as cautionaries. Even though all accidentals typeset by
1570 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1571 some of them are typeset as cautionaries.
1573 @item \pianoAccidentals
1574 @cindex @code{\pianoAccidentals}
1575 20th century practice for piano notation. Very similar to
1576 @code{\modernAccidentals} but accidentals also get cancelled
1577 across the staves in the same @internalsref{GrandStaff} or
1578 @internalsref{PianoStaff}.
1580 @item \pianoCautionaries
1581 @cindex @code{\pianoCautionaries}
1582 As @code{\pianoAccidentals} but with the extra accidentals
1583 typeset as cautionaries.
1586 @cindex @code{\noResetKey}
1587 Same as @code{\defaultAccidentals} but with accidentals lasting
1588 ``forever'' and not only until the next measure:
1589 @lilypond[singleline,fragment,verbatim,relative]
1594 @item \forgetAccidentals
1595 @cindex @code{\forgetAccidentals}
1596 This is sort of the opposite of @code{\noResetKey}: Accidentals
1597 are not remembered at all---and hence all accidentals are
1598 typeset relative to the key signature, regardless of what was
1599 before in the music:
1600 @lilypond[singleline,fragment,verbatim,relative]
1602 \key d\major c4 c cis cis d d dis dis
1606 @node Customized accidental rules
1607 @subsection Customized accidental rules
1609 This section must be considered gurus-only, and hence it must be
1610 sufficient with a short description of the system and a reference to
1611 the internal documentation.
1613 The algorithm tries several different rules, and uses the rule
1614 that gives the highest number of accidentals. Each rule consists of
1617 In which context is the rule applied. For example, if
1618 @var{context} is @internalsref{Score} then all staves share
1619 accidentals, and if @var{context} is @internalsref{Staff} then all
1620 voices in the same staff share accidentals, but staves do not.
1622 Whether the accidental changes all octaves or only the current
1625 Over how many barlines the accidental lasts.
1626 If @var{lazyness} is @code{-1} then the accidental is forget
1627 immediately, and if @var{lazyness} is @code{#t} then the accidental
1630 @c [TODO: should use +infinity for this case?]
1636 @cindex @code{\defaultAccidentals}
1637 @code{\defaultAccidentals},
1638 @cindex @code{\voiceAccidentals}
1639 @code{\voiceAccidentals},
1640 @cindex @code{\modernAccidentals}
1641 @code{\modernAccidentals},
1642 @cindex @code{\modernCautionaries}
1643 @code{\modernCautionaries},
1644 @cindex @code{\modernVoiceAccidentals}
1645 @code{\modernVoiceAccidentals},
1646 @cindex @code{\modernVoiceCautionaries}
1647 @code{\modernVoiceCautionaries},
1648 @cindex @code{\pianoAccidentals}
1649 @code{\pianoAccidentals},
1650 @cindex @code{\pianoCautionaries}
1651 @code{\pianoCautionaries},
1652 @cindex @code{\noResetKey}
1654 @cindex @code{\forgetAccidentals}
1655 @code{\forgetAccidentals}.
1659 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1660 @internalsref{AccidentalPlacement}.
1665 Currently the simultaneous notes are considered to be entered in
1666 sequential mode. This means that in a chord the accidentals are
1667 typeset as if the notes in the chord happened once at a time - in the
1668 order in which they appear in the input file.
1670 This is only a problem when there are simultaneous notes whose
1671 accidentals depend on each other. The problem only occurs when using
1672 non-default accidentals. In the default scheme, accidentals only
1673 depend on other accidentals with the same pitch on the same staff, so
1674 no conflicts possible.
1676 This example shows two examples of the same music giving different
1677 accidentals depending on the order in which the notes occur in the
1680 @lilypond[singleline,fragment,verbatim]
1681 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1682 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1683 | <<cis' c''>> r | <<c'' cis'>> r |
1686 This problem can be solved by manually inserting @code{!} and @code{?}
1687 for the problematic notes.
1689 @node Expressive marks
1690 @section Expressive marks
1698 * Analysis brackets::
1705 A slur indicates that notes are to be played bound or @emph{legato}.
1709 They are entered using parentheses:
1710 @lilypond[fragment,verbatim,center]
1711 f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
1712 <<c' e'>>2-( <<b d'>>2-)
1716 @c TODO: should explain that ^( and _( set directions
1717 @c should set attachments with ^ and _ ?
1719 Slurs avoid crossing stems, and are generally attached to note heads.
1720 However, in some situations with beams, slurs may be attached to stem
1721 ends. If you want to override this layout you can do this through the
1722 object property @code{attachment} of @internalsref{Slur} in
1723 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1724 the attachment type of the left and right end points:
1726 @lilypond[fragment,relative,verbatim]
1728 \property Voice.Stem \set #'length = #5.5
1730 \property Voice.Slur \set #'attachment = #'(stem . stem)
1734 If a slur would strike through a stem or beam, the slur will be moved
1735 away upward or downward. If this happens, attaching the slur to the
1736 stems might look better:
1738 @lilypond[fragment,relative,verbatim]
1741 \property Voice.Slur \set #'attachment = #'(stem . stem)
1748 @cindex @code{\slurUp}
1750 @cindex @code{\slurDown}
1752 @cindex @code{\slurBoth}
1754 @cindex @code{\slurDotted}
1756 @cindex @code{\slurSolid}
1761 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1766 Producing nice slurs is a difficult problem, and LilyPond currently
1767 uses a simple, empiric method to produce slurs. In some cases, its
1771 @cindex Adjusting slurs
1773 @node Phrasing slurs
1774 @subsection Phrasing slurs
1776 @cindex phrasing slurs
1777 @cindex phrasing marks
1779 A phrasing slur (or phrasing mark) connects chords and is used to
1780 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1783 @lilypond[fragment,verbatim,center,relative]
1784 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1787 Typographically, the phrasing slur behaves almost exactly like a
1788 normal slur. However, they are treated as different objects. A
1789 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1790 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1791 @code{\phrasingSlurBoth}.
1793 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1794 will only affect normal slurs and not phrasing slurs.
1798 @cindex @code{\phrasingSlurUp}
1799 @code{\phrasingSlurUp},
1800 @cindex @code{\phrasingSlurDown}
1801 @code{\phrasingSlurDown},
1802 @cindex @code{\phrasingSlurBoth}
1803 @code{\phrasingSlurBoth},
1807 See also @internalsref{PhrasingSlur}, and
1808 @internalsref{PhrasingSlurEvent}.
1812 Phrasing slurs have the same limitations in their formatting as normal
1813 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1816 @subsection Breath marks
1818 Breath marks are entered using @code{\breathe}:
1821 @lilypond[fragment,relative,verbatim]
1825 The glyph of the breath mark can be tweaked by overriding the
1826 @code{text} property of the @code{BreathingSign} layout object with the name of
1827 any glyph of @ref{The Feta font}. For example,
1828 @lilypond[fragment,verbatim,relative]
1830 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1837 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1838 @inputfileref{input/regression,breathing-sign.ly}.
1841 @node Metronome marks
1842 @subsection Metronome marks
1845 @cindex beats per minute
1846 @cindex metronome marking
1848 Metronome settings can be entered as follows:
1850 \tempo @var{duration} = @var{perminute}
1853 In the MIDI output, they are interpreted as a tempo change, and in the
1854 paper output, a metronome marking is printed:
1855 @cindex @code{\tempo}
1856 @lilypond[fragment,verbatim]
1862 @internalsref{TempoEvent}.
1867 @subsection Text spanners
1868 @cindex Text spanners
1870 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1871 are written as texts, and extended over many measures with dotted
1872 lines. You can create such texts using text spanners: attach
1873 @code{\startTextSpan} and @code{\stopTextSpan} to the
1874 start and ending note of the spanner.
1876 The string to be printed, as well as the style, is set through object
1879 @lilypond[fragment,relative,verbatim]
1881 \property Voice.TextSpanner \set #'direction = #-1
1882 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1883 c2-\startTextSpan b c-\stopTextSpan a }
1889 @internalsref{TextSpanEvent},
1890 @internalsref{TextSpanner}, and
1891 @inputfileref{input/regression,text-spanner.ly}.
1894 @node Analysis brackets
1895 @subsection Analysis brackets
1897 @cindex phrasing brackets
1898 @cindex musicological analysis
1899 @cindex note grouping bracket
1901 Brackets are used in musical analysis to indicate structure in musical
1902 pieces. LilyPond supports a simple form of nested horizontal brackets.
1903 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1904 @internalsref{Staff} context. A bracket is started with
1905 @code{\startGroup} and closed with @code{\stopGroup}:
1907 @lilypond[singleline,verbatim]
1908 \score { \notes \relative c'' {
1909 c4-\startGroup-\startGroup
1912 c4-\stopGroup-\stopGroup
1914 \paper { \translator {
1915 \StaffContext \consists "Horizontal_bracket_engraver"
1921 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
1922 @inputfileref{input/regression,note-group-bracket.ly}.
1926 @section Articulations
1927 @cindex Articulations
1929 @cindex articulations
1933 A variety of symbols can appear above and below notes to indicate
1934 different characteristics of the performance. They are added to a note
1935 by adding a dash and the character signifying the
1936 articulation. They are demonstrated here:
1938 @lilypondfile[notexidoc]{script-abbreviations.ly}
1940 The script is automatically placed, but if you need to force
1941 directions, you can use @code{_} to force them down, or @code{^} to
1943 @lilypond[fragment, verbatim]
1950 Other symbols can be added using the syntax
1951 @var{note}@code{-\}@var{name}, e.g. @code{c4-\fermata}. Again, they
1952 can be forced up or down using @code{^} and @code{_}:
1956 @cindex staccatissimo
1965 @cindex organ pedal marks
1974 @cindex prallmordent
1978 @cindex thumb marking
1983 @lilypondfile[notexidoc]{script-chart.ly}
1988 @cindex @code{\scriptUp}
1990 @cindex @code{\scriptDown}
1992 @cindex @code{\scriptBoth}
1997 @internalsref{ScriptEvent}, and @internalsref{Script}.
2001 All of these note ornaments appear in the printed output but have no
2002 effect on the MIDI rendering of the music.
2005 @node Fingering instructions
2006 @section Fingering instructions
2010 Fingering instructions can be entered using
2012 @var{note}-@var{digit}
2014 For finger changes, use markup texts:
2016 @lilypond[verbatim, singleline, fragment]
2017 c'4-1 c'4-2 c'4-3 c'4-4
2018 c'^\markup { \fontsize #-3 \number "2-3" }
2021 @cindex finger change
2026 You can use the thumb-script to indicate that a note should be
2027 played with your thumb (used in cello music):
2029 @lilypond[verbatim, singleline, fragmnt]
2030 <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
2031 <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
2034 Fingerings for chords can also be added to individual notes
2035 of the chord by adding them after the pitches:
2036 @lilypond[verbatim,singleline,fragment,relative=1]
2037 << c-1 e-2 g-3 b-5 >> 4
2040 Setting @code{fingerHorizontalDirection} will put the fingerings next
2043 @lilypond[verbatim,singleline,fragment,relative=1]
2044 \property Voice.fingerHorizontalDirection = #LEFT
2045 << c-1 es-2 g-4 bes-5 >> 4
2046 \property Voice.fingerHorizontalDirection = #RIGHT
2047 << c-1 es-2 g-4 bes-5 >> 4
2052 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2063 @subsection Text scripts
2064 @cindex Text scripts
2066 It is possible to place arbitrary strings of text or markup text (see
2067 @ref{Text markup}) above or below notes by using a string:
2068 @code{c^"text"}. By default, these indications do not influence the
2069 note spacing, but by using the command @code{\fatText}, the widths
2070 will be taken into account:
2072 @lilypond[fragment,singleline,verbatim] \relative c' {
2073 c4^"longtext" \fatText c4_"longlongtext" c4 }
2076 It is possible to use @TeX{} commands in the strings, but this should
2077 be avoided because the exact dimensions of the string can then no
2083 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2089 @subsection Grace notes
2091 @cindex @code{\grace}
2095 Grace notes are ornaments that are written out:
2097 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
2101 In normal notation, grace notes take up no logical
2102 time in a measure. Such an idea is practical for normal notation, but
2103 is not strict enough to put it into a program. The model that LilyPond
2104 uses for grace notes internally is that all timing is done in two
2107 Every point in musical time consists of two rational numbers: one
2108 denotes the logical time, one denotes the grace timing. The above
2109 example is shown here with timing tuples:
2112 \score { \notes \relative c''{
2113 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2114 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2116 \paper { linewidth = 12.\cm }
2121 The placement of grace notes is synchronized between different staves.
2122 In the following example, there are two sixteenth graces notes for
2123 every eighth grace note:
2125 @lilypond[relative=2,verbatim,fragment]
2126 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
2127 \context Staff = SB { c'4 \grace { g8-[ b-] } c4 } >
2131 Unbeamed eighth notes and shorter by default have a slash through the
2132 stem. This can be controlled with object property @code{stroke-style} of
2133 @internalsref{Stem}. For proper matching of override and reverts of
2134 such properties, it is necessary to use a Scheme function.
2136 The following fragment overrides the default formatting Grace style stems:
2138 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
2141 The @code{\override} is carefully matched with a @code{\revert}:
2146 @lilypond[fragment,verbatim]
2147 \relative c'' \context Voice {
2148 \grace c8 c4 \grace { c16-[ c16-] } c4
2150 \property Voice.Stem \override #'stroke-style = #'()
2152 \property Voice.Stem \revert #'stroke-style
2157 If you want to end a note with a grace note, then the standard trick
2158 is to put the grace notes before a phantom ``space note'', e.g.
2159 @lilypond[fragment,verbatim, relative=2]
2162 { s2 \grace { c16-[ d-] } } >
2168 By adjusting the duration of the skip note (here it is a half-note),
2169 the space between the main-note and the grace is adjusted.
2171 A @code{\grace} section has some default values, and LilyPond will
2172 use those default values unless you specify otherwise inside the
2173 @code{\grace} section. For example, if you specify \slurUp
2174 @emph{before} your @code{\grace} section, a slur which starts inside
2175 the @code{\grace} will not be forced up, even if the slur ends outside
2176 of the @code{\grace}. Note the difference between the first and
2177 second bars in this example:
2179 @lilypond[fragment,verbatim]
2180 \relative c'' \context Voice {
2198 @internalsref{GraceMusic}.
2202 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2204 A score that starts with an @code{\grace} section needs an explicit
2205 @code{\context Voice} declaration, otherwise the main note and grace
2206 note end up on different staffs.
2208 Grace note synchronization can also lead to surprises. Staff notation,
2209 such as key signatures, barlines, etc. are also synchronized. Take
2210 care when you mix staves with grace notes and staves without, for example,
2212 @lilypond[relative=2,verbatim,fragment]
2213 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2214 \context Staff = SB { c4 \bar "|:" d4 } >
2217 Grace sections should only be used within sequential music
2218 expressions. Nesting or juxtaposing grace sections is not supported,
2219 and might produce crashes or other errors.
2221 Overriding settings for grace music globally cannot be done in a
2222 modular way. A kludge (@code{add-to-grace-init}) is defined in
2223 @file{ly/grace-init.ly}.
2227 @subsection Glissando
2230 @cindex @code{\glissando}
2232 A glissando is a smooth change in pitch. It is denoted by a line or a
2233 wavy line between two notes.
2237 A glissando line can be requested by attaching a @code{\glissando} to
2240 @lilypond[fragment,relative,verbatim]
2246 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2251 Additional texts (such as @emph{gliss.}) is not supported.
2255 @subsection Dynamics
2268 @cindex @code{\ffff}
2278 Absolute dynamic marks are specified using an variable after a
2279 note: @code{c4-\ff}. The available dynamic marks are @code{\ppp},
2280 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2281 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2282 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2284 @lilypond[verbatim,singleline,fragment,relative]
2285 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2291 @cindex @code{\decr}
2292 @cindex @code{\rced}
2299 A crescendo mark is started with @code{\<} and terminated with
2300 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2301 with @code{\!}. Because these marks are bound to notes, if you must
2302 use spacer notes if multiple marks during one note are needed:
2304 @lilypond[fragment,verbatim,center,quote]
2305 c''-\< c''-\! d''-\decr e''-\rced
2306 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2308 This may give rise to very short hairpins. Use @code{minimum-length}
2309 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2313 \property Staff.Hairpin \override #'minimum-length = #5
2316 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2317 is an example how to do it:
2319 @lilypond[fragment,relative=2,verbatim]
2320 c4 \cresc c4 c c c \endcresc c4
2326 You can also supply your own texts:
2327 @lilypond[fragment,relative,verbatim]
2329 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2330 \property Voice.crescendoSpanner = #'dashed-line
2340 @cindex @code{\dynamicUp}
2342 @cindex @code{\dynamicDown}
2343 @code{\dynamicDown},
2344 @cindex @code{\dynamicBoth}
2345 @code{\dynamicBoth}.
2347 @cindex direction, of dynamics
2351 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2352 @internalsref{AbsoluteDynamicEvent}.
2354 Dynamics are objects of @internalsref{DynamicText} and
2355 @internalsref{Hairpin}. Vertical positioning of these symbols is
2356 handled by the @internalsref{DynamicLineSpanner} object.
2358 If you want to adjust padding or vertical direction of the dynamics, you
2359 must set properties for the @internalsref{DynamicLineSpanner} object.
2367 @cindex @code{\repeat}
2370 Repetition is a central concept in music, and multiple notations exist
2371 for repetitions. In LilyPond, most of these notations can be captured
2372 in a uniform syntax. One of the advantages is, all these repetitions
2373 can be rendered in MIDI accurately.
2375 The following types of repetition are supported:
2379 Repeated music is fully written (played) out. Useful for MIDI
2380 output, and entering repetitive music.
2383 This is the normal notation: Repeats are not written out, but
2384 alternative endings (voltas) are printed, left to right.
2388 Alternative endings are written stacked. This has limited use but may be
2389 used to typeset two lines of lyrics in songs with repeats, see
2390 @inputfileref{input,star-spangled-banner.ly}.
2397 Make beat or measure repeats. These look like percent signs.
2403 * Repeats and MIDI::
2404 * Manual repeat commands::
2406 * Tremolo subdivisions::
2411 @subsection Repeat syntax
2415 LilyPond has one syntactic construct for specifying different types of
2416 repeats. The syntax is
2419 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2422 If you have alternative endings, you may add
2423 @cindex @code{\alternative}
2425 \alternative @code{@{} @var{alternative1}
2427 @var{alternative3} @dots{} @code{@}}
2429 where each @var{alternative} is a music expression. If you do not
2430 give enough alternatives for all of the repeats, then the first
2431 alternative is assumed to be played more than once.
2433 Normal notation repeats are used like this:
2434 @lilypond[fragment,verbatim]
2436 \repeat volta 2 { c'4 d' e' f' }
2437 \repeat volta 2 { f' e' d' c' }
2440 With alternative endings:
2441 @lilypond[fragment,verbatim]
2443 \repeat volta 2 {c'4 d' e' f'}
2444 \alternative { {d'2 d'} {f' f} }
2448 @lilypond[fragment,verbatim]
2452 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2453 \alternative { { g4 g g } { a | a a a a | b2. } }
2460 If you do a nested repeat like
2469 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2470 belongs. This ambiguity is resolved by always having the
2471 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2472 it is advisable to use braces in such situations.
2475 @node Repeats and MIDI
2476 @subsection Repeats and MIDI
2478 @cindex expanding repeats
2480 For instructions on how to unfold repeats for MIDI output, see the
2481 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2486 Timing information is not remembered at the start of an alternative,
2487 so after a repeat timing information must be reset by hand, for
2488 example by setting @code{Score.measurePosition} or entering
2489 @code{\partial}. Similarly, slurs or ties are also not repeated.
2492 @node Manual repeat commands
2493 @subsection Manual repeat commands
2495 @cindex @code{repeatCommands}
2497 The property @code{repeatCommands} can be used to control the layout of
2498 repeats. Its value is a Scheme list of repeat commands, where each repeat
2502 @item the symbol @code{start-repeat},
2503 which prints a @code{|:} bar line,
2504 @item the symbol @code{end-repeat},
2505 which prints a @code{:|} bar line,
2506 @item the list @code{(volta @var{text})},
2507 which prints a volta bracket saying @var{text}: The text can be specified as
2508 a text string or as a markup text, see @ref{Text markup}. Do not
2509 forget to change the font, as the default number font does not contain
2510 alphabetic characters. Or,
2511 @item the list @code{(volta #f)}, which
2512 stops a running volta bracket:
2515 @lilypond[verbatim, fragment]
2517 \property Score.repeatCommands = #'((volta "93") end-repeat)
2519 \property Score.repeatCommands = #'((volta #f))
2526 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2527 @internalsref{VoltaRepeatedMusic},
2528 @internalsref{UnfoldedRepeatedMusic}, and
2529 @internalsref{FoldedRepeatedMusic}.
2531 @node Tremolo repeats
2532 @subsection Tremolo repeats
2533 @cindex tremolo beams
2535 To place tremolo marks between notes, use @code{\repeat} with tremolo
2537 @lilypond[verbatim,center,singleline]
2539 \context Voice \notes\relative c' {
2540 \repeat "tremolo" 8 { c16 d16 }
2541 \repeat "tremolo" 4 { c16 d16 }
2542 \repeat "tremolo" 2 { c16 d16 }
2543 \repeat "tremolo" 4 c16
2550 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2551 are @internalsref{StemTremolo}s. The music expression is
2552 @internalsref{TremoloEvent}.
2557 The single stem tremolo must be entered without @code{@{} and
2560 @node Tremolo subdivisions
2561 @subsection Tremolo subdivisions
2562 @cindex tremolo marks
2563 @cindex @code{tremoloFlags}
2565 Tremolo marks can be printed on a single note by adding
2566 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2567 A @var{length} value of 8 gives one line across the note stem. If the
2568 length is omitted, then then the last value (stored in
2569 @code{Voice.tremoloFlags}) is used:
2571 @lilypond[verbatim,fragment,center]
2572 c'2:8 c':32 | c': c': |
2575 @c [TODO : stok is te kort bij 32en]
2579 Tremolos in this style do not carry over into the MIDI output.
2582 @node Measure repeats
2583 @subsection Measure repeats
2585 @cindex percent repeats
2586 @cindex measure repeats
2588 In the @code{percent} style, a note pattern can be repeated. It is
2589 printed once, and then the pattern is replaced with a special sign.
2590 Patterns of a one and two measures are replaced by percent-like signs,
2591 patterns that divide the measure length are replaced by slashes:
2593 @lilypond[verbatim,singleline]
2594 \context Voice { \repeat "percent" 4 { c'4 }
2595 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2601 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2602 @internalsref{PercentRepeatedMusic}, and
2603 @internalsref{DoublePercentRepeat}.
2607 @node Rhythmic music
2608 @section Rhythmic music
2610 Sometimes you might want to show only the rhythm of a melody. This
2611 can be done with the rhythmic staff. All pitches of notes on such a
2612 staff are squashed, and the staff itself has a single line:
2614 @lilypond[fragment,relative,verbatim]
2615 \context RhythmicStaff {
2617 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2622 * Percussion staves::
2623 * Percussion MIDI output::
2626 @node Percussion staves
2627 @subsection Percussion staves
2631 A percussion part for more than one instrument typically uses a
2632 multiline staff where each position in the staff refers to one piece
2637 Percussion staves are typeset with help of a set of Scheme
2638 functions. The system is based on the general MIDI drum-pitches.
2639 Include @file{drumpitch-init.ly} to use drum pitches. This file
2640 defines the pitches from the Scheme variable @code{drum-pitch-names},
2641 the definition of which can be read in @file{scm/drums.scm}. Each
2642 piece of percussion has a full name and an abbreviated name, and either
2643 the full name or the abbreviation may be used in input files.
2645 To typeset the music on a staff apply the function @code{drums->paper}
2646 to the percussion music. This function takes a list of percussion
2647 instrument names, notehead scripts and staff positions (that is:
2648 pitches relative to the C-clef) and transforms the input
2649 music by moving the pitch, changing the notehead and (optionally)
2652 @lilypond[singleline,verbatim,quote]
2653 \include "drumpitch-init.ly"
2654 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2655 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2657 \apply #(drums->paper 'drums) \context Staff <
2659 \context Voice = up { \voiceOne \up }
2660 \context Voice = down { \voiceTwo \down }
2665 In the above example the music was transformed using the list @code{'drums}.
2666 Currently the following lists are defined in @file{scm/drums.scm}:
2669 to typeset a typical drum kit on a five-line staff:
2672 \include "drumpitch-init.ly"
2673 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2674 bd sn ss tomh tommh tomml toml tomfh tomfl }
2675 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2676 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2679 \apply #(drums->paper 'drums) \context Staff <
2683 \context Lyrics \nam
2686 linewidth = 100.0\mm
2689 \remove Bar_engraver
2690 \remove Time_signature_engraver
2691 minimumVerticalExtent = #'(-4.0 . 5.0)
2695 \remove Stem_engraver
2701 The drum scheme supports six different toms. When there fewer toms, simply
2702 select the toms that produce the desired result, i.e. to get toms on
2703 the three middle lines you use @code{tommh}, @code{tomml} and
2706 Because general MIDI does not contain rimshots the sidestick is used
2707 for this purpose instead.
2709 to typeset timbales on a two line staff:
2711 @lilypond[singleline]
2712 \include "drumpitch-init.ly"
2713 nam = \lyrics { timh ssh timl ssl cb }
2714 mus = \notes { timh ssh timl ssl cb s16 }
2717 \apply #(drums->paper 'timbales) \context Staff <
2721 \context Lyrics \nam
2726 \remove Bar_engraver
2727 \remove Time_signature_engraver
2728 StaffSymbol \override #'line-count = #2
2729 StaffSymbol \override #'staff-space = #2
2730 minimumVerticalExtent = #'(-3.0 . 4.0)
2734 \remove Stem_engraver
2741 to typeset congas on a two line staff:
2743 @lilypond[singleline]
2744 \include "drumpitch-init.ly"
2745 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2746 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2749 \apply #(drums->paper 'congas) \context Staff <
2753 \context Lyrics \nam
2758 \remove Bar_engraver
2759 \remove Time_signature_engraver
2760 StaffSymbol \override #'line-count = #2
2761 StaffSymbol \override #'staff-space = #2
2762 minimumVerticalExtent = #'(-3.0 . 4.0)
2766 \remove Stem_engraver
2772 to typeset bongos on a two line staff:
2774 @lilypond[singleline]
2775 \include "drumpitch-init.ly"
2776 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2777 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2780 \apply #(drums->paper 'bongos) \context Staff <
2784 \context Lyrics \nam
2789 \remove Bar_engraver
2790 \remove Time_signature_engraver
2791 StaffSymbol \override #'line-count = #2
2792 StaffSymbol \override #'staff-space = #2
2793 minimumVerticalExtent = #'(-3.0 . 4.0)
2797 \remove Stem_engraver
2803 to typeset all kinds of simple percussion on one line staves:
2804 @lilypond[singleline]
2805 \include "drumpitch-init.ly"
2806 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2807 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2810 \apply #(drums->paper 'percussion) \context Staff <
2814 \context Lyrics \nam
2819 \remove Bar_engraver
2820 \remove Time_signature_engraver
2821 StaffSymbol \override #'line-count = #1
2822 minimumVerticalExtent = #'(-2.0 . 3.0)
2826 \remove Stem_engraver
2833 If you do not like any of the predefined lists you can define your own
2834 list at the top of your file:
2836 @lilypond[singleline, verbatim]
2837 #(set-drum-kit 'mydrums `(
2838 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2839 (snare default #f ,(ly:make-pitch 0 1 0))
2840 (hihat cross #f ,(ly:make-pitch 0 5 0))
2841 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2842 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2844 \include "drumpitch-init.ly"
2845 up = \notes { hh8 hh hh hh hhp4 hhp }
2846 down = \notes { bd4 sn bd toml8 toml }
2848 \apply #(drums->paper 'mydrums) \context Staff <
2850 \context Voice = up { \voiceOne \up }
2851 \context Voice = down { \voiceTwo \down }
2856 To use a modified existing list, one can prepend modifications to the
2860 #(set-drum-kit 'mydrums (append `(
2861 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2862 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2863 ) (get-drum-kit 'drums)))
2866 You can easily combine percussion notation with pitched notation.
2867 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2868 names, so you will have to reinclude @file{nederlands.ly} after the
2869 drum-pattern-definitions to enter normal notes:
2871 @lilypond[singleline,verbatim]
2872 \include "drumpitch-init.ly"
2873 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2874 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2875 \include "nederlands.ly"
2876 bass = \notes \transpose c c,, { a4. e8 r e g e }
2879 \apply #(drums->paper 'drums) \context Staff = drums <
2881 \context Voice = up { \voiceOne \up }
2882 \context Voice = down { \voiceTwo \down }
2884 \context Staff = bass { \clef "F_8" \bass }
2889 @node Percussion MIDI output
2890 @subsection Percussion MIDI output
2892 In order to produce correct MIDI output you need to produce two score
2893 blocks---one for the paper and one for the MIDI output. To use the
2894 percussion channel you set the property @code{instrument} to
2895 @code{'drums}. Because the drum-pitches themselves are similar to the
2896 general MIDI pitches all you have to do is to insert the voices with
2897 none of the scheme functions to get the correct MIDI output:
2901 \apply #(drums->paper 'mydrums) \context Staff <
2910 \property Staff.instrument = #'drums
2919 This scheme is a temporary implementation.
2923 @section Piano music
2925 Piano staves are two normal staves coupled with a brace. The staves
2926 are largely independent, but sometimes voices can cross between the
2927 two staves. The same notation is also used for harps and other key
2928 instruments. The @internalsref{PianoStaff} is especially built to
2929 handle this cross-staffing behavior. In this section we discuss the
2930 @internalsref{PianoStaff} and some other pianistic peculiarities.
2934 * Automatic staff changes::
2935 * Manual staff switches::
2938 * Staff switch lines::
2943 There is no support for putting chords across staves. You can get
2944 this result by increasing the length of the stem in the lower stave so
2945 it reaches the stem in the upper stave, or vice versa. An example is
2946 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2948 Dynamics are not centered, but kludges do exist. See
2949 @inputfileref{input/templates,piano-dynamics.ly}.
2951 @cindex cross staff stem
2952 @cindex stem, cross staff
2955 @c fixme: should have hyperlinks as well.
2961 @node Automatic staff changes
2962 @subsection Automatic staff changes
2963 @cindex Automatic staff changes
2965 Voices can switch automatically between the top and the bottom
2966 staff. The syntax for this is
2968 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2970 The autochanger switches on basis of pitch (central C is the turning
2971 point), and it looks ahead skipping over rests to switch in
2972 advance. Here is a practical example:
2974 @lilypond[verbatim,singleline,quote]
2975 \score { \notes \context PianoStaff <
2976 \context Staff = "up" {
2977 \autochange Staff \context Voice = VA < \relative c' {
2978 g4 a b c d r4 a g } > }
2979 \context Staff = "down" {
2986 In this example, spacer rests are used to prevent the bottom staff from
2987 terminating too soon.
2992 @internalsref{AutoChangeMusic}.
2996 The staff switches often do not end up in optimal places. For high
2997 quality output staff switches should be specified manually.
3001 @node Manual staff switches
3002 @subsection Manual staff switches
3004 @cindex manual staff switches
3005 @cindex staff switch, manual
3007 Voices can be switched between staves manually, using the following command:
3009 \translator Staff = @var{staffname} @var{music}
3013 The string @var{staffname} is the name of the staff. It switches the
3014 current voice from its current staff to the Staff called
3015 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3023 Pianos have pedals that alter the way sound are produced. Generally, a
3024 piano has three pedals, sustain, una corda, and sostenuto.
3028 Piano pedal instruction can be expressed by attaching
3029 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3030 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3033 @lilypond[fragment,verbatim]
3034 c'4-\sustainDown c'4-\sustainUp
3037 What is printed can be modified by setting @code{pedal@var{X}Strings},
3038 where @var{X} is one of the pedal types: @code{Sustain},
3039 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3040 documentation of @internalsref{SustainPedal} for more information.
3042 Pedals can also be indicated by a sequence of brackets, by setting the
3043 @code{pedalSustainStyle} property to @code{bracket} objects:
3045 @lilypond[fragment,verbatim]
3046 \property Staff.pedalSustainStyle = #'bracket
3047 c''4-\sustainDown d''4 e''4
3048 a'4-\sustainUp-\sustainDown
3049 f'4 g'4 a'4-\sustainUp
3052 A third style of pedal notation is a mixture of text and brackets,
3053 obtained by setting @code{pedal-type} to @code{mixed}:
3055 @lilypond[fragment,verbatim]
3056 \property Staff.pedalSustainStyle = #'mixed
3057 c''4-\sustainDown d''4 e''4
3058 c'4-\sustainUp-\sustainDown
3059 f'4 g'4 a'4-\sustainUp
3062 The default `*Ped' style for sustain and damper pedals corresponds to
3063 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3064 for a sostenuto pedal:
3066 @lilypond[fragment,verbatim]
3067 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
3070 For fine-tuning of the appearance of a pedal bracket, the properties
3071 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3072 @code{PianoPedalBracket} objects (, see the detailed documentation of
3073 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3074 may be extended to the end of the note head:
3076 @lilypond[fragment,verbatim]
3077 \property Staff.PianoPedalBracket \override
3078 #'shorten-pair = #'(0 . -1.0)
3079 c''4-\sostenutoDown d''4 e''4 c'4
3080 f'4 g'4 a'4-\sostenutoUp
3084 @subsection Arpeggio
3087 @cindex broken arpeggio
3088 @cindex @code{\arpeggio}
3090 You can specify an arpeggio sign on a chord by attaching an
3091 @code{\arpeggio} to a chord:
3094 @lilypond[fragment,relative,verbatim]
3095 <<c e g c>>-\arpeggio
3098 When an arpeggio crosses staves, you attach an arpeggio to the chords
3099 in both staves, and set
3100 @internalsref{PianoStaff}.@code{connectArpeggios}:
3102 @lilypond[fragment,relative,verbatim]
3103 \context PianoStaff <
3104 \property PianoStaff.connectArpeggios = ##t
3105 \context Voice = one { <<c' e g c>>-\arpeggio }
3106 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
3110 The direction of the arpeggio is sometimes denoted by adding an
3111 arrowhead to the wiggly line. This can be typeset by setting
3112 @code{arpeggio-direction}:
3114 @lilypond[fragment,relative,verbatim]
3116 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3117 <<c e g c>>-\arpeggio
3118 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3119 <<c e g c>>-\arpeggio
3123 A square bracket on the left indicates that the player should not
3124 arpeggiate the chord. To draw these brackets, set the
3125 @code{molecule-callback} property of @code{Arpeggio} or
3126 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3127 @code{\arpeggio} statements within the chords as before:
3129 @lilypond[fragment,relative,verbatim]
3130 \property PianoStaff.Arpeggio \override
3131 #'molecule-callback = \arpeggioBracket
3132 <<c' e g c>>-\arpeggio
3137 @cindex @code{\arpeggioBracket}
3138 @code{\arpeggioBracket},
3139 @cindex @code{\arpeggio}
3144 @internalsref{ArpeggioEvent} expression lead to
3145 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3146 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3150 It is not possible to mix connected arpeggios and unconnected
3151 arpeggios in one @internalsref{PianoStaff} at the same time.
3153 @node Staff switch lines
3154 @subsection Staff switch lines
3157 @cindex follow voice
3158 @cindex staff switching
3161 @cindex @code{followVoice}
3163 Whenever a voice switches to another staff a line connecting the notes
3164 can be printed automatically. This is enabled if the property
3165 @code{PianoStaff.followVoice} is set to true:
3167 @lilypond[fragment,relative,verbatim]
3168 \context PianoStaff <
3169 \property PianoStaff.followVoice = ##t
3170 \context Staff \context Voice {
3172 \translator Staff=two
3175 \context Staff=two { \clef bass \skip 1*2 }
3179 The associated object is @internalsref{VoiceFollower}.
3183 @cindex @code{\showStaffSwitch}
3184 @code{\showStaffSwitch},
3185 @cindex @code{\hideStaffSwitch}
3186 @code{\hideStaffSwitch}.
3190 @section Vocal music
3192 This section discusses how to enter and print lyrics.
3196 * The Lyrics context::
3201 @node Entering lyrics
3202 @subsection Entering lyrics
3206 @cindex @code{\lyrics}
3209 Lyrics are entered in a special input mode. This mode is is introduced
3210 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3211 punctuation and accents without any hassle. Syllables are entered like
3212 notes, but with pitches replaced by text. For example,
3214 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3217 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3218 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3219 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3220 any 8-bit character with ASCII code over 127, or a two-character
3221 combination of a backslash followed by one of @code{`}, @code{'},
3222 @code{"}, or @code{^}.
3224 Subsequent characters of a word can be any character that is not a digit
3225 and not white space. One important consequence of this is that a word
3226 can end with @code{@}}. The following example is usually a bug. The
3227 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3229 \lyrics @{ twinkle@}
3232 @cindex @code{\property}, in @code{\lyrics}
3233 Similarly, a period following a alphabetic sequence, is included in the
3234 resulting string. As a consequence, spaces must be inserted around
3235 @code{\property} commands:
3237 \property Lyrics . LyricText \set #'font-shape = #'italic
3241 @cindex spaces, in lyrics
3242 @cindex quotes, in lyrics
3244 Any @code{_} character which appears in an unquoted word is converted
3245 to a space. This provides a mechanism for introducing spaces into words
3246 without using quotes. Quoted words can also be used in Lyrics mode to
3247 specify words that cannot be written with the above rules:
3250 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3254 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3259 These will be attached to the end of the first syllable.
3261 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3262 as a separate word between syllables. The hyphen will have variable
3263 length depending on the space between the syllables and it will be
3264 centered between the syllables.
3269 When a lyric is sung over many notes (this is called a melisma), this is
3270 indicated with a horizontal line centered between a syllable and the
3271 next one. Such a line is called an extender line, and it is entered as
3276 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3277 @internalsref{ExtenderEvent}.
3281 The definition of lyrics mode is too complex.
3283 @node The Lyrics context
3284 @subsection The Lyrics context
3286 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3288 \context Lyrics \lyrics @dots{}
3291 @cindex automatic syllable durations
3292 @cindex @code{\addlyrics}
3293 @cindex lyrics and melodies
3295 This will place the lyrics according to the durations that were
3296 entered. The lyrics can also be aligned under a given melody
3297 automatically. In this case, it is no longer necessary to enter the
3298 correct duration for each syllable. This is achieved by combining the
3299 melody and the lyrics with the @code{\addlyrics} expression:
3303 \context Lyrics @dots{}
3306 @cindex staff order, with @code{\addlyrics}
3308 Normally, this will put the lyrics below the staff. For different or
3309 more complex orderings, the best way is to setup the hierarchy of
3310 staffs and lyrics first, e.g.
3312 \context ChoirStaff \notes <
3313 \context Lyrics = LA @{ s1 @}
3314 \context Staff = SA @{ s1 @}
3315 \context Lyrics = LB @{ s1 @}
3316 \context Staff = SB @{ s1 @}
3319 and then combine the appropriate melodies and lyric lines:
3322 \context Staff = SA @emph{the music}
3323 \context Lyrics = LA @emph{the lyrics}
3326 putting both together, you would get
3328 \context ChoirStaff \notes <
3329 \context Lyrics = LA @dots{}
3330 \context Staff = SB @dots{}
3336 @cindex choral score
3338 A complete example of a SATB score setup is in the file
3339 @inputfileref{input/template,satb}.
3343 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3344 @inputfileref{input/template,satb}.
3348 @code{\addlyrics} is not automatic enough: melismata are not detected
3349 automatically, and melismata are not stopped when they hit a rest. A
3350 melisma on the last note in a melody is not printed.
3354 @subsection More stanzas
3357 @cindex phrasing, in lyrics
3359 When multiple stanzas are printed underneath each other, the vertical
3360 groups of syllables should be aligned around punctuation. This can be
3361 done automatically when corresponding lyric lines and melodies are
3364 To this end, give the @internalsref{Voice} context an identity:
3366 \context Voice = duet @{
3371 Then set the @internalsref{LyricsVoice} contexts to names starting with
3372 that identity followed by a dash. In the preceding example, the
3373 @internalsref{Voice} identity is @code{duet}, so the identities of the
3374 @internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}:
3376 \context LyricsVoice = "duet-1" @{
3377 Hi, my name is bert. @}
3378 \context LyricsVoice = "duet-2" @{
3379 Ooooo, ch\'e -- ri, je t'aime. @}
3381 The convention for naming @internalsref{LyricsVoice} and
3382 @internalsref{Voice} must also be used to get melismata correct in
3383 conjunction with rests.
3385 The complete example is shown here:
3386 @lilypond[singleline,verbatim]
3389 \notes \relative c'' \context Voice = duet { \time 3/4
3391 \lyrics \context Lyrics <
3392 \context LyricsVoice = "duet-1" {
3393 \property LyricsVoice . stanza = "Bert"
3394 Hi, my name is bert. }
3395 \context LyricsVoice = "duet-2" {
3396 \property LyricsVoice . stanza = "Ernie"
3397 Ooooo, ch\'e -- ri, je t'aime. }
3402 Stanza numbers, or the names of the singers can be added by setting
3403 @code{LyricsVoice.Stanza} (for the first system) and
3404 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3405 surrounded with spaces in @code{\lyrics} mode:
3408 \property LyricsVoice . stanza = "Bert"
3410 \property LyricsVoice . stanza = "Ernie"
3413 To make empty spaces in lyrics, use @code{\skip}.
3421 Input for lyrics introduces a syntactical ambiguity:
3428 is interpreted as assigning a string identifier @code{\foo} such that
3429 it contains @code{"bar"}. However, it could also be interpreted as
3430 making or a music identifier @code{\foo} containing the syllable
3431 `bar'. The force the latter interpretation, use
3441 The term @emph{ambitus} denotes a range of pitches for a given voice in
3442 a part of music. It also may denote the pitch range that a musical
3443 instrument is capable of playing. Most musical instruments have their
3444 ambitus standardized (or at least there is agreement upon the minimal
3445 ambitus of a particular type of instrument), such that a composer or
3446 arranger of a piece of music can easily meet the ambitus constraints of
3447 the targeted instrument. However, the ambitus of the human voice
3448 depends on individual physiological state, including education and
3449 training of the voice. Therefore, a singer potentially has to check for
3450 each piece of music if the ambitus of that piece meets his individual
3451 capabilities. This is why the ambitus of a piece may be of particular
3452 value to vocal performers.
3454 The ambitus is typically notated on a per-voice basis at the very
3455 beginning of a piece, e.g. nearby the initial clef or time signature of
3456 each staff. The range is graphically specified by two noteheads, that
3457 represent the minimum and maximum pitch. Some publishers use a textual
3458 notation: they put the range in words in front of the corresponding
3459 staff. LilyPond currently only supports the graphical ambitus notation.
3461 To apply, add the @internalsref{Ambitus_engraver} to the
3462 @internalsref{Voice} context, i.e.
3465 \paper @{ \translator @{
3467 \consists Ambitus_engraver
3473 @lilypond[singleline]
3474 upper = \notes \relative c {
3477 as'' c e2 bes f cis d4 e f2 g
3479 lower = \notes \relative c {
3482 e'4 b g a c es fis a cis b a g f e d2
3485 \context ChoirStaff {
3487 \context Staff = one { \upper }
3488 \context Staff = three { \lower }
3494 \consists Ambitus_engraver
3503 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3508 Tablature notation is used for notating music for plucked string
3509 instruments. It notates pitches not by using note heads, but by
3510 indicating on which string and fret a note must be played. LilyPond
3511 offers limited support for tablature.
3514 * Tablatures basic::
3515 * Non-guitar tablatures::
3518 @node Tablatures basic
3519 @subsection Tablatures basic
3520 @cindex Tablatures basic
3522 The string number associated to a note is given as a backslash
3523 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3524 string. By default, string 1 is the highest one, and the tuning
3525 defaults to the standard guitar tuning (with 6 strings). The notes
3526 are printed as tablature, by using @internalsref{TabStaff} and
3527 @internalsref{TabVoice} contexts:
3529 @lilypond[fragment,verbatim]
3530 \notes \context TabStaff {
3536 When no string is specified, the first string that does not give a
3537 fret number less than @code{minimumFret} is selected. The default
3538 value for @code{minimumFret} is 0:
3542 e8 fis gis a b cis' dis' e'
3543 \property TabStaff.minimumFret = #8
3544 e8 fis gis a b cis' dis' e'
3549 e8 fis gis a b cis' dis' e'
3550 \property TabStaff.minimumFret = #8
3551 e8 fis gis a b cis' dis' e'
3554 \context StaffGroup <
3555 \context Staff { \clef "G_8" \frag }
3556 \context TabStaff { \frag }
3563 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3564 @internalsref{StringNumberEvent}.
3568 Chords are not handled in a special way, and hence the automatic
3569 string selector may easily select the same string to two notes in a
3573 @node Non-guitar tablatures
3574 @subsection Non-guitar tablatures
3575 @cindex Non-guitar tablatures
3577 You can change the number of strings, by setting the number of lines
3578 in the @internalsref{TabStaff} (the @code{line-count} property of
3579 @internalsref{TabStaff} can only be changed using
3580 @code{\outputproperty}, for more information, see @ref{Tuning
3583 You can change the tuning of the strings. A string tuning is given as
3584 a Scheme list with one integer number for each string, the number
3585 being the pitch (measured in semitones relative to central C) of an
3586 open string. The numbers specified for @code{stringTuning} are the
3587 numbers of semitones to subtract or add, starting the specified pitch
3588 by default middle C, in string order. Thus, the notes are e, a, d, and
3591 @lilypond[fragment,verbatim]
3594 \outputproperty #(make-type-checker 'staff-symbol-interface)
3596 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3599 a,4 c' a e' e c' a e'
3604 It is possible to change the Scheme function to format the tablature
3605 note text. The default is @code{fret-number-tablature-format}, which
3606 uses the fret number. For instruments that do not use this notation,
3607 you can create a special tablature formatting function. This function
3608 takes three argument: string number, string tuning and note pitch.
3612 Most of the guitar special effects such as bend have not been
3618 @section Chord names
3621 LilyPond has support for both printing chord names. Chords may be
3622 entered in musical chord notation, i.e. @code{<< .. >>}, but they can
3623 also be entered by name. Internally, the chords are represented as a
3624 set of pitches, so they can be transposed:
3627 @lilypond[verbatim,singleline]
3628 twoWays = \notes \transpose c c' {
3638 < \context ChordNames \twoWays
3639 \context Voice \twoWays > }
3642 This example also shows that the chord printing routines do not try to
3643 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3649 * Printing chord names::
3654 @subsection Chords mode
3657 Chord mode is a mode where you can input sets of pitches using common
3658 names. It is introduced by the keyword @code{\chords}.
3659 In chords mode, a chord is entered by the root, which is entered
3660 like a common pitch:
3661 @lilypond[fragment,verbatim,quote, relative=1]
3662 \chords { es4. d8 c2 }
3667 Other chords may be entered by suffixing a colon, and introducing a
3668 modifier, and optionally, a number:
3670 @lilypond[fragment,verbatim,quote]
3671 \chords { e1:m e1:7 e1:m7 }
3673 The first number following the root is taken to be the `type' of the
3674 chord, thirds are added to the root until it reaches the specified
3676 @lilypond[fragment,verbatim]
3677 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3680 @cindex root of chord
3681 @cindex additions, in chords
3682 @cindex removals, in chords
3684 More complex chords may also be constructed adding separate steps
3685 to a chord. Additions are added after the number following
3686 the colon, and are separated by dots:
3688 @lilypond[verbatim,fragment,quote]
3689 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3691 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3693 @lilypond[verbatim,fragment,quote]
3694 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3696 Removals are specified similarly, and are introduced by a caret. They
3697 must come after the additions:
3698 @lilypond[verbatim,fragment]
3699 \chords { c^3 c:7^5 c:9^3.5 }
3702 Modifiers can be used to change pitches. The following modifiers are
3706 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3708 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3711 is the augmented chord. This modifier raises the 5th step.
3713 is the major 7th chord. This modifier raises the 7th step if present.
3715 is the suspended 4th or 2nd. This modifier removes the 3rd
3716 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3719 Modifiers can be mixed with additions:
3720 @lilypond[verbatim,fragment]
3721 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3724 @cindex modifiers, in chords.
3731 Since an unaltered 11 does not sound good when combined with an
3732 unaltered 13, the 11 is removed in this case (, unless it is added
3734 @lilypond[fragment,verbatim]
3735 \chords { c:13 c:13.11 c:m13 }
3740 An inversion (putting one pitch of the chord on the bottom), as well
3741 as bass notes, can be specified by appending
3742 @code{/}@var{pitch} to the chord:
3743 @lilypond[fragment,verbatim,center]
3744 \chords { c1 c/g c/f }
3748 A bass note can be added instead of transposed out of the chord,
3749 by using @code{/+}@var{pitch}.
3751 @lilypond[fragment,verbatim,center]
3752 \chords { c1 c/+g c/+f }
3755 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3756 of the commands continue to work, for example, @code{r} and
3757 @code{\skip} can be used to insert rests and spaces, and
3758 @code{\property} may be used to change various settings.
3764 Each step can only be present in a chord once. The following
3765 simply produces the augmented chord, since @code{5+} is interpreted
3768 @lilypond[verbatim,fragment]
3769 \chords { c:5.5-.5+ }
3773 @node Printing chord names
3774 @subsection Printing chord names
3776 @cindex printing chord names
3780 For displaying printed chord names, use the @internalsref{ChordNames} context.
3781 The chords may be entered either using the notation
3782 described above, or directly using @code{<<} and @code{>>}:
3784 @lilypond[verbatim,singleline]
3786 \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
3790 \context ChordNames \scheme
3791 \context Staff \scheme
3796 You can make the chord changes stand out by setting
3797 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3798 display chord names when there is a change in the chords scheme and at
3799 the start of a new line:
3801 @lilypond[verbatim, linewidth=9cm]
3803 c1:m c:m \break c:m c:m d
3807 \context ChordNames {
3808 \property ChordNames.chordChanges = ##t
3810 \context Staff \transpose c c' \scheme
3815 The default chord name layout is a system for Jazz music, proposed by
3816 Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
3817 following properties:
3820 @cindex chordNameExceptions
3821 @item chordNameExceptions
3822 This is a list that contains the chords that have special formatting.
3824 @inputfileref{input/regression,chord-name-exceptions.ly}.
3825 @cindex exceptions, chord names.
3828 @cindex majorSevenSymbol
3829 @item majorSevenSymbol
3830 This property contains the markup object used for the 7th step, when
3831 it is major. Predefined options are @code{whiteTriangleMarkup} and
3832 @code{blackTriangleMarkup}. See
3833 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3835 @cindex chordNameSeparator
3836 @item chordNameSeparator
3837 Different parts of a chord name are normally separated by a
3838 slash. By setting @code{chordNameSeparator}, you can specify other
3840 @lilypond[fragment,verbatim]
3841 \context ChordNames \chords {
3843 \property ChordNames.chordNameSeparator
3844 = \markup { \typewriter "|" }
3848 @cindex chordRootNamer
3849 @item chordRootNamer
3850 The root of a chord is usually printed as a letter with an optional
3851 alteration. The transformation from pitch to letter is done by this
3852 function. Special note names (for example, the German ``H'' for a
3853 B-chord) can be produced by storing a new function in this property.
3855 @cindex chordNoteNamer
3856 @item chordNoteNamer
3857 The default is to print single pitch, e.g. the bass note, using the
3858 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3859 to a specialized function to change this behavior. For example, the
3860 base can be printed in lower case.
3865 There are also two other chord name schemes implemented: an alternate
3866 Jazz chord notation, and a systematic scheme called Banter chords. The
3867 alternate jazz notation is also shown on the chart in @ref{Chord name
3868 chart}. Turning on these styles is described in the input file
3869 @inputfileref{input/test/,chord-names-jazz.ly}.
3873 @cindex chords, jazz
3878 @cindex @code{\germanChords}
3879 @code{\germanChords},
3880 @cindex @code{\semiGermanChords}
3881 @code{\semiGermanChords}.
3888 @inputfileref{input/regression,chord-name-major7.ly},
3889 @inputfileref{input/regression,chord-name-exceptions.ly},
3890 @inputfileref{input/test,chord-names-jazz.ly},
3891 @inputfileref{input/test,chord-names-german.ly},
3892 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3897 Chord names are determined solely from the list of pitches. Chord
3898 inversions are not identified, and neither are added bass notes. This
3899 may result in strange chord names when chords are entered with the
3900 @code{<< .. >>} syntax.
3905 @node Orchestral music
3906 @section Orchestral music
3908 @cindex Writing parts
3910 Orchestral music involves some special notation, both in the full
3911 score and the individual parts. This section explains how to tackle
3912 some common problems in orchestral music.
3917 * Multiple staff contexts::
3920 * Instrument names::
3922 * Multi measure rests::
3923 * Automatic part combining::
3925 * Sound output for transposing instruments::
3928 @node Multiple staff contexts
3929 @subsection Multiple staff contexts
3931 Polyphonic scores consist of many staffs. These staffs can be
3932 constructed in three different ways:
3934 @item The group is started with a brace at the left. This is done with the
3935 @internalsref{GrandStaff} context.
3936 @item The group is started with a bracket. This is done with the
3937 @internalsref{StaffGroup} context
3938 @item The group is started with a vertical line. This is the default
3942 @cindex Staff, multiple
3943 @cindex bracket, vertical
3944 @cindex brace, vertical
3951 @node Rehearsal marks
3952 @subsection Rehearsal marks
3953 @cindex Rehearsal marks
3955 @cindex @code{\mark}
3957 To print a rehearsal mark, use the @code{\mark} command:
3958 @lilypond[fragment,verbatim]
3968 The mark is incremented automatically if you use @code{\mark
3969 \default}. The value to use is stored in the property
3970 @code{rehearsalMark} is used and automatically incremented.
3972 The @code{\mark} command can also be used to put signs like coda,
3973 segno and fermatas on a barline. Use @code{\markup} to
3974 to access the appropriate symbol:
3976 @lilypond[fragment,verbatim,relative=1]
3977 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3981 In this case, during line breaks,
3982 marks must also be printed at the end of the line, and not at the
3983 beginning. Use the following to force that behavior:
3985 \property Score.RehearsalMark \override
3986 #'break-visibility = #begin-of-line-invisible
3989 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
3995 @cindex barlines, putting symbols on
3999 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4000 @inputfileref{input/test,boxed-molecule.ly}.
4004 @subsection Bar numbers
4008 @cindex measure numbers
4009 @cindex currentBarNumber
4011 Bar numbers are printed by default at the start of the line. The
4012 number itself is stored in the
4013 @code{currentBarNumber} property,
4014 which is normally updated automatically for every measure.
4016 Bar numbers can be typeset at regular intervals instead of at the
4017 beginning of each line. This is illustrated in the following example,
4018 whose source is available as
4019 @inputfileref{input/test,bar-number-regular-interval.ly}:
4021 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4026 @internalsref{BarNumber},
4027 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4028 @inputfileref{input/test,bar-number-regular-interval.ly}.
4032 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4033 there is one at the top. To solve this, the
4034 @internalsref{padding} property of @internalsref{BarNumber} can be
4035 used to position the number correctly.
4037 @node Instrument names
4038 @subsection Instrument names
4040 In an orchestral score, instrument names are printed left side of the
4043 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4044 and @internalsref{Staff}.@code{instr}. This will print a string before
4045 the start of the staff. For the first start, @code{instrument} is
4046 used, for the next ones @code{instr} is used:
4048 @lilypond[verbatim,singleline]
4049 \property Staff.instrument = "ploink " { c''4 }
4052 You can also use markup texts to construct more complicated instrument
4055 @lilypond[fragment,verbatim,singleline]
4056 \notes \context Staff = treble {
4057 \property Staff.instrument = \markup {
4058 \column << "Clarinetti"
4060 \smaller \musicglyph #"accidentals--1"
4071 @internalsref{InstrumentName}.
4075 When you put a name on a grand staff or piano staff the width of the
4076 brace is not taken into account. You must add extra spaces to the end of
4077 the name to avoid a collision.
4080 @subsection Transpose
4082 @cindex transposition of pitches
4083 @cindex @code{\transpose}
4085 A music expression can be transposed with @code{\transpose}. The syntax
4088 \transpose @var{from} @var{to} @var{musicexpr}
4091 This means that @var{musicexpr} is transposed by the interval
4092 between @var{from} and @var{to}.
4094 @code{\transpose} distinguishes between enharmonic pitches: both
4095 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4096 half a tone. The first version will print sharps and the second
4097 version will print flats:
4099 @lilypond[singleline, verbatim]
4100 mus =\notes { \key d \major cis d fis g }
4101 \score { \notes \context Staff {
4104 \transpose c g' \mus
4105 \transpose c f' \mus
4111 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4115 If you want to use both @code{\transpose} and @code{\relative}, then
4116 you must put @code{\transpose} outside of @code{\relative}, since
4117 @code{\relative} will have no effect music that appears inside a
4123 @node Multi measure rests
4124 @subsection Multi measure rests
4125 @cindex multi measure rests
4126 @cindex Rests, multi measure
4130 Multi measure rests are entered using `@code{R}'. It is specifically
4131 meant for full bar rests and for entering parts: the rest can expand to
4132 fill a score with rests, or it can be printed as a single multimeasure
4133 rest. This expansion is controlled by the property
4134 @code{Score.skipBars}. If this is set to true, Lily will not expand
4135 empty measures, and the appropriate number is added automatically:
4137 @lilypond[fragment,verbatim]
4138 \time 4/4 r1 | R1 | R1*2
4139 \property Score.skipBars = ##t R1*17 R1*4
4142 The @code{1} in @code{R1} is similar to the duration notation used for
4143 notes. Hence, for time signatures other than 4/4, you must enter other
4144 durations. This can be done with augmentation dots or fractions:
4146 @lilypond[fragment,verbatim]
4147 \property Score.skipBars = ##t
4155 An @code{R} spanning a single measure is printed as either a whole rest
4156 or a breve, centered in the measure regardless of the time signature.
4158 @cindex text on multi-measure rest
4159 @cindex script on multi-measure rest
4160 @cindex fermata on multi-measure rest
4162 Texts can be added to multi-measure rests by using the
4163 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4164 replaced. If you need both texts and the number, you must add the
4165 number by hand. A variable (@code{\fermataMarkup}) is provided for
4169 @lilypond[verbatim,fragment]
4171 R2._\markup { "Ad lib" }
4176 @cindex whole rests for a full measure
4180 @internalsref{MultiMeasureRestEvent},
4181 @internalsref{MultiMeasureTextEvent},
4182 @internalsref{MultiMeasureRestMusicGroup}, and
4183 @internalsref{MultiMeasureRest}.
4185 The layout object @internalsref{MultiMeasureRestNumber} is for the
4186 default number, and @internalsref{MultiMeasureRestText} for user
4191 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4192 over multi-measure rests.
4194 @cindex condensing rests
4196 There is no way to automatically condense multiple rests into a single
4197 multimeasure rest. Multi measure rests do not take part in rest
4200 Be careful when entering multimeasure rests followed by whole notes,
4204 will enter two notes lasting four measures each. When @code{skipBars}
4205 is set, then the result will look OK, but the bar numbering will be
4208 @node Automatic part combining
4209 @subsection Automatic part combining
4210 @cindex automatic part combining
4211 @cindex part combiner
4214 Automatic part combining is used to merge two parts of music onto a
4215 staff. It is aimed at typesetting orchestral scores. When the two
4216 parts are identical for a period of time, only one is shown. In
4217 places where the two parts differ, they are typeset as separate
4218 voices, and stem directions are set automatically. Also, solo and
4219 @emph{a due} parts are identified and can be marked.
4223 The syntax for part combining is
4226 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4228 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4229 combined into one context of type @var{context}. The music expressions
4230 must be interpreted by contexts whose names should start with @code{one}
4233 The following example demonstrates the basic functionality of the part
4234 combiner: putting parts on one staff, and setting stem directions and
4237 @lilypond[verbatim,singleline,fragment]
4239 \context Voice=one \partcombine Voice
4240 \context Thread=one \relative c'' {
4243 \context Thread=two \relative c'' {
4249 The first @code{g} appears only once, although it was
4250 specified twice (once in each part). Stem, slur and tie directions are
4251 set automatically, depending whether there is a solo or unisono. The
4252 first part (with context called @code{one}) always gets up stems, and
4253 `solo', while the second (called @code{two}) always gets down stems and
4256 If you just want the merging parts, and not the textual markings, you
4257 may set the property @var{soloADue} to false:
4259 @lilypond[verbatim,singleline,fragment]
4261 \property Staff.soloADue = ##f
4262 \context Voice=one \partcombine Voice
4263 \context Thread=one \relative c'' {
4266 \context Thread=two \relative c'' {
4274 @internalsref{PartCombineMusic},
4275 @internalsref{Thread_devnull_engraver}, and
4276 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4280 The syntax for naming contexts in inconsistent with the syntax for
4283 In @code{soloADue} mode, when the two voices play the same notes on and
4284 off, the part combiner may typeset @code{a2} more than once in a
4287 @lilypond[fragment,singleline]
4289 \context Voice=one \partcombine Voice
4290 \context Thread=one \relative c'' {
4293 \context Thread=two \relative c'' {
4299 The part combiner is slated to be rewritten [TODO: explain why].
4301 @cindex @code{Thread_devnull_engraver}
4302 @cindex @code{Voice_engraver}
4303 @cindex @code{A2_engraver}
4306 @subsection Hiding staffs
4308 @cindex Frenched scores
4311 In orchestral scores, staff lines that only have rests are usually
4312 removed. This saves some space. This style is called `French Score'.
4313 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4314 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4315 switched on by default. When these line of these contexts turn out
4316 empty after the line-breaking process, they are removed.
4318 For normal staffs, a specialized @internalsref{Staff} context is
4319 available, which does the same: staffs containing nothing (or only
4320 multi measure rests) are removed. The context definition is stored in
4321 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4322 in this example disappears in the second line:
4327 \notes \relative c' <
4328 \context Staff = SA { e4 f g a \break c1 }
4329 \context Staff = SB { c4 d e f \break R1 }
4333 \translator { \RemoveEmptyStaffContext }
4339 @node Sound output for transposing instruments
4340 @subsection Sound output for transposing instruments
4342 When you want to make a MIDI file from a score containing transposed
4343 and untransposed instruments, you have to instruct LilyPond the pitch
4344 offset (in semitones) for the transposed instruments. This is done
4345 using the @code{transposing} property. It does not affect printed
4348 @cindex @code{transposing}
4351 \property Staff.instrument = #"Cl. in B-flat"
4352 \property Staff.transposing = #-2
4356 @node Ancient notation
4357 @section Ancient notation
4359 @cindex Vaticana, Editio
4360 @cindex Medicaea, Editio
4365 @c [TODO: write introduction on ancient notation]
4368 * Ancient note heads::
4377 @node Ancient note heads
4378 @subsection Ancient note heads
4380 To get a longa note head, you have to use mensural note heads. This
4381 is accomplished by setting the @code{style} property of the
4382 NoteHead object to @code{mensural}. There is also a note head style
4383 @code{baroque} which gives mensural note heads for @code{\longa} and
4384 @code{\breve} but standard note heads for shorter notes:
4386 @lilypond[fragment,singleline,verbatim]
4387 \property Voice.NoteHead \set #'style = #'mensural
4392 @subsection Ancient clefs
4394 LilyPond supports a variety of clefs, many of them ancient.
4396 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4397 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4400 The following table shows all ancient clefs that are supported via the
4401 @code{\clef} command. Some of the clefs use the same glyph, but
4402 differ only with respect to the line they are printed on. In such
4403 cases, a trailing number in the name is used to enumerate these clefs.
4404 Still, you can manually force a clef glyph to be typeset on an
4405 arbitrary line, as described in section @ref{Clef}. The note printed
4406 to the right side of each clef in the example column denotes the
4407 @code{c'} with respect to that clef.
4409 @multitable @columnfractions .3 .3 .3 .1
4413 @b{Description} @tab
4414 @b{Supported Clefs} @tab
4418 @code{clefs-neo_mensural_c} @tab
4419 modern style mensural C clef @tab
4420 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4421 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4422 @lilypond[relative 0, notime]
4423 \property Staff.TimeSignature \set #'transparent = ##t
4424 \clef "neo_mensural_c2" c
4428 @code{clefs-petrucci_c1}
4429 @code{clefs-petrucci_c2}
4430 @code{clefs-petrucci_c3}
4431 @code{clefs-petrucci_c4}
4432 @code{clefs-petrucci_c5}
4435 petrucci style mensural C clefs, for use on different stafflines
4436 (the examples shows the 2nd staffline C clef).
4446 @lilypond[relative 0, notime]
4447 \property Staff.TimeSignature \set #'transparent = ##t
4448 \clef "petrucci_c2" c
4452 @code{clefs-petrucci_f} @tab
4453 petrucci style mensural F clef @tab
4454 @code{petrucci_f} @tab
4455 @lilypond[relative 0, notime]
4456 \property Staff.TimeSignature \set #'transparent = ##t
4457 \clef "petrucci_f" c
4461 @code{clefs-petrucci_g} @tab
4462 petrucci style mensural G clef @tab
4463 @code{petrucci_g} @tab
4464 @lilypond[relative 0, notime]
4465 \property Staff.TimeSignature \set #'transparent = ##t
4466 \clef "petrucci_g" c
4470 @code{clefs-mensural_c'} @tab
4471 historic style mensural C clef @tab
4472 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4473 @code{mensural_c4} @tab
4474 @lilypond[relative 0, notime]
4475 \property Staff.TimeSignature \set #'transparent = ##t
4476 \clef "mensural_c2" c
4480 @code{clefs-mensural_f} @tab
4481 historic style mensural F clef @tab
4482 @code{mensural_f} @tab
4483 @lilypond[relative 0, notime]
4484 \property Staff.TimeSignature \set #'transparent = ##t
4485 \clef "mensural_f" c
4489 @code{clefs-mensural_g} @tab
4490 historic style mensural G clef @tab
4491 @code{mensural_g} @tab
4492 @lilypond[relative 0, notime]
4493 \property Staff.TimeSignature \set #'transparent = ##t
4494 \clef "mensural_g" c
4498 @code{clefs-vaticana_do} @tab
4499 Editio Vaticana style do clef @tab
4500 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4501 @lilypond[relative 0, notime]
4503 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4504 \property Staff.TimeSignature \set #'transparent = ##t
4505 \clef "vaticana_do2" c
4509 @code{clefs-vaticana_fa} @tab
4510 Editio Vaticana style fa clef @tab
4511 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4512 @lilypond[relative 0, notime]
4514 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4515 \property Staff.TimeSignature \set #'transparent = ##t
4516 \clef "vaticana_fa2" c
4520 @code{clefs-medicaea_do} @tab
4521 Editio Medicaea style do clef @tab
4522 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4523 @lilypond[relative 0, notime]
4525 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4526 \property Staff.TimeSignature \set #'transparent = ##t
4527 \clef "medicaea_do2" c
4531 @code{clefs-medicaea_fa} @tab
4532 Editio Medicaea style fa clef @tab
4533 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4534 @lilypond[relative 0, notime]
4536 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4537 \property Staff.TimeSignature \set #'transparent = ##t
4538 \clef "medicaea_fa2" c
4542 @code{clefs-hufnagel_do} @tab
4543 historic style hufnagel do clef @tab
4544 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4545 @lilypond[relative 0, notime]
4547 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4548 \property Staff.TimeSignature \set #'transparent = ##t
4549 \clef "hufnagel_do2" c
4553 @code{clefs-hufnagel_fa} @tab
4554 historic style hufnagel fa clef @tab
4555 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4556 @lilypond[relative 0, notime]
4558 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4559 \property Staff.TimeSignature \set #'transparent = ##t
4560 \clef "hufnagel_fa2" c
4564 @code{clefs-hufnagel_do_fa} @tab
4565 historic style hufnagel combined do/fa clef @tab
4566 @code{hufnagel_do_fa} @tab
4567 @lilypond[relative 0, notime]
4568 \property Staff.TimeSignature \set #'transparent = ##t
4569 \clef "hufnagel_do_fa" c
4574 @c --- This should go somewhere else: ---
4575 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4578 @c @code{percussion}
4580 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4582 @c @item modern style tab clef (glyph: @code{clefs-tab})
4587 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4589 @emph{Modern style} means ``as is typeset in contemporary editions of
4590 transcribed mensural music''.
4592 @emph{Petrucci style} means ``inspired by printings published by the
4593 famous engraver Petrucci (1466-1539)''.
4595 @emph{Historic style} means ``as was typeset or written in historic
4596 editions (other than those of Petrucci)''.
4598 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4600 Petrucci used C clefs with differently balanced left-side vertical
4601 beams, depending on which staffline it is printed.
4605 @subsection Custodes
4610 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4611 symbol that appears at the end of a staff. It anticipates the pitch
4612 of the first note(s) of the following line and thus helps the player
4613 or singer to manage line breaks during performance, thus enhancing
4614 readability of a score.
4616 Custodes were frequently used in music notation until the 17th
4617 century. Nowadays, they have survived only in a few particular forms
4618 of musical notation such as contemporary editions of Gregorian chant
4619 like the @emph{editio vaticana}. There are different custos glyphs
4620 used in different flavours of notational style.
4622 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4623 @internalsref{Staff} context when declaring the @code{\paper} block,
4624 as shown in the following example:
4630 \consists Custos_engraver
4631 Custos \override #'style = #'mensural
4636 The result looks like this:
4642 \property Staff.Custos \set #'style = #'mensural
4649 \consists Custos_engraver
4656 The custos glyph is selected by the @code{style} property. The styles
4657 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4658 @code{mensural}. They are demonstrated in the following fragment:
4668 { " " \musicglyph #"custodes-vaticana-u0" }
4672 { " " \musicglyph #"custodes-medicaea-u0" }
4676 { " " \musicglyph #"custodes-hufnagel-u0" }
4680 { " " \musicglyph #"custodes-mensural-u0" }
4689 \remove "Bar_number_engraver"
4693 \remove "Clef_engraver"
4694 \remove "Key_engraver"
4695 \remove "Time_signature_engraver"
4696 \remove "Staff_symbol_engraver"
4697 minimumVerticalExtent = ##f
4703 If the boolean property @code{adjust-if-on-staffline} is set to
4704 @code{#t} (which it is by default), lily typesets slightly different
4705 variants of the custos glyph, depending on whether the custos, is
4706 typeset on or between stafflines. The glyph will
4707 optically fit well into the staff, with the appendage on the right of
4708 the custos always ending at the same vertical position between two
4709 stafflines regardless of the pitch. If you set
4710 @code{adjust-if-on-staffline} to @code{#f}, then
4711 a compromise between both forms is used.
4713 Just like stems can be attached to noteheads in two directions
4714 @emph{up} and @emph{down}, each custos glyph is available with its
4715 appendage pointing either up or down. If the pitch of a custos is
4716 above a selectable position, the appendage will point downwards; if
4717 the pitch is below this position, the appendage will point upwards.
4718 Use property @code{neutral-position} to select this position. By
4719 default, it is set to @code{0}, such that the neutral position is the
4720 center of the staff. Use property @code{neutral-direction} to control
4721 what happens if a custos is typeset on the neutral position itself.
4722 By default, this property is set to @code{-1}, such that the appendage
4723 will point downwards. If set to @code{1}, the appendage will point
4724 upwards. Other values such as @code{0} are reserved for future
4725 extensions and should not be used.
4730 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4731 @inputfileref{input/regression,custos.ly}.
4735 @subsection Divisiones
4741 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4742 `division') is a staff context symbol that is used to structure
4743 Gregorian music into phrases and sections. The musical meaning of
4744 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4745 can be characterized as short, medium and long pause, somewhat like
4746 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4747 a chant, but is also frequently used within a single
4748 antiphonal/responsorial chant to mark the end of each section.
4752 To use divisiones, include the file @code{gregorian-init.ly}. It
4753 contains definitions that you can apply by just inserting
4754 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4755 and @code{\finalis} at proper places in the input. Some editions use
4756 @emph{virgula} or @emph{caesura} instead of divisio minima.
4757 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4761 @lilypondfile[notexidoc]{divisiones.ly}
4765 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4766 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
4769 @subsection Ligatures
4773 @c TODO: Should double check if I recalled things correctly when I wrote
4774 @c down the following paragraph by heart.
4776 In musical terminology, a ligature is a coherent graphical symbol that
4777 represents at least two different notes. Ligatures originally appeared
4778 in the manuscripts of Gregorian chant notation roughly since the 9th
4779 century as an allusion to the accent symbols of greek lyric poetry to
4780 denote ascending or descending sequences of notes. Both, the shape and
4781 the exact meaning of ligatures changed tremendously during the following
4782 centuries: In early notation, ligatures were used for monophonic tunes
4783 (Gregorian chant) and very soon denoted also the way of performance in
4784 the sense of articulation. With upcoming multiphony, the need for a
4785 metric system arised, since multiple voices of a piece have to be
4786 synchronized some way. New notation systems were invented that used
4787 the manifold shapes of ligatures to now denote rhythmical patterns
4788 (e.g. black mensural notation, mannered notation, ars nova). With the
4789 invention of the metric system of the white mensural notation, the need
4790 for ligatures to denote such patterns disappeared. Nevertheless,
4791 ligatures were still in use in the mensural system for a couple of
4792 decades until they finally disappeared during the late 16th / early 17th
4793 century. Still, ligatures have survived in contemporary editions of
4794 Gregorian chant such as the Editio Vaticana from 1905/08.
4798 Syntactically, ligatures are simply enclosed by @code{\[} and
4799 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4800 additional input syntax specific for this particular type of ligature.
4801 By default, the @internalsref{LigatureBracket} engraver just puts a
4802 square bracket above the ligature:
4804 @lilypond[singleline,verbatim]
4806 \notes \transpose c c' {
4814 To select a specific style of ligatures, a proper ligature engraver
4815 has to be added to the @internalsref{Voice} context, as explained in
4816 the following subsections. Currently, only white mensural ligatures
4817 are supported with certain limitations. Support for Editio Vaticana
4818 will be added in the future.
4821 * White mensural ligatures::
4822 * Gregorian square neumes ligatures::
4825 @node White mensural ligatures
4826 @subsubsection White mensural ligatures
4828 @cindex Mensural ligatures
4829 @cindex White mensural ligatures
4831 There is limited support for white mensural ligatures. The
4832 implementation is still experimental; it currently may output strange
4833 warnings or even crash in some cases or produce weird results on more
4834 complex ligatures. To engrave white mensural ligatures, in the paper
4835 block the @internalsref{Mensural_ligature_engraver} has to be put into
4836 the @internalsref{Voice} context, and remove the
4837 @internalsref{Ligature_bracket_engraver}:
4843 \remove Ligature_bracket_engraver
4844 \consists Mensural_ligature_engraver
4849 There is no additional input language to describe the shape of a
4850 white mensural ligature. The shape is rather determined solely from
4851 the pitch and duration of the enclosed notes. While this approach may
4852 take a new user a while to get accustomed, it has the great advantage
4853 that the full musical information of the ligature is known internally.
4854 This is not only required for correct MIDI output, but also allows for
4855 automatic transcription of the ligatures.
4860 \property Score.timing = ##f
4861 \property Score.defaultBarType = "empty"
4862 \property Voice.NoteHead \set #'style = #'neo_mensural
4863 \property Staff.TimeSignature \set #'style = #'neo_mensural
4865 \[ g\longa c\breve a\breve f\breve d'\longa \]
4867 \[ e1 f1 a\breve g\longa \]
4869 @lilypond[singleline]
4871 \notes \transpose c c' {
4872 \property Score.timing = ##f
4873 \property Score.defaultBarType = "empty"
4874 \property Voice.NoteHead \set #'style = #'neo_mensural
4875 \property Staff.TimeSignature \set #'style = #'neo_mensural
4877 \[ g\longa c\breve a\breve f\breve d'\longa \]
4879 \[ e1 f1 a\breve g\longa \]
4884 \remove Ligature_bracket_engraver
4885 \consists Mensural_ligature_engraver
4891 Without replacing @internalsref{Ligature_bracket_engraver} with
4892 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4895 @lilypond[singleline]
4897 \notes \transpose c c' {
4898 \property Score.timing = ##f
4899 \property Score.defaultBarType = "empty"
4900 \property Voice.NoteHead \set #'style = #'neo_mensural
4901 \property Staff.TimeSignature \set #'style = #'neo_mensural
4903 \[ g\longa c\breve a\breve f\breve d'\longa \]
4905 \[ e1 f1 a\breve g\longa \]
4910 @node Gregorian square neumes ligatures
4911 @subsubsection Gregorian square neumes ligatures
4913 @cindex Square neumes ligatures
4914 @cindex Gregorian square neumes ligatures
4916 Gregorian square neumes notation (following the style of the Editio
4917 Vaticana) is under heavy development, but not yet really usable for
4918 production purposes. Core ligatures can already be typeset, but
4919 essential issues for serious typesetting are still under development,
4920 such as (among others) horizontal alignment of multiple ligatures,
4921 lyrics alignment and proper accidentals handling. Still, this section
4922 gives a sneak preview of what Gregorian chant may look like once it
4925 The following table contains the extended neumes table of the 2nd
4926 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
4927 1983 by the monks of Solesmes.
4929 @multitable @columnfractions .4 .2 .2 .2
4932 @b{Neuma aut@*Neumarum Elementa} @tab
4933 @b{Figurae@*Rectae} @tab
4934 @b{Figurae@*Liquescentes Auctae} @tab
4935 @b{Figurae@*Liquescentes Deminutae}
4937 @c TODO: \paper block is identical in all of the below examples.
4938 @c Therefore, it should somehow be included rather than duplicated all
4941 @c why not make identifiers in ly/engraver-init.ly? --hwn
4943 @c Because it's just used to typeset plain notes without
4944 @c a staff for demonstration purposes rather than something
4945 @c special of Gregorian chant notation. --jr
4950 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
4951 \include "gregorian-init.ly"
4953 \notes \transpose c c' {
4956 \noBreak s^\markup {"a"} \noBreak
4958 % Punctum Inclinatum
4960 \noBreak s^\markup {"b"}
4966 \remove "Bar_number_engraver"
4970 \remove "Clef_engraver"
4971 \remove "Key_engraver"
4972 StaffSymbol \set #'transparent = ##t
4973 \remove "Time_signature_engraver"
4974 \remove "Bar_engraver"
4975 minimumVerticalExtent = ##f
4979 \remove Ligature_bracket_engraver
4980 \consists Vaticana_ligature_engraver
4981 NoteHead \set #'style = #'vaticana_punctum
4982 Stem \set #'transparent = ##t
4988 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
4989 \include "gregorian-init.ly"
4991 \notes \transpose c c' {
4992 % Punctum Auctum Ascendens
4993 \[ \auctum \ascendens b \]
4994 \noBreak s^\markup {"c"} \noBreak
4996 % Punctum Auctum Descendens
4997 \[ \auctum \descendens b \]
4998 \noBreak s^\markup {"d"} \noBreak
5000 % Punctum Inclinatum Auctum
5001 \[ \inclinatum \auctum b \]
5002 \noBreak s^\markup {"e"}
5008 \remove "Bar_number_engraver"
5012 \remove "Clef_engraver"
5013 \remove "Key_engraver"
5014 StaffSymbol \set #'transparent = ##t
5015 \remove "Time_signature_engraver"
5016 \remove "Bar_engraver"
5017 minimumVerticalExtent = ##f
5021 \remove Ligature_bracket_engraver
5022 \consists Vaticana_ligature_engraver
5023 NoteHead \set #'style = #'vaticana_punctum
5024 Stem \set #'transparent = ##t
5030 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5031 \include "gregorian-init.ly"
5033 \notes \transpose c c' {
5034 % Punctum Inclinatum Parvum
5035 \[ \inclinatum \deminutum b \]
5036 \noBreak s^\markup {"f"}
5042 \remove "Bar_number_engraver"
5046 \remove "Clef_engraver"
5047 \remove "Key_engraver"
5048 StaffSymbol \set #'transparent = ##t
5049 \remove "Time_signature_engraver"
5050 \remove "Bar_engraver"
5051 minimumVerticalExtent = ##f
5055 \remove Ligature_bracket_engraver
5056 \consists Vaticana_ligature_engraver
5057 NoteHead \set #'style = #'vaticana_punctum
5058 Stem \set #'transparent = ##t
5067 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5068 \include "gregorian-init.ly"
5070 \notes \transpose c c' {
5073 \noBreak s^\markup {"g"}
5079 \remove "Bar_number_engraver"
5083 \remove "Clef_engraver"
5084 \remove "Key_engraver"
5085 StaffSymbol \set #'transparent = ##t
5086 \remove "Time_signature_engraver"
5087 \remove "Bar_engraver"
5088 minimumVerticalExtent = ##f
5092 \remove Ligature_bracket_engraver
5093 \consists Vaticana_ligature_engraver
5094 NoteHead \set #'style = #'vaticana_punctum
5095 Stem \set #'transparent = ##t
5104 @code{3. Apostropha vel Stropha}
5106 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5107 \include "gregorian-init.ly"
5109 \notes \transpose c c' {
5112 \noBreak s^\markup {"h"}
5118 \remove "Bar_number_engraver"
5122 \remove "Clef_engraver"
5123 \remove "Key_engraver"
5124 StaffSymbol \set #'transparent = ##t
5125 \remove "Time_signature_engraver"
5126 \remove "Bar_engraver"
5127 minimumVerticalExtent = ##f
5131 \remove Ligature_bracket_engraver
5132 \consists Vaticana_ligature_engraver
5133 NoteHead \set #'style = #'vaticana_punctum
5134 Stem \set #'transparent = ##t
5140 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5141 \include "gregorian-init.ly"
5143 \notes \transpose c c' {
5145 \[ \stropha \auctum b \]
5146 \noBreak s^\markup {"i"}
5152 \remove "Bar_number_engraver"
5156 \remove "Clef_engraver"
5157 \remove "Key_engraver"
5158 StaffSymbol \set #'transparent = ##t
5159 \remove "Time_signature_engraver"
5160 \remove "Bar_engraver"
5161 minimumVerticalExtent = ##f
5165 \remove Ligature_bracket_engraver
5166 \consists Vaticana_ligature_engraver
5167 NoteHead \set #'style = #'vaticana_punctum
5168 Stem \set #'transparent = ##t
5178 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5179 \include "gregorian-init.ly"
5181 \notes \transpose c c' {
5184 \noBreak s^\markup {"j"}
5190 \remove "Bar_number_engraver"
5194 \remove "Clef_engraver"
5195 \remove "Key_engraver"
5196 StaffSymbol \set #'transparent = ##t
5197 \remove "Time_signature_engraver"
5198 \remove "Bar_engraver"
5199 minimumVerticalExtent = ##f
5203 \remove Ligature_bracket_engraver
5204 \consists Vaticana_ligature_engraver
5205 NoteHead \set #'style = #'vaticana_punctum
5206 Stem \set #'transparent = ##t
5215 @code{5. Clivis vel Flexa}
5217 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5218 \include "gregorian-init.ly"
5220 \notes \transpose c c' {
5229 \remove "Bar_number_engraver"
5233 \remove "Clef_engraver"
5234 \remove "Key_engraver"
5235 StaffSymbol \set #'transparent = ##t
5236 \remove "Time_signature_engraver"
5237 \remove "Bar_engraver"
5238 minimumVerticalExtent = ##f
5242 \remove Ligature_bracket_engraver
5243 \consists Vaticana_ligature_engraver
5244 NoteHead \set #'style = #'vaticana_punctum
5245 Stem \set #'transparent = ##t
5251 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5252 \include "gregorian-init.ly"
5254 \notes \transpose c c' {
5255 % Clivis Aucta Descendens
5256 \[ b \flexa \auctum \descendens g \]
5257 \noBreak s^\markup {"l"} \noBreak
5259 % Clivis Aucta Ascendens
5260 \[ b \flexa \auctum \ascendens g \]
5261 \noBreak s^\markup {"m"}
5267 \remove "Bar_number_engraver"
5271 \remove "Clef_engraver"
5272 \remove "Key_engraver"
5273 StaffSymbol \set #'transparent = ##t
5274 \remove "Time_signature_engraver"
5275 \remove "Bar_engraver"
5276 minimumVerticalExtent = ##f
5280 \remove Ligature_bracket_engraver
5281 \consists Vaticana_ligature_engraver
5282 NoteHead \set #'style = #'vaticana_punctum
5283 Stem \set #'transparent = ##t
5289 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5290 \include "gregorian-init.ly"
5292 \notes \transpose c c' {
5294 \[ b \flexa \deminutum g \]
5301 \remove "Bar_number_engraver"
5305 \remove "Clef_engraver"
5306 \remove "Key_engraver"
5307 StaffSymbol \set #'transparent = ##t
5308 \remove "Time_signature_engraver"
5309 \remove "Bar_engraver"
5310 minimumVerticalExtent = ##f
5314 \remove Ligature_bracket_engraver
5315 \consists Vaticana_ligature_engraver
5316 NoteHead \set #'style = #'vaticana_punctum
5317 Stem \set #'transparent = ##t
5324 @code{6. Podatus vel Pes}
5326 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5327 \include "gregorian-init.ly"
5329 \notes \transpose c c' {
5338 \remove "Bar_number_engraver"
5342 \remove "Clef_engraver"
5343 \remove "Key_engraver"
5344 StaffSymbol \set #'transparent = ##t
5345 \remove "Time_signature_engraver"
5346 \remove "Bar_engraver"
5347 minimumVerticalExtent = ##f
5351 \remove Ligature_bracket_engraver
5352 \consists Vaticana_ligature_engraver
5353 NoteHead \set #'style = #'vaticana_punctum
5354 Stem \set #'transparent = ##t
5360 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5361 \include "gregorian-init.ly"
5363 \notes \transpose c c' {
5364 % Pes Auctus Descendens
5365 \[ g \pes \auctum \descendens b \]
5366 \noBreak s^\markup {"p"} \noBreak
5368 % Pes Auctus Ascendens
5369 \[ g \pes \auctum \ascendens b \]
5370 \noBreak s^\markup {"q"}
5376 \remove "Bar_number_engraver"
5380 \remove "Clef_engraver"
5381 \remove "Key_engraver"
5382 StaffSymbol \set #'transparent = ##t
5383 \remove "Time_signature_engraver"
5384 \remove "Bar_engraver"
5385 minimumVerticalExtent = ##f
5389 \remove Ligature_bracket_engraver
5390 \consists Vaticana_ligature_engraver
5391 NoteHead \set #'style = #'vaticana_punctum
5392 Stem \set #'transparent = ##t
5398 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5399 \include "gregorian-init.ly"
5401 \notes \transpose c c' {
5403 \[ g \pes \deminutum b \]
5410 \remove "Bar_number_engraver"
5414 \remove "Clef_engraver"
5415 \remove "Key_engraver"
5416 StaffSymbol \set #'transparent = ##t
5417 \remove "Time_signature_engraver"
5418 \remove "Bar_engraver"
5419 minimumVerticalExtent = ##f
5423 \remove Ligature_bracket_engraver
5424 \consists Vaticana_ligature_engraver
5425 NoteHead \set #'style = #'vaticana_punctum
5426 Stem \set #'transparent = ##t
5433 @code{7. Pes Quassus}
5435 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5436 \include "gregorian-init.ly"
5438 \notes \transpose c c' {
5440 \[ \oriscus g \pes \virga b \]
5447 \remove "Bar_number_engraver"
5451 \remove "Clef_engraver"
5452 \remove "Key_engraver"
5453 StaffSymbol \set #'transparent = ##t
5454 \remove "Time_signature_engraver"
5455 \remove "Bar_engraver"
5456 minimumVerticalExtent = ##f
5460 \remove Ligature_bracket_engraver
5461 \consists Vaticana_ligature_engraver
5462 NoteHead \set #'style = #'vaticana_punctum
5463 Stem \set #'transparent = ##t
5469 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5470 \include "gregorian-init.ly"
5472 \notes \transpose c c' {
5473 % Pes Quassus Auctus Descendens
5474 \[ \oriscus g \pes \auctum \descendens b \]
5481 \remove "Bar_number_engraver"
5485 \remove "Clef_engraver"
5486 \remove "Key_engraver"
5487 StaffSymbol \set #'transparent = ##t
5488 \remove "Time_signature_engraver"
5489 \remove "Bar_engraver"
5490 minimumVerticalExtent = ##f
5494 \remove Ligature_bracket_engraver
5495 \consists Vaticana_ligature_engraver
5496 NoteHead \set #'style = #'vaticana_punctum
5497 Stem \set #'transparent = ##t
5505 @code{8. Quilisma Pes}
5507 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5508 \include "gregorian-init.ly"
5510 \notes \transpose c c' {
5512 \[ \quilisma g \pes b \]
5519 \remove "Bar_number_engraver"
5523 \remove "Clef_engraver"
5524 \remove "Key_engraver"
5525 StaffSymbol \set #'transparent = ##t
5526 \remove "Time_signature_engraver"
5527 \remove "Bar_engraver"
5528 minimumVerticalExtent = ##f
5532 \remove Ligature_bracket_engraver
5533 \consists Vaticana_ligature_engraver
5534 NoteHead \set #'style = #'vaticana_punctum
5535 Stem \set #'transparent = ##t
5541 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5542 \include "gregorian-init.ly"
5544 \notes \transpose c c' {
5545 % Quilisma Pes Auctus Descendens
5546 \[ \quilisma g \pes \auctum \descendens b \]
5553 \remove "Bar_number_engraver"
5557 \remove "Clef_engraver"
5558 \remove "Key_engraver"
5559 StaffSymbol \set #'transparent = ##t
5560 \remove "Time_signature_engraver"
5561 \remove "Bar_engraver"
5562 minimumVerticalExtent = ##f
5566 \remove Ligature_bracket_engraver
5567 \consists Vaticana_ligature_engraver
5568 NoteHead \set #'style = #'vaticana_punctum
5569 Stem \set #'transparent = ##t
5577 @code{9. Podatus Initio Debilis}
5579 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5580 \include "gregorian-init.ly"
5582 \notes \transpose c c' {
5583 % Pes Initio Debilis
5584 \[ \deminutum g \pes b \]
5591 \remove "Bar_number_engraver"
5595 \remove "Clef_engraver"
5596 \remove "Key_engraver"
5597 StaffSymbol \set #'transparent = ##t
5598 \remove "Time_signature_engraver"
5599 \remove "Bar_engraver"
5600 minimumVerticalExtent = ##f
5604 \remove Ligature_bracket_engraver
5605 \consists Vaticana_ligature_engraver
5606 NoteHead \set #'style = #'vaticana_punctum
5607 Stem \set #'transparent = ##t
5613 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5614 \include "gregorian-init.ly"
5616 \notes \transpose c c' {
5617 % Pes Auctus Descendens Initio Debilis
5618 \[ \deminutum g \pes \auctum \descendens b \]
5625 \remove "Bar_number_engraver"
5629 \remove "Clef_engraver"
5630 \remove "Key_engraver"
5631 StaffSymbol \set #'transparent = ##t
5632 \remove "Time_signature_engraver"
5633 \remove "Bar_engraver"
5634 minimumVerticalExtent = ##f
5638 \remove Ligature_bracket_engraver
5639 \consists Vaticana_ligature_engraver
5640 NoteHead \set #'style = #'vaticana_punctum
5641 Stem \set #'transparent = ##t
5651 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5652 \include "gregorian-init.ly"
5654 \notes \transpose c c' {
5656 \[ a \pes b \flexa g \]
5663 \remove "Bar_number_engraver"
5667 \remove "Clef_engraver"
5668 \remove "Key_engraver"
5669 StaffSymbol \set #'transparent = ##t
5670 \remove "Time_signature_engraver"
5671 \remove "Bar_engraver"
5672 minimumVerticalExtent = ##f
5676 \remove Ligature_bracket_engraver
5677 \consists Vaticana_ligature_engraver
5678 NoteHead \set #'style = #'vaticana_punctum
5679 Stem \set #'transparent = ##t
5685 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5686 \include "gregorian-init.ly"
5688 \notes \transpose c c' {
5689 % Torculus Auctus Descendens
5690 \[ a \pes b \flexa \auctum \descendens g \]
5697 \remove "Bar_number_engraver"
5701 \remove "Clef_engraver"
5702 \remove "Key_engraver"
5703 StaffSymbol \set #'transparent = ##t
5704 \remove "Time_signature_engraver"
5705 \remove "Bar_engraver"
5706 minimumVerticalExtent = ##f
5710 \remove Ligature_bracket_engraver
5711 \consists Vaticana_ligature_engraver
5712 NoteHead \set #'style = #'vaticana_punctum
5713 Stem \set #'transparent = ##t
5719 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5720 \include "gregorian-init.ly"
5722 \notes \transpose c c' {
5723 % Torculus Deminutus
5724 \[ a \pes b \flexa \deminutum g \]
5731 \remove "Bar_number_engraver"
5735 \remove "Clef_engraver"
5736 \remove "Key_engraver"
5737 StaffSymbol \set #'transparent = ##t
5738 \remove "Time_signature_engraver"
5739 \remove "Bar_engraver"
5740 minimumVerticalExtent = ##f
5744 \remove Ligature_bracket_engraver
5745 \consists Vaticana_ligature_engraver
5746 NoteHead \set #'style = #'vaticana_punctum
5747 Stem \set #'transparent = ##t
5754 @code{11. Torculus Initio Debilis}
5756 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5757 \include "gregorian-init.ly"
5759 \notes \transpose c c' {
5760 % Torculus Initio Debilis
5761 \[ \deminutum a \pes b \flexa g \]
5768 \remove "Bar_number_engraver"
5772 \remove "Clef_engraver"
5773 \remove "Key_engraver"
5774 StaffSymbol \set #'transparent = ##t
5775 \remove "Time_signature_engraver"
5776 \remove "Bar_engraver"
5777 minimumVerticalExtent = ##f
5781 \remove Ligature_bracket_engraver
5782 \consists Vaticana_ligature_engraver
5783 NoteHead \set #'style = #'vaticana_punctum
5784 Stem \set #'transparent = ##t
5790 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5791 \include "gregorian-init.ly"
5793 \notes \transpose c c' {
5794 % Torculus Auctus Descendens Initio Debilis
5795 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5802 \remove "Bar_number_engraver"
5806 \remove "Clef_engraver"
5807 \remove "Key_engraver"
5808 StaffSymbol \set #'transparent = ##t
5809 \remove "Time_signature_engraver"
5810 \remove "Bar_engraver"
5811 minimumVerticalExtent = ##f
5815 \remove Ligature_bracket_engraver
5816 \consists Vaticana_ligature_engraver
5817 NoteHead \set #'style = #'vaticana_punctum
5818 Stem \set #'transparent = ##t
5824 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5825 \include "gregorian-init.ly"
5827 \notes \transpose c c' {
5828 % Torculus Deminutus Initio Debilis
5829 \[ \deminutum a \pes b \flexa \deminutum g \]
5836 \remove "Bar_number_engraver"
5840 \remove "Clef_engraver"
5841 \remove "Key_engraver"
5842 StaffSymbol \set #'transparent = ##t
5843 \remove "Time_signature_engraver"
5844 \remove "Bar_engraver"
5845 minimumVerticalExtent = ##f
5849 \remove Ligature_bracket_engraver
5850 \consists Vaticana_ligature_engraver
5851 NoteHead \set #'style = #'vaticana_punctum
5852 Stem \set #'transparent = ##t
5859 @code{12. Porrectus}
5861 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5862 \include "gregorian-init.ly"
5864 \notes \transpose c c' {
5866 \[ a \flexa g \pes b \]
5873 \remove "Bar_number_engraver"
5877 \remove "Clef_engraver"
5878 \remove "Key_engraver"
5879 StaffSymbol \set #'transparent = ##t
5880 \remove "Time_signature_engraver"
5881 \remove "Bar_engraver"
5882 minimumVerticalExtent = ##f
5886 \remove Ligature_bracket_engraver
5887 \consists Vaticana_ligature_engraver
5888 NoteHead \set #'style = #'vaticana_punctum
5889 Stem \set #'transparent = ##t
5895 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5896 \include "gregorian-init.ly"
5898 \notes \transpose c c' {
5899 % Porrectus Auctus Descendens
5900 \[ a \flexa g \pes \auctum \descendens b \]
5907 \remove "Bar_number_engraver"
5911 \remove "Clef_engraver"
5912 \remove "Key_engraver"
5913 StaffSymbol \set #'transparent = ##t
5914 \remove "Time_signature_engraver"
5915 \remove "Bar_engraver"
5916 minimumVerticalExtent = ##f
5920 \remove Ligature_bracket_engraver
5921 \consists Vaticana_ligature_engraver
5922 NoteHead \set #'style = #'vaticana_punctum
5923 Stem \set #'transparent = ##t
5929 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5930 \include "gregorian-init.ly"
5932 \notes \transpose c c' {
5933 % Porrectus Deminutus
5934 \[ a \flexa g \pes \deminutum b \]
5941 \remove "Bar_number_engraver"
5945 \remove "Clef_engraver"
5946 \remove "Key_engraver"
5947 StaffSymbol \set #'transparent = ##t
5948 \remove "Time_signature_engraver"
5949 \remove "Bar_engraver"
5950 minimumVerticalExtent = ##f
5954 \remove Ligature_bracket_engraver
5955 \consists Vaticana_ligature_engraver
5956 NoteHead \set #'style = #'vaticana_punctum
5957 Stem \set #'transparent = ##t
5966 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5967 \include "gregorian-init.ly"
5969 \notes \transpose c c' {
5971 \[ \virga b \inclinatum a \inclinatum g \]
5978 \remove "Bar_number_engraver"
5982 \remove "Clef_engraver"
5983 \remove "Key_engraver"
5984 StaffSymbol \set #'transparent = ##t
5985 \remove "Time_signature_engraver"
5986 \remove "Bar_engraver"
5987 minimumVerticalExtent = ##f
5991 \remove Ligature_bracket_engraver
5992 \consists Vaticana_ligature_engraver
5993 NoteHead \set #'style = #'vaticana_punctum
5994 Stem \set #'transparent = ##t
6000 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6001 \include "gregorian-init.ly"
6003 \notes \transpose c c' {
6005 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6012 \remove "Bar_number_engraver"
6016 \remove "Clef_engraver"
6017 \remove "Key_engraver"
6018 StaffSymbol \set #'transparent = ##t
6019 \remove "Time_signature_engraver"
6020 \remove "Bar_engraver"
6021 minimumVerticalExtent = ##f
6025 \remove Ligature_bracket_engraver
6026 \consists Vaticana_ligature_engraver
6027 NoteHead \set #'style = #'vaticana_punctum
6028 Stem \set #'transparent = ##t
6034 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6035 \include "gregorian-init.ly"
6037 \notes \transpose c c' {
6038 % Climacus Deminutus
6039 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6046 \remove "Bar_number_engraver"
6050 \remove "Clef_engraver"
6051 \remove "Key_engraver"
6052 StaffSymbol \set #'transparent = ##t
6053 \remove "Time_signature_engraver"
6054 \remove "Bar_engraver"
6055 minimumVerticalExtent = ##f
6059 \remove Ligature_bracket_engraver
6060 \consists Vaticana_ligature_engraver
6061 NoteHead \set #'style = #'vaticana_punctum
6062 Stem \set #'transparent = ##t
6069 @code{14. Scandicus}
6071 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6072 \include "gregorian-init.ly"
6074 \notes \transpose c c' {
6076 \[ g \pes a \virga b \]
6083 \remove "Bar_number_engraver"
6087 \remove "Clef_engraver"
6088 \remove "Key_engraver"
6089 StaffSymbol \set #'transparent = ##t
6090 \remove "Time_signature_engraver"
6091 \remove "Bar_engraver"
6092 minimumVerticalExtent = ##f
6096 \remove Ligature_bracket_engraver
6097 \consists Vaticana_ligature_engraver
6098 NoteHead \set #'style = #'vaticana_punctum
6099 Stem \set #'transparent = ##t
6105 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6106 \include "gregorian-init.ly"
6108 \notes \transpose c c' {
6109 % Scandicus Auctus Descendens
6110 \[ g \pes a \pes \auctum \descendens b \]
6117 \remove "Bar_number_engraver"
6121 \remove "Clef_engraver"
6122 \remove "Key_engraver"
6123 StaffSymbol \set #'transparent = ##t
6124 \remove "Time_signature_engraver"
6125 \remove "Bar_engraver"
6126 minimumVerticalExtent = ##f
6130 \remove Ligature_bracket_engraver
6131 \consists Vaticana_ligature_engraver
6132 NoteHead \set #'style = #'vaticana_punctum
6133 Stem \set #'transparent = ##t
6139 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6140 \include "gregorian-init.ly"
6142 \notes \transpose c c' {
6143 % Scandicus Deminutus
6144 \[ g \pes a \pes \deminutum b \]
6151 \remove "Bar_number_engraver"
6155 \remove "Clef_engraver"
6156 \remove "Key_engraver"
6157 StaffSymbol \set #'transparent = ##t
6158 \remove "Time_signature_engraver"
6159 \remove "Bar_engraver"
6160 minimumVerticalExtent = ##f
6164 \remove Ligature_bracket_engraver
6165 \consists Vaticana_ligature_engraver
6166 NoteHead \set #'style = #'vaticana_punctum
6167 Stem \set #'transparent = ##t
6176 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6177 \include "gregorian-init.ly"
6179 \notes \transpose c c' {
6181 \[ g \oriscus a \pes \virga b \]
6188 \remove "Bar_number_engraver"
6192 \remove "Clef_engraver"
6193 \remove "Key_engraver"
6194 StaffSymbol \set #'transparent = ##t
6195 \remove "Time_signature_engraver"
6196 \remove "Bar_engraver"
6197 minimumVerticalExtent = ##f
6201 \remove Ligature_bracket_engraver
6202 \consists Vaticana_ligature_engraver
6203 NoteHead \set #'style = #'vaticana_punctum
6204 Stem \set #'transparent = ##t
6210 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6211 \include "gregorian-init.ly"
6213 \notes \transpose c c' {
6214 % Salicus Auctus Descendens
6215 \[ g \oriscus a \pes \auctum \descendens b \]
6222 \remove "Bar_number_engraver"
6226 \remove "Clef_engraver"
6227 \remove "Key_engraver"
6228 StaffSymbol \set #'transparent = ##t
6229 \remove "Time_signature_engraver"
6230 \remove "Bar_engraver"
6231 minimumVerticalExtent = ##f
6235 \remove Ligature_bracket_engraver
6236 \consists Vaticana_ligature_engraver
6237 NoteHead \set #'style = #'vaticana_punctum
6238 Stem \set #'transparent = ##t
6248 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6249 \include "gregorian-init.ly"
6251 \notes \transpose c c' {
6253 \[ \stropha b \stropha b \stropha a \]
6260 \remove "Bar_number_engraver"
6264 \remove "Clef_engraver"
6265 \remove "Key_engraver"
6266 StaffSymbol \set #'transparent = ##t
6267 \remove "Time_signature_engraver"
6268 \remove "Bar_engraver"
6269 minimumVerticalExtent = ##f
6273 \remove Ligature_bracket_engraver
6274 \consists Vaticana_ligature_engraver
6275 NoteHead \set #'style = #'vaticana_punctum
6276 Stem \set #'transparent = ##t
6287 Unlike most other neumes notation systems, the input language for
6288 neumes does not necessarily reflect directly the typographical
6289 appearance, but is designed to solely focuse on musical meaning. For
6290 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6291 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6292 a Porrectus with a curved flexa shape and only a single Punctum head.
6293 There is no command to explicitly typeset the curved flexa shape; the
6294 decision of when to typeset a curved flexa shape is purely taken from
6295 the musical input. The idea of this approach is to separate the
6296 musical aspects of the input from the notation style of the output.
6297 This way, the same input can be reused to typeset the same music in a
6298 different style of Gregorian chant notation such as Hufnagel (also
6299 known as German gothic neumes) or Medicaea (kind of a very simple
6300 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6301 engraver and Medicaea ligature engraver will have been implemented, it
6302 will be as simple as replacing the ligature engraver in the
6303 @internalsref{Voice} context to get the desired notation style from
6306 The following table shows the code fragments that produce the
6307 ligatures in the above neumes table. The letter in the first column
6308 in each line of the below table indicates to which ligature in the
6309 above table it refers. The second column gives the name of the
6310 ligature. The third column shows the code fragment that produces this
6311 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6313 @multitable @columnfractions .1 .4 .5
6327 Punctum Inclinatum @tab
6328 @code{\[ \inclinatum b \]}
6332 Punctum Auctum Ascendens @tab
6333 @code{\[ \auctum \ascendens b \]}
6337 Punctum Auctum Descendens @tab
6338 @code{\[ \auctum \descendens b \]}
6342 Punctum Inclinatum Auctum @tab
6343 @code{\[ \inclinatum \auctum b \]}
6347 Punctum Inclinatum Parvum @tab
6348 @code{\[ \inclinatum \deminutum b \]}
6353 @code{\[ \virga b \]}
6358 @code{\[ \stropha b \]}
6363 @code{\[ \stropha \auctum b \]}
6368 @code{\[ \oriscus b \]}
6372 Clivis vel Flexa @tab
6373 @code{\[ b \flexa g \]}
6377 Clivis Aucta Descendens @tab
6378 @code{\[ b \flexa \auctum \descendens g \]}
6382 Clivis Aucta Ascendens @tab
6383 @code{\[ b \flexa \auctum \ascendens g \]}
6388 @code{\[ b \flexa \deminutum g \]}
6392 Podatus vel Pes @tab
6393 @code{\[ g \pes b \]}
6397 Pes Auctus Descendens @tab
6398 @code{\[ g \pes \auctum \descendens b \]}
6402 Pes Auctus Ascendens @tab
6403 @code{\[ g \pes \auctum \ascendens b \]}
6408 @code{\[ g \pes \deminutum b \]}
6413 @code{\[ \oriscus g \pes \virga b \]}
6417 Pes Quassus Auctus Descendens @tab
6418 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6423 @code{\[ \quilisma g \pes b \]}
6427 Quilisma Pes Auctus Descendens @tab
6428 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6432 Pes Initio Debilis @tab
6433 @code{\[ \deminutum g \pes b \]}
6437 Pes Auctus Descendens Initio Debilis @tab
6438 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6443 @code{\[ a \pes b \flexa g \]}
6447 Torculus Auctus Descendens @tab
6448 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6452 Torculus Deminutus @tab
6453 @code{\[ a \pes b \flexa \deminutum g \]}
6457 Torculus Initio Debilis @tab
6458 @code{\[ \deminutum a \pes b \flexa g \]}
6462 Torculus Auctus Descendens Initio Debilis @tab
6463 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6467 Torculus Deminutus Initio Debilis @tab
6468 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6473 @code{\[ a \flexa g \pes b \]}
6477 Porrectus Auctus Descendens @tab
6478 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6482 Porrectus Deminutus @tab
6483 @code{\[ a \flexa g \pes \deminutum b \]}
6488 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6492 Climacus Auctus @tab
6493 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6497 Climacus Deminutus @tab
6498 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6503 @code{\[ g \pes a \virga b \]}
6507 Scandicus Auctus Descendens @tab
6508 @code{\[ g \pes a \pes \auctum \descendens b \]}
6512 Scandicus Deminutus @tab
6513 @code{\[ g \pes a \pes \deminutum b \]}
6518 @code{\[ g \oriscus a \pes \virga b \]}
6522 Salicus Auctus Descendens @tab
6523 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6528 @code{\[ \stropha b \stropha b \stropha a \]}
6534 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6535 Semivocalis head; this looks awful.
6537 Trigonus: apply equal spacing, regardless of pitch.
6540 @subsection Figured bass
6542 @cindex Basso continuo
6544 @c TODO: musicological blurb about FB
6548 LilyPond has limited support for figured bass:
6550 @lilypond[verbatim,fragment]
6552 \context Voice \notes { \clef bass dis4 c d ais}
6553 \context FiguredBass
6555 < 6 >4 < 7 >8 < 6+ [_!] >
6561 The support for figured bass consists of two parts: there is an input
6562 mode, introduced by @code{\figures}, where you can enter bass figures
6563 as numbers, and there is a context called @internalsref{FiguredBass} that
6564 takes care of making @internalsref{BassFigure} objects.
6566 In figures input mode, a group of bass figures is delimited by
6567 @code{<} and @code{>}. The duration is entered after the @code{>}:
6572 \context FiguredBass
6576 Accidentals are added when you append @code{-}, @code{!} and @code{+}
6583 \context FiguredBass
6584 \figures { <4- 6+ 7!> }
6587 Spaces or dashes may be inserted by using @code{_}. Brackets are
6588 introduced with @code{[} and @code{]}:
6594 \context FiguredBass
6595 \figures { < [4 6] 8 [_! 12]> }
6598 Although the support for figured bass may superficially resemble chord
6599 support, it works much simpler. The @code{\figures} mode simply
6600 stores the numbers , and @internalsref{FiguredBass} context prints
6601 them as entered. There is no conversion to pitches, and no
6602 realizations of the bass are played in the MIDI file.
6604 Internally, the code produces markup texts. You can use any of the
6605 markup text properties to override formatting. For example, the
6606 vertical spacing of the figures may be set with @code{baseline-skip}.
6610 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
6611 and @internalsref{FiguredBass} context.
6615 Slash notation for alterations is not supported.
6618 @node Contemporary notation
6619 @section Contemporary notation
6621 In the 20th century, composers have greatly expanded the musical
6622 vocabulary. With this expansion, many innovations in musical notation
6623 have been tried. For a comprehensive overview, refer to @cite{Stone
6624 1980} (see @ref{Literature}). In general, the use of new, innovative
6625 notation makes a piece harder to understand and perform and its use
6626 should therefore be avoided if possible. For this reason, support for
6627 contemporary notation in LilyPond is limited.
6636 @subsection Clusters
6640 In musical terminology, a @emph{cluster} denotes a range of
6641 simultaneously sounding pitches that may change over time. The set of
6642 available pitches to apply usually depends on the accoustic source.
6643 Thus, in piano music, a cluster typically consists of a continous range
6644 of the semitones as provided by the piano's fixed set of a chromatic
6645 scale. In choral music, each singer of the choir typically may sing an
6646 arbitrary pitch within the cluster's range that is not bound to any
6647 diatonic, chromatic or other scale. In electronic music, a cluster
6648 (theoretically) may even cover a continuous range of pitches, thus
6649 resulting in coloured noise, such as pink noise.
6651 Clusters can be denoted in the context of ordinary staff notation by
6652 engraving simple geometrical shapes that replace ordinary notation of
6653 notes. Ordinary notes as musical events specify starting time and
6654 duration of pitches; however, the duration of a note is expressed by the
6655 shape of the note head rather than by the horizontal graphical extent of
6656 the note symbol. In contrast, the shape of a cluster geometrically
6657 describes the development of a range of pitches (vertical extent) over
6658 time (horizontal extent). Still, the geometrical shape of a cluster
6659 covers the area in wich any single pitch contained in the cluster would
6660 be notated as an ordinary note. From this point of view, it is
6661 reasonable to specify a cluster as the envelope of a set of notes.
6665 A cluster is engraved as the envelope of a set of
6666 cluster-notes. Cluster notes are created by applying the function
6667 @code{notes-to-clusters} to a sequence of chords, e.g.
6669 @lilypond[relative 1,verbatim]
6670 \apply #notes-to-clusters { <<c e >> <<b f'>> }
6673 The following example (from
6674 @inputfileref{input/regression,cluster.ly}) shows what the result
6677 @lilypondfile[notexidoc]{cluster.ly}
6679 By default, @internalsref{Cluster_engraver} is in the
6680 @internalsref{Voice} context. This allows putting ordinary notes and
6681 clusters together in the same staff, even simultaneously. In such a
6682 case no attempt is made to automatically avoid collisions between
6683 ordinary notes and clusters.
6687 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
6688 @inputfileref{input/regression,cluster.ly},
6689 @internalsref{Cluster_engraver}, and @internalsref{ClusterNoteEvent}.
6693 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
6694 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
6699 @subsection Fermatas
6705 Contemporary music notation frequently uses special fermata symbols to
6706 indicate fermatas of differing lengths.
6710 The following are supported
6712 @lilypond[singleline]
6714 < \addlyrics \notes {
6734 \context Lyrics \lyrics {
6735 "shortfermata" "fermata" "longfermata" "verylongfermata"
6740 See @ref{Articulations} for general instructions how to apply scripts
6741 such as fermatas to a @code{\notes@{@}} block.
6744 @section Tuning output
6746 There are situations where default layout decisions are not
6747 sufficient. In this section we discuss ways to override these
6750 Formatting is internally done by manipulating so called objects
6751 (graphic objects). Each object carries with it a set of properties
6752 (object or layout properties) specific to that object. For example, a
6753 stem object has properties that specify its direction, length and
6756 The most direct way of tuning the output is by altering the values of
6757 these properties. There are two ways of doing that: first, you can
6758 temporarily change the definition of one type of object, thus
6759 affecting a whole set of objects. Second, you can select one specific
6760 object, and set a layout property in that object.
6762 Do not confuse layout properties with translation
6763 properties. Translation properties always use a mixed caps style
6764 naming, and are manipulated using @code{\property}:
6766 \property Context.propertyName = @var{value}
6768 Layout properties are use Scheme style variable naming, i.e. lower
6769 case words separated with dashes. They are symbols, and should always
6770 be quoted using @code{#'}. For example, this could be an imaginary
6771 layout property name:
6773 #'layout-property-name
6778 * Constructing a tweak::
6787 @node Tuning objects
6788 @subsection Tuning objects
6790 @cindex object description
6792 The definition of an object is a list of default object
6793 properties. For example, the definition of the Stem object (available
6794 in @file{scm/define-grobs.scm}), includes the following definitions
6795 for @internalsref{Stem}:
6799 (beamed-lengths . (0.0 2.5 2.0 1.5))
6800 (Y-extent-callback . ,Stem::height)
6805 Adding variables on top of this existing definition overrides the
6806 system default, and alters the resulting appearance of the layout
6812 Changing a variable for only one object is commonly achieved with
6816 \once \property @var{context}.@var{objectname}
6817 \override @var{symbol} = @var{value}
6819 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
6820 and @var{objectname} is a string and @var{value} is a Scheme expression.
6821 This command applies a setting only during one moment in the score.
6823 In the following example, only one @internalsref{Stem} object is
6824 changed from its original setting:
6826 @lilypond[verbatim, fragment, relative=1]
6828 \once \property Voice.Stem \set #'thickness = #4
6832 @cindex @code{\once}
6834 For changing more objects, the same command, without @code{\once} can
6837 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
6839 This command adds @code{@var{symbol} = @var{value}} to the definition
6840 of @var{objectname} in the context @var{context}, and this definition
6841 stays in place until it is removed.
6843 An existing definition may be removed by the following command:
6846 \property @var{context}.@var{objectname} \revert @var{symbol}
6849 All @code{\override} and @code{\revert} commands should be balanced.
6850 The @code{\set} shorthand performs a revert followed by an override,
6851 and is often more convenient to use
6854 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
6858 @lilypond[verbatim,quote]
6859 c'4 \property Voice.Stem \override #'thickness = #4.0
6861 c'4 \property Voice.Stem \revert #'thickness
6865 The following example gives exactly the same result as the previous
6866 one (assuming the system default for stem thickness is 1.3):
6868 @lilypond[verbatim,quote]
6869 c'4 \property Voice.Stem \set #'thickness = #4.0
6871 c'4 \property Voice.Stem \set #'thickness = #1.3
6875 Reverting a setting which was not set in the first place has no
6876 effect. However, if the setting was set as a system default, this may
6877 remove the default value, and this may give surprising results,
6878 including crashes. In other words, @code{\override} and
6879 @code{\revert} must be carefully balanced. The following are examples
6880 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
6884 a clumsy but correct form:
6886 \override \revert \override \revert \override \revert
6890 shorter version of the same:
6892 \override \set \set \revert
6896 a short form, using only @code{\set}. This requires you to know the
6899 \set \set \set \set @var{to default value}
6903 if there is no default (i.e. by default, the object property is unset),
6906 \set \set \set \revert
6910 For the digirati, the object description is an Scheme association
6911 list. Since a Scheme list is a singly linked list, we can treat it as
6912 a stack, and @code{\override} and @code{\revert} are push and pop
6913 operations. The association list is stored in a normal context
6916 \property Voice.NoteHead = #'()
6918 will effectively erase @internalsref{NoteHead}s from the current
6919 @internalsref{Voice}. However, this mechanism is not guaranteed to
6920 work, and may cause crashes or other anomalous behavior.
6924 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
6925 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
6926 @internalsref{All-layout-objects}.
6931 The backend is not very strict in type-checking object properties.
6932 Cyclic references in @var{value} cause hangs and/or crashes.
6933 Similarly, reverting properties that are system defaults may also lead
6936 @node Constructing a tweak
6937 @subsection Constructing a tweak
6940 @cindex internal documentation
6941 @cindex finding graphical objects
6942 @cindex graphical object descriptions
6944 @cindex @code{\override}
6946 @cindex internal documentation
6950 Three pieces of information are required to use @code{\override} and
6951 @code{\set}: the name of the layout object, the context and the name
6952 of the property. We demonstrate how to glean this information from
6953 the notation manual and the generated documentation.
6955 The generated documentation is a set of HTML pages which should be
6956 included if you installed a binary distribution, typically in
6957 @file{/usr/share/doc/lilypond}. They are also available on the web:
6958 go to the @uref{http://lilypond.org,LilyPond website}, click
6959 ``Documentation'', and then ``Program reference'' on the side bar. It
6960 is advisable to bookmark either the local HTML files if possible. They
6961 will load faster than the ones on the web. If you use the version
6962 from the web, you must check whether the documentation matches the
6963 program version: the documentation is generated from the definitions
6964 that the program uses, and therefore it is strongly tied to the
6968 @c [TODO: revise for new site.]
6970 Suppose we want to move the fingering indication in the fragment below:
6972 @lilypond[relative=2,verbatim]
6978 If you visit the documentation of @code{Fingering} (in @ref{Fingering
6979 instructions}), you will notice that there is written:
6984 @internalsref{FingerEvent} and @internalsref{Fingering}.
6988 In other words, the fingerings once entered, are internally stored as
6989 @code{FingerEvent} music objects. When printed, a @code{Fingering}
6990 layout object is created for every @code{FingerEvent}.
6992 The Fingering object has a number of different functions, and each of
6993 those is captured in an interface, when we look up
6994 @internalsref{Fingering} in the generated documentation.
6998 The @code{Fingering} object has a fixed size
6999 (@internalsref{item-interface}), the symbol is a piece of text
7000 (@internalsref{text-interface}), whose font can be set
7001 (@internalsref{font-interface}). It is centered horizontally
7002 (@internalsref{self-alignment-interface}), it is placed next to other
7003 objects (@internalsref{side-position-interface}) vertically, and its
7004 placement is coordinated with other scripts
7005 (@internalsref{text-script-interface}). It also has the standard
7006 @internalsref{grob-interface} (grob stands for Graphical object)
7008 @cindex graphical object
7009 @cindex layout object
7010 @cindex object, layout
7011 with all the variables that come with
7012 it. Finally, it denotes a fingering instruction, so it has
7013 @internalsref{finger-interface}.
7015 For the vertical placement, we have to look under
7016 @code{side-position-interface}:
7018 @code{side-position-interface}
7020 Position a victim object (this one) next to other objects (the
7021 support). In this case, the direction signifies where to put the
7022 victim object relative to the support (left or right, up or down?)
7027 below this description, the variable @code{padding} is described as
7031 (dimension, in staff space)
7033 add this much extra space between objects that are next to each
7034 other. Default value: @code{0.6}
7038 By increasing the value of @code{padding}, we can move away the
7039 fingering. The following command inserts 3 staff spaces of white
7040 between the note and the fingering:
7042 \once \property Voice.Fingering \set #'padding = #3
7045 Inserting this command before the Fingering object is created,
7046 i.e. before @code{c2}, yields the following result:
7048 @lilypond[relative=2,fragment,verbatim]
7049 \once \property Voice.Fingering
7056 The context name @code{Voice} in the example above can be determined
7057 as follows. In the documentation for @internalsref{Fingering}, it says
7059 Fingering grobs are created by: @internalsref{Fingering_engraver}
7062 Clicking @code{Fingering_engraver} shows the documentation of
7063 the module responsible for interpreting the fingering instructions and
7064 translating them to a @code{Fingering} object. Such a module is called
7065 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7068 Fingering_engraver is part of contexts: Voice
7070 so tuning the settings for Fingering should be done with
7072 \property Voice.Fingering \set @dots{}
7075 Of course, the tweak may also done in a larger context than
7076 @code{Voice}, for example, @internalsref{Staff} or
7077 @internalsref{Score}.
7079 The internals document also contains alphabetical lists of
7080 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7081 @internalsref{Music-expressions}, so you can also find which objects to
7082 tweak by browsing the internals document.
7086 @subsection Applyoutput
7088 The most versatile way of tuning an object is @code{\applyoutput}. Its
7091 \applyoutput @var{proc}
7095 where @var{proc} is a Scheme function, taking four arguments.
7097 When interpreted, the function @var{proc} is called for every layout object found
7098 in the context, with the following arguments:
7100 @item the layout object itself,
7101 @item the context where the layout object was created, and
7102 @item the context where @code{\applyoutput} is processed.
7105 In addition, the cause of the layout object, i.e. the music
7106 expression or object that was responsible for creating it, is in the
7107 object property @code{cause}. For example, for a note head, this is a
7108 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7109 this is a @internalsref{NoteHead} object.
7112 @node Outputproperty
7113 @subsection Outputproperty
7115 @cindex @code{\outputproperty}
7117 Another way of tuning objects is the more arcane @code{\outputproperty}
7118 feature. The syntax is as follows:
7120 \outputproperty @var{predicate} @var{symbol} = @var{value}
7122 Here @code{predicate} is a Scheme function taking an object argument, and
7123 returning a boolean. This statement is processed by the
7124 @code{Output_property_engraver}. It instructs the engraver to feed all
7125 objects that it sees to @var{predicate}. Whenever the predicate returns
7126 true, the object property @var{symbol} will be set to @var{value}.
7128 You will need to combine this statement with @code{\context} to select
7129 the appropriate context to apply this to.
7130 @inputfileref{input/regression,output-property.ly} shows an example of
7131 the use of @code{\outputproperty}.
7135 This command is slated for removal. Please use the
7136 @code{\applyoutput} command, see @ref{Applyoutput}.
7139 @node Font selection
7140 @subsection Font selection
7142 The most common thing to change about the appearance of fonts is their
7143 size. The font size of any context can be easily changed by setting
7144 the @code{fontSize} property for that context. Its value is an
7145 integer: negative numbers make the font smaller, positive numbers
7146 larger. An example is given below:
7148 @lilypond[fragment,relative=1,verbatim,quote]
7149 c4 c4 \property Voice.fontSize = #-1
7152 This command will set @code{font-relative-size} (see below), and does
7153 not change the size of variable symbols, such as beams or slurs.
7156 One of the uses of @code{fontSize} is to get smaller symbol for cue
7157 notes. An elaborate example of those is in
7158 @inputfileref{input/test,cue-notes.ly}.
7160 @cindex magnification
7162 The size of the font may be scaled with the object property
7163 @code{font-magnification}. For example, @code{2.0} blows up all
7164 letters by a factor 2 in both directions.
7173 The font used for printing a object can be selected by setting
7174 @code{font-name}, e.g.
7176 \property Staff.TimeSignature
7177 \set #'font-name = #"cmr17"
7181 Any font can be used, as long as it is available to @TeX{}. Possible
7182 fonts include foreign fonts or fonts that do not belong to the
7183 Computer Modern font family.
7185 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7186 can also be adjusted with a more fine-grained mechanism. By setting
7187 the object properties described below, you can select a different font;
7188 all three mechanisms work for every object that supports
7189 @code{font-interface}:
7193 is a symbol indicating the general class of the typeface. Supported are
7194 @code{roman} (Computer Modern), @code{braces} (for piano staff
7195 braces), @code{music} (the standard music font, including ancient
7196 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7199 is a symbol indicating the shape of the font, there are typically several
7200 font shapes available for each font family. Choices are @code{italic},
7201 @code{caps} and @code{upright}.
7204 is a symbol indicating the series of the font. There are typically several
7205 font series for each font family and shape. Choices are @code{medium}
7208 @item font-relative-size
7209 is a number indicating the size relative the standard size. For example,
7210 with 20pt staff height, relative size -1 corresponds to 16pt staff
7211 height, and relative size +1 corresponds to 23 pt staff height.
7213 There are small differences in design between fonts designed for
7214 different sizes, hence @code{font-relative-size} is preferred over
7215 @code{font-magnification} for changing font sizes.
7218 @item font-design-size
7219 is a number indicating the design size of the font.
7221 This is a feature of the Computer Modern Font: each point size has a
7222 slightly different design. Smaller design sizes are relatively wider,
7223 which enhances readability.
7226 For any of these properties, the value @code{*} (i.e. the symbol
7227 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7228 to override default setting, which are always present. For example:
7230 \property Lyrics . LyricText \override #'font-series = #'bold
7231 \property Lyrics . LyricText \override #'font-family = #'typewriter
7232 \property Lyrics . LyricText \override #'font-shape = #'*
7235 @cindex @code{font-style}
7239 The following commands set @code{fontSize} for the current voice.
7241 @cindex @code{\tiny}
7243 @cindex @code{\small}
7245 @cindex @code{\normalsize}
7250 Relative size is not linked to any real size.
7252 There is no style sheet provided for other fonts besides the @TeX{}
7253 family, and the style sheet cannot be modified easily.
7255 @cindex font selection
7256 @cindex font magnification
7257 @cindex @code{font-interface}
7261 @subsection Text markup
7266 @cindex typeset text
7268 LilyPond has an internal mechanism to typeset texts. You can access it
7269 with the keyword @code{\markup}. Within markup mode, you can enter texts
7270 similar to lyrics: simply enter them, surrounded by spaces:
7273 @lilypond[verbatim,fragment,relative=1]
7274 c1^\markup { hello }
7275 c1_\markup { hi there }
7276 c1^\markup { hi \bold there, is \italic anyone home? }
7279 @cindex font switching
7281 The markup in the example demonstrates font switching commands. The
7282 command @code{\bold} and @code{\italic} only apply to the first
7283 following word; enclose a set of texts with braces to apply a command
7286 \markup @{ \bold @{ hi there @} @}
7290 For clarity, you can also do this for single arguments, e.g.
7292 \markup @{ is \italic @{ anyone @} home @}
7295 @cindex font size, texts
7297 The following size commands set absolute sizes:
7299 @cindex @code{\teeny}
7300 @cindex @code{\tiny}
7301 @cindex @code{\small}
7302 @cindex @code{\large}
7303 @cindex @code{\huge}
7313 You can also make letter larger or smaller relative to their neighbors,
7314 with the commands @code{\larger} and @code{\smaller}.
7318 @cindex font style, for texts
7319 @cindex @code{\bold}
7320 @cindex @code{\dynamic}
7321 @cindex @code{\number}
7322 @cindex @code{\italic}
7324 The following font change commands are defined:
7327 changes to the font used in dynamic signs. This font does not
7328 contain all characters of the alphabet, so when producing ``piu f'',
7329 the ``piu'' should be done in a different font.
7333 changes to the font used in time signatures. It only contains
7334 numbers and a few punctuation marks.
7336 changes @code{font-shape} to @code{italic}.
7338 changes @code{font-series} to @code{bold}.
7341 @cindex raising text
7342 @cindex lowering text
7344 @cindex translating text
7347 @cindex @code{\super}
7349 Raising and lowering texts can be done with @code{\super} and
7352 @lilypond[verbatim,fragment,relative=1]
7353 c1^\markup { E "=" mc \super "2" }
7356 @cindex @code{\raise}
7358 If you want to give an explicit amount for lowering or raising, use
7359 @code{\raise}. This command takes a Scheme valued first argument, and
7360 a markup object as second argument:
7362 @lilypond[verbatim,fragment,relative=1,quote]
7363 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7365 The argument to @code{\raise} is the vertical displacement amount,
7366 measured in (global) staff spaces. @code{\raise} and @code{\super}
7367 raise objects in relation to their surrounding markups. They cannot be
7368 used to move a single text up or down, when it is above or below a
7369 note, since the mechanism that positions it next to the note cancels
7370 any vertical shift. For vertical positioning, use the @code{padding}
7371 and/or @code{extra-offset} properties.
7373 Other commands taking single arguments include
7376 @item \bracket, \hbracket
7377 Bracket the argument markup with normal and horizontal brackets
7381 @cindex @code{\musicglyph}
7382 This is converted to a musical symbol, e.g. @code{\musicglyph
7383 #"accidentals-0"} will select the natural sign from the music font.
7384 See @ref{The Feta font} for a complete listing of the possible glyphs.
7386 This produces a single character, e.g. @code{\char #65} produces the
7389 @item \note @var{log} @var{dots} @var{dir}
7390 @cindex @code{\note}
7392 This produces a note with a stem pointing in @var{dir} direction, with
7393 duration log @var{log} and @var{dots} augmentation dots. The duration
7394 log is the negative 2-logarithm of the duration denominator. For
7395 example, a quarter note has log 2, an eighth note 3 and a breve has
7398 @item \hspace #@var{amount}
7399 @cindex @code{\hspace}
7400 This produces a invisible object taking horizontal space.
7402 \markup @{ A \hspace #2.0 B @}
7404 will put extra space between A and B, on top of the space that is
7405 normally inserted before elements on a line.
7407 @item \fontsize #@var{size}
7408 @cindex @code{\fontsize}
7409 This sets the relative font size, eg.
7411 A \fontsize #2 @{ B C @} D
7415 This will enlarge the B and the C by two steps.
7416 @item \translate #(cons @var{x} @var{y})
7418 This translates an object. Its first argument is a cons of numbers
7420 A \translate #(cons 2 -3) @{ B C @} D
7422 This moves `B C' 2 spaces to the right, and 3 down.
7424 @item \magnify #@var{mag}
7425 @cindex @code{\magnify}
7426 This sets the font magnification for the its argument. In the following
7427 example, the middle A will be 10% larger:
7429 A \magnify #1.1 @{ A @} A
7433 @item \override #(@var{key} . @var{value})
7434 @cindex @code{\override}
7435 This overrides a formatting property for its argument. The argument
7436 should be a key/value pair, e.g.
7438 m \override #'(font-family . math) m m
7442 In markup mode you can compose expressions, similar to mathematical
7443 expressions, XML documents and music expressions. The braces group
7444 notes into horizontal lines. Other types of lists also exist: you can
7445 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7446 the command @code{\column}. Similarly, @code{\center} aligns texts by
7449 @lilypond[verbatim,fragment,relative=1]
7450 c1^\markup { \column << a bbbb c >> }
7451 c1^\markup { \center << a bbbb c >> }
7452 c1^\markup { \line << a b c >> }
7455 The markup mechanism is extensible. Refer to
7456 @file{scm/new-markup.scm} for more information.
7462 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
7469 Text layout is ultimately done by @TeX{}, which does kerning of
7470 letters. LilyPond does not account for kerning, so texts will be
7471 spaced slightly too wide.
7473 Syntax errors for markup mode are confusing.
7479 @section Global layout
7481 The global layout determined by three factors: the page layout, the
7482 line breaks and the spacing. These all influence each other. The
7483 choice of spacing determines how densely each system of music is set,
7484 which influences where line breaks breaks are chosen, and thus
7485 ultimately how many pages a piece of music takes. In this section, the
7486 algorithm for spacing music is explained, and how spacing can be
7489 Globally spoken, this procedure happens in three steps: first,
7490 flexible distances (``springs'') are chosen, based on durations. All
7491 possible line breaking combination are tried, and the one with the
7492 best results---a layout that has uniform density and requires as
7493 little stretching or cramping as possible---is chosen. When the score
7494 is processed by @TeX{}, each page is filled with systems, and page breaks
7495 are chosen whenever the page gets full.
7500 * Vertical spacing::
7501 * Horizontal spacing::
7508 @node Vertical spacing
7509 @subsection Vertical spacing
7511 @cindex vertical spacing
7512 @cindex distance between staves
7513 @cindex staff distance
7514 @cindex between staves, distance
7515 @cindex staffs per page
7518 The height of each system is determined automatically by LilyPond, to
7519 keep systems from bumping into each other, some minimum distances are
7520 set. By changing these, you can put staves closer together, and thus
7521 put more systems onto one page.
7523 Normally staves are stacked vertically. To make
7524 staves maintain a distance, their vertical size is padded. This is
7525 done with the property @code{minimumVerticalExtent}. It takes a pair
7526 of numbers, so if you want to make it smaller from its, then you could
7529 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7531 This sets the vertical size of the current staff to 4 staff-space on
7532 either side of the center staff line. The argument of
7533 @code{minimumVerticalExtent} is interpreted as an interval, where the
7534 center line is the 0, so the first number is generally negative. The
7535 staff can be made larger at the bottom by setting it to @code{(-6
7538 The piano staves are handled a little differently: to make cross-staff
7539 beaming work correctly, it is necessary that the distance between staves
7540 is fixed beforehand. This is also done with a
7541 @internalsref{VerticalAlignment} object, created in
7542 @internalsref{PianoStaff}. In this object the distance between the
7543 staves is fixed by setting @code{forced-distance}. If you want to
7544 override this, use a @code{\translator} block as follows:
7548 VerticalAlignment \override #'forced-distance = #9
7551 This would bring the staves together at a distance of 9 staff spaces,
7552 measured from the center line of each staff.
7556 Vertical alignment of staves is handled by the
7557 @internalsref{VerticalAlignment} object.
7561 @node Horizontal spacing
7562 @subsection Horizontal Spacing
7564 The spacing engine translates differences in durations into
7565 stretchable distances (``springs'') of differing lengths. Longer
7566 durations get more space, shorter durations get less. The shortest
7567 durations get a fixed amount of space (which is controlled by
7568 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
7569 /The longer the duration, the more space it gets: doubling a
7570 duration adds a fixed amount (this amount is controlled by
7571 @code{spacing-increment}) of space to the note.
7573 For example, the following piece contains lots of half, quarter and
7574 8th notes, the eighth note is followed by 1 note head width (NHW).
7575 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
7576 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
7580 Normally, @code{shortest-duration-space} is set to 1.2, which is the
7581 width of a note head, and @code{shortest-duration-space} is set to
7582 2.0, meaning that the shortest note gets 2 NHW (2 times
7583 @code{shortest-duration-space}) of space. For normal notes, this space
7584 is always counted from the left edge of the symbol, so the shortest
7585 notes are generally followed by one NHW of space.
7587 If one would follow the above procedure exactly, then adding a single
7588 32th note to a score that uses 8th and 16th notes, would widen up the
7589 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
7590 thus adding 2 noteheads of space to every note. To prevent this, the
7591 shortest duration for spacing is not the shortest note in the score,
7592 but the most commonly found shortest note. Notes that are even
7593 shorter this are followed by a space that is proportonial to their
7594 duration relative to the common shortest note. So if we were to add
7595 only a few 16th notes to the example above, they would be followed by
7598 @lilypond[fragment, verbatim, relative=2]
7599 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
7602 The most common shortest duration is determined as follows: in every
7603 measure, the shortest duration is determined. The most common short
7604 duration, is taken as the basis for the spacing, with the stipulation
7605 that this shortest duration should always be equal to or shorter than
7606 1/8th note. The shortest duration is printed when you run lilypond
7607 with @code{--verbose}. These durations may also be customized. If you
7608 set the @code{common-shortest-duration} in
7609 @internalsref{SpacingSpanner}, then this sets the base duration for
7610 spacing. The maximum duration for this base (normally 1/8th), is set
7611 through @code{base-shortest-duration}.
7613 @cindex @code{common-shortest-duration}
7614 @cindex @code{base-shortest-duration}
7615 @cindex @code{stem-spacing-correction}
7616 @cindex @code{spacing}
7618 In the introduction it was explained that stem directions influence
7619 spacing. This is controlled with @code{stem-spacing-correction}
7620 property in @internalsref{NoteSpacing}, which are generated for every
7621 @internalsref{Voice} context. The @code{StaffSpacing} object
7622 (generated at @internalsref{Staff} context) contains the same property
7623 for controlling the stem/barline spacing. The following example
7624 shows these corrections, once with default settings, and once with
7625 exaggerated corrections:
7631 \property Staff.NoteSpacing \override #'stem-spacing-correction
7633 \property Staff.StaffSpacing \override #'stem-spacing-correction
7638 \paper { raggedright = ##t } }
7641 @cindex SpacingSpanner, overriding properties
7643 Properties of the @internalsref{SpacingSpanner} must be overridden
7644 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
7645 created before any @code{\property} statements are interpreted.
7647 \paper @{ \translator @{
7649 SpacingSpanner \override #'spacing-increment = #3.0
7656 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
7657 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
7658 @internalsref{SeparatingGroupSpanner}.
7662 Spacing is determined on a score wide basis. If you have a score that
7663 changes its character (measured in durations) halfway during the
7664 score, the part containing the longer durations will be spaced too
7667 There is no convenient mechanism to manually override spacing.
7672 @subsection Font size
7673 @cindex font size, setting
7674 @cindex staff size, setting
7675 @cindex @code{paper} file
7677 The Feta font provides musical symbols at seven different sizes.
7678 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
7679 26 point. The point size of a font is the height of the corresponding
7680 staff (excluding line thicknesses).
7682 Definitions for these sizes are the files @file{paperSZ.ly}, where
7683 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
7684 of these files, the variables @code{paperEleven},
7685 @code{paperThirteen}, @code{paperSixteen},
7686 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
7687 are defined respectively. The default @code{\paper} block is also
7688 set. These files should be imported at toplevel, i.e.
7690 \include "paper26.ly"
7694 The default font size settings for each staff heights are generated
7695 from the 20pt style sheet. For more details, see the file
7696 @file{scm/font.scm}.
7700 @subsection Line breaking
7703 @cindex breaking lines
7705 Line breaks are normally computed automatically. They are chosen such
7706 that lines look neither cramped nor loose, and that consecutive lines
7707 have similar density.
7709 Occasionally you might want to override the automatic breaks; you can
7710 do this by specifying @code{\break}. This will force a line break at
7711 this point. Line breaks can only occur at places where there are bar
7712 lines. If you want to have a line break where there is no bar line,
7713 you can force an invisible bar line by entering @code{\bar
7714 ""}. Similarly, @code{\noBreak} forbids a line break at a
7718 @cindex regular line breaks
7719 @cindex four bar music.
7721 For linebreaks at regular intervals use @code{\break} separated by
7722 skips and repeated with @code{\repeat}:
7724 < \repeat unfold 7 @{ s1 * 4 \break @}
7725 @emph{the real music}
7730 This makes the following 28 measures (assuming 4/4 time) be broken every
7735 @internalsref{BreakEvent}.
7739 @subsection Page layout
7742 @cindex breaking pages
7744 @cindex @code{indent}
7745 @cindex @code{linewidth}
7747 The most basic settings influencing the spacing are @code{indent} and
7748 @code{linewidth}. They are set in the @code{\paper} block. They
7749 control the indentation of the first line of music, and the lengths of
7752 If @code{raggedright} is set to true in the @code{\paper}
7753 block, then the lines are justified at their natural length. This
7754 useful for short fragments, and for checking how tight the natural
7758 @cindex vertical spacing
7760 The page layout process happens outside the LilyPond formatting
7761 engine: variables controlling page layout are passed to the output,
7762 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
7763 to the following variables in the @code{\paper} block. The variable
7764 @code{textheight} sets the total height of the music on each page.
7765 The spacing between systems is controlled with @code{interscoreline},
7766 its default is 16pt. The distance between the score lines will
7767 stretch in order to fill the full page @code{interscorelinefill} is
7768 set to a positive number. In that case @code{interscoreline}
7769 specifies the minimum spacing.
7771 @cindex @code{textheight}
7772 @cindex @code{interscoreline}
7773 @cindex @code{interscorelinefill}
7775 If the variable @code{lastpagefill} is defined,
7776 @c fixme: this should only be done if lastpagefill == #t
7777 systems are evenly distributed vertically on the last page. This
7778 might produce ugly results in case there are not enough systems on the
7779 last page. The @command{lilypond-book} command ignores
7780 @code{lastpagefill}. See @ref{lilypond-book manual} for more
7783 @cindex @code{lastpagefill}
7785 Page breaks are normally computed by @TeX{}, so they are not under
7786 direct control of LilyPond. However, you can insert a commands into
7787 the @file{.tex} output to instruct @TeX{} where to break pages. This
7788 is done by setting the @code{between-systems-strings} on the
7789 @internalsref{NonMusicalPaperColumn} where the system is broken.
7790 An example is shown in @inputfileref{input/regression,between-systems.ly}.
7791 The predefined command @code{\newpage} also does this.
7795 @cindex @code{papersize}
7797 To change the paper size, you must first set the @code{papersize} paper
7798 variable variable as in the example below. Set it to
7799 the strings @code{a4}, @code{letter}, or @code{legal}. After this
7800 specification, you must set the font as described above. If you want
7801 the default font, then use the 20 point font.
7804 \paper@{ papersize = "a4" @}
7805 \include "paper16.ly"
7808 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
7809 will set the paper variables @code{hsize} and @code{vsize} (used by
7810 @code{lilypond} and @code{ly2dvi}).
7815 @cindex @code{\newpage}
7821 @ref{Invoking ly2dvi},
7822 @inputfileref{input/regression,between-systems.ly}, and
7823 @internalsref{NonMusicalPaperColumn}.
7827 LilyPond has no concept of page layout, which makes it difficult to
7828 reliably choose page breaks in longer pieces.
7837 Entered music can also be converted to MIDI output. The performance
7838 is good enough for proof-hearing the music for errors.
7840 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7841 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7842 marks translate to a fixed fraction of the available MIDI volume
7843 range, crescendi and decrescendi make the volume vary linearly between
7844 their two extremities. The fractions can be adjusted by
7845 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7846 For each type of MIDI instrument, a volume range can be defined. This
7847 gives a basic equalizer control, which can enhance the quality of
7848 the MIDI output remarkably. The equalizer can be controlled by
7849 setting @code{instrumentEqualizer}.
7853 Many musically interesting effects, such as swing, articulation,
7854 slurring, etc., are not translated to MIDI.
7859 * MIDI instrument names::
7864 @subsection MIDI block
7868 The MIDI block is analogous to the paper block, but it is somewhat
7869 simpler. The @code{\midi} block can contain:
7873 @item a @code{\tempo} definition, and
7874 @item context definitions.
7877 Assignments in the @code{\midi} block are not allowed.
7881 @cindex context definition
7883 Context definitions follow precisely the same syntax as within the
7884 \paper block. Translation modules for sound are called performers.
7885 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7888 @node MIDI instrument names
7889 @subsection MIDI instrument names
7891 @cindex instrument names
7892 @cindex @code{Staff.midiInstrument}
7893 @cindex @code{Staff.instrument}
7895 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7896 property or, if that property is not set, the @code{Staff.instrument}
7897 property. The instrument name should be chosen from the list in
7898 @ref{MIDI instruments}.
7902 If the selected string does not exactly match, then LilyPond uses the
7903 default (Grand Piano). It is not possible to select an instrument by