2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
12 @chapter Notation manual
14 This chapter describes all the different types of notation supported
15 by LilyPond. It is intended as a reference for users that are already
16 somewhat familiar with using LilyPond.
20 * Easier music entry::
34 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
48 The basic elements of any piece of music are the notes. This section
49 is about basic notation elements notes, rests and related constructs,
50 such as stems, tuplets and ties.
55 * Chromatic alterations::
70 A note is printed by specifying its pitch and then its duration:
71 @footnote{Notes constitute the most basic elements of LilyPond input,
72 but they do not form valid input on their own without a @code{\score}
73 block. However, for the sake of brevity and simplicity we will
74 generally omit @code{\score} blocks and @code{\paper} declarations in
77 @lilypond[fragment,verbatim]
86 @cindex Note specification
88 @cindex entering notes
90 The most common syntax for pitch entry is used in @code{\chords} and
91 @code{\notes} mode. In Note and Chord mode, pitches may be designated
92 by names. The notes are specified by the letters @code{a} through
93 @code{g}, while the octave is formed with notes ranging from @code{c}
94 to @code{b}. The pitch @code{c} is an octave below middle C and the
95 letters span the octave above that C:
97 @lilypond[fragment,verbatim]
99 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
102 @cindex note names, Dutch
104 A sharp is formed by adding @code{-is} to the end of a pitch name and
105 a flat is formed by adding @code{-es}. Double sharps and double flats
106 are obtained by adding @code{-isis} or @code{-eses}. These
107 names are the Dutch note names. In Dutch, @code{aes} is contracted to
108 @code{as}, but both forms are accepted. Similarly, both
109 @code{es} and @code{ees} are accepted.
111 Half-flats and half-sharps are formed by adding @code{-eh} and
112 @code{-ih}; the following is a series of Cs with increasing pitches:
114 @cindex quarter tones
115 @cindex semi-flats, semi-sharps
117 @lilypond[verbatim,relative=2]
129 There are predefined sets of note names for various other languages.
130 To use them, include the language specific init file. For
131 example: @code{\include "english.ly"}. The available language files
132 and the note names they define are:
137 Note Names sharp flat
138 nederlands.ly c d e f g a bes b -is -es
139 english.ly c d e f g a bf b -s/-sharp -f/-flat
141 deutsch.ly c d e f g a b h -is -es
142 norsk.ly c d e f g a b h -iss/-is -ess/-es
143 svenska.ly c d e f g a b h -iss -ess
144 italiano.ly do re mi fa sol la sib si -d -b
145 catalan.ly do re mi fa sol la sib si -d/-s -b
146 espanol.ly do re mi fa sol la sib si -s -b
155 The optional octave specification takes the form of a series of
156 single quote (`@code{'}') characters or a series of comma
157 (`@code{,}') characters. Each @code{'} raises the pitch by one
158 octave; each @code{,} lowers the pitch by an octave:
160 @lilypond[fragment,verbatim,center]
161 c' c'' es' g' as' gisis' ais'
167 Notes can be hidden and unhidden with the following commands:
169 @cindex @code{\hideNotes}
171 @cindex @code{\unHideNotes}
177 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
179 @node Chromatic alterations
180 @subsection Chromatic alterations
182 Normally accidentals are printed automatically, but you may also
183 print them manually. A reminder accidental
184 @cindex reminder accidental
186 can be forced by adding an exclamation mark @code{!}
187 after the pitch. A cautionary accidental
188 @cindex cautionary accidental
189 @cindex parenthesized accidental
190 (i.e. an accidental within parentheses) can be obtained by adding the
191 question mark `@code{?}' after the pitch:
193 @lilypond[fragment,verbatim]
194 cis' cis' cis'! cis'?
198 The automatic production of accidentals can be tuned in many
199 ways. For more information, refer to @ref{Accidentals}.
204 A chord is formed by a enclosing a set of pitches in @code{<} and
205 @code{>}. A chord may be followed by a duration, and a set of
206 articulations, just like simple notes.
216 Rests are entered like notes, with the note name @code{r}:
218 @lilypond[raggedright,verbatim]
222 Whole bar rests, centered in middle of the bar,
223 must be done with multi measure rests. They are discussed in
224 @ref{Multi measure rests}.
227 A rest's vertical position may be explicitly specified by entering a
228 note with the @code{\rest} keyword appended. This makes manual
229 formatting in polyphonic music easier. Rest collision testing will
230 leave these rests alone:
232 @lilypond[raggedright,verbatim]
238 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
245 @cindex Invisible rest
248 An invisible rest (also called a `skip') can be entered like a note
249 with note name `@code{s}' or with @code{\skip @var{duration}}:
251 @lilypond[raggedright,verbatim]
255 The @code{s} syntax is only available in note mode and chord mode. In
256 other situations, you should use the @code{\skip} command:
258 @lilypond[raggedright,verbatim]
261 { \time 4/8 \skip 2 \time 4/4 }
262 \notes\relative c'' { a2 a1 }
267 The skip command is merely an empty musical placeholder. It does not
268 produce any output, not even transparent output.
270 The @code{s} skip command does create @internalsref{Staff} and
271 @internalsref{Voice} when necessary, similar to note and rest
272 commands. For example, the following results in an empty staff.
274 @lilypond[raggedright,verbatim]
275 \score { \notes { s4 } }
278 The same fragment using @code{\skip} results in an empty page.
282 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
287 @subsection Durations
293 In Note, Chord, and Lyrics mode, durations are designated by numbers
294 and dots: durations are entered as their reciprocal values. For example,
295 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
296 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
297 longer than a whole you must use variables:
301 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \notes \relative c'' {
310 a1 a2 a4 a8 a16 a32 a64 a64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \remove "Clef_engraver"
318 StaffSymbol \set #'transparent = ##t
319 TimeSignature \set #'transparent = ##t
320 \consists "Pitch_squash_engraver"
327 If the duration is omitted then it is set to the previously entered
328 duration. The default for the first note is a quarter note. The duration
329 can be followed by dots (`@code{.}') in order to obtain dotted note
333 @lilypond[fragment,verbatim,center]
334 a' b' c''8 b' a'4 a'4. b'4.. c'8.
339 You can alter the length of duration by a fraction @var{N/M}
340 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
341 will not affect the appearance of the notes or rests produced.
342 In the following example, the first three notes take up exactly two
344 @lilypond[fragment,relative=2,verbatim]
346 a4*2/3 gis4*2/3 a4*2/3
353 Dots are normally moved up to avoid staff lines, except in polyphonic
354 situations. The following commands may be used to force a particular
357 @cindex @code{\dotsUp}
359 @cindex @code{\dotsDown}
361 @cindex @code{\dotsBoth}
366 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
371 Whenever a note is found, a @internalsref{Stem} object is created
372 automatically. For whole notes and rests, they are also created but
377 @cindex @code{\stemUp}
379 @cindex @code{\stemDown}
381 @cindex @code{\stemBoth}
392 A tie connects two adjacent note heads of the same pitch. The tie in
393 effect extends the length of a note. Ties should not be confused with
394 slurs, which indicate articulation, or phrasing slurs, which indicate
395 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
397 @lilypond[fragment,verbatim,center]
398 e' ~ e' <c' e' g'> ~ <c' e' g'>
401 When a tie is applied to a chord, all note heads whose pitches match
402 are connected. When no note heads match, no ties will be created.
404 In its meaning a tie is just a way of extending a note duration, similar
405 to the augmentation dot; in the following example there are two ways of
406 notating exactly the same concept:
408 @lilypond[fragment,raggedright,quote]
409 \time 3/4 c'2. c'2 ~ c'4
411 If you need to tie a lot of notes over bars, it may be easier to use automatic
412 note splitting (see @ref{Automatic note splitting}).
417 @cindex @code{\tieUp}
419 @cindex @code{\tieDown}
421 @cindex @code{\tieBoth}
423 @cindex @code{\tieDotted}
425 @cindex @code{\tieSolid}
430 In this manual: @ref{Automatic note splitting}.
432 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
435 Examples: if you want less ties created for a chord, see
436 @inputfileref{input/test,tie-sparse.ly}.
438 For tying only a subset of the note heads of a pair of chords, see
439 @inputfileref{input/regression,tie-chord-partial.ly}.
444 Switching staves when a tie is active will not produce a slanted tie.
446 Formatting of ties is a difficult subject. The results are often not
456 @cindex @code{\times}
458 Tuplets are made out of a music expression by multiplying all durations
461 @cindex @code{\times}
463 \times @var{fraction} @var{musicexpr}
467 The duration of @var{musicexpr} will be multiplied by the fraction.
468 The fraction's denominator will be printed over the notes, optionally
469 with a bracket. The most common tuplet is the triplet in which 3
470 notes have the length of 2, so the notes are 2/3 of their written
473 @lilypond[fragment,verbatim,center]
474 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
477 The property @code{tupletSpannerDuration} specifies how long each
478 bracket should last. With this, you can make lots of tuplets while
479 typing @code{\times} only once, saving lots of typing. In the next
480 example, there are two triplets shown, while @code{\times} was only
483 @lilypond[fragment,relative,raggedright,verbatim]
484 \set tupletSpannerDuration = #(ly:make-moment 1 4)
485 \times 2/3 { c'8 c c c c c }
488 The format of the number is determined by the property
489 @code{tupletNumberFormatFunction}. The default prints only the
490 denominator, but if it is set to the Scheme function
491 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
495 @cindex @code{tupletNumberFormatFunction}
496 @cindex tuplet formatting
501 @cindex @code{\tupletUp}
503 @cindex @code{\tupletDown}
505 @cindex @code{\tupletBoth}
510 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
512 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
516 Nested tuplets are not formatted automatically. In this case, outer
517 tuplet brackets should be moved manually, which is demonstrated in
518 @inputfileref{input/regression,tuplet-nest.ly}.
522 @node Easier music entry
523 @section Easier music entry
526 When entering music it is easy to introduce errors. This section deals
527 with tricks and features of the input language that were added solely
528 to help entering music, and find and correct mistakes.
530 It is also possible to use external programs, for example GUI
531 interfaces, or MIDI transcription programs, to enter or edit
532 music. Refer to the website for more information. Finally, there are
533 tools make debugging easier, by linking the input file and the output
534 shown on screen. See @ref{Point and click} for more information.
541 * Skipping corrected music::
542 * Automatic note splitting::
548 @node Relative octaves
549 @subsection Relative octaves
551 @cindex relative octave specification
553 Octaves are specified by adding @code{'} and @code{,} to pitch names.
554 When you copy existing music, it is easy to accidentally put a pitch
555 in the wrong octave and hard to find such an error. The relative
556 octave mode prevents these errors: a single error puts the rest of the
557 piece off by one octave:
559 @cindex @code{\relative}
561 \relative @var{startpitch} @var{musicexpr}
564 The octave of notes that appear in @var{musicexpr} are calculated as
565 follows: If no octave changing marks are used, the basic interval
566 between this and the last note is always taken to be a fourth or less
567 (; this distance is determined without regarding alterations: a
568 @code{fisis} following a @code{ceses} will be put above the
571 The octave changing marks @code{'} and @code{,} can be added to raise
572 or lower the pitch by an extra octave. Upon entering relative mode,
573 an absolute starting pitch must be specified that will act as the
574 predecessor of the first note of @var{musicexpr}.
576 Here is the relative mode shown in action:
577 @lilypond[fragment,raggedright,verbatim,center]
583 Octave changing marks are used for intervals greater than a fourth:
584 @lilypond[fragment,verbatim,center]
589 If the preceding item is a chord, the first note of the chord is used
590 to determine the first note of the next chord:
592 @lilypond[fragment,verbatim,center]
599 @cindex @code{\notes}
601 The pitch after the @code{\relative} contains a note name. To parse
602 the pitch as a note name, you have to be in note mode, so there must
603 be a surrounding @code{\notes} keyword (which is not
606 The relative conversion will not affect @code{\transpose},
607 @code{\chords} or @code{\relative} sections in its argument. If you
608 want to use relative within transposed music, you must place an
609 additional @code{\relative} inside the @code{\transpose}.
612 @subsection Octave check
615 Octave checks make octave errors easier to correct: a note may be
616 followed by @code{=}@var{quotes} which indicates what its absolute
617 octave should be. In the following example,
619 \relative c'' @{ c='' b=' d,='' @}
623 @c take care with @code, adds confusing quotes.
624 the d will generate a warning, because a d'' is expected, but a d' is
625 found. In the output, the octave is corrected this and the following
630 There is also a syntax that is separate from the notes.
635 This checks that @var{pitch} (without octave) yields @var{pitch} (with
636 octave) in \relative mode. If not, a warning is printed, and the
637 octave is corrected, for example, the first check is passed
638 successfully. The second check fails with an error message. The
639 octave is adjusted so the following notes are in the correct octave
650 The octave of a note following an octave check is determined with
651 respect to the note preceding it. In the next fragment, the last note
652 is a @code{a'}, above central C. Hence, the @code{\octave} check may
653 be deleted without changing the meaning of the piece.
655 @lilypond[verbatim,fragment]
664 @subsection Bar check
668 @cindex @code{barCheckSynchronize}
671 Bar checks help detect errors in the durations. A bar check is
672 entered using the bar symbol, `@code{|}'. Whenever it is encountered
673 during interpretation, it should fall on a measure boundary. If it
674 does not, a warning is printed. Depending on the value of
675 @code{barCheckSynchronize}, the beginning of the measure will be
678 In the next example, the second bar check will signal an error:
680 \time 3/4 c2 e4 | g2 |
683 Bar checks can also be used in lyrics, for example
688 Twin -- kle | Twin -- kle
693 @cindex skipTypesetting
695 Failed bar checks are caused by entering incorrect
696 durations. Incorrect durations often completely garble up the score,
697 especially if it is polyphonic, so you should start correcting the
698 score by scanning for failed bar checks and incorrect durations. To
699 speed up this process, you can use @code{skipTypesetting}, described
702 @node Skipping corrected music
703 @subsection Skipping corrected music
705 The property @code{Score.skipTypesetting} can be used to switch on and
706 off typesetting completely during the interpretation phase. When
707 typesetting is switched off, the music is processed much more quickly.
708 This can be used to skip over the parts of a score that have already
709 been checked for errors:
711 @lilypond[fragment,raggedright,verbatim]
713 \set Score.skipTypesetting = ##t
715 \set Score.skipTypesetting = ##f
719 @node Automatic note splitting
720 @subsection Automatic note splitting
722 Long notes can be converted automatically to tied notes. This is done
723 by replacing the @internalsref{Note_heads_engraver} by the
724 @internalsref{Completion_heads_engraver}.
725 In the following examples, notes crossing the barline are split and tied.
728 @lilypond[noindent,verbatim,relative=1]
730 \remove "Note_heads_engraver"
731 \consists "Completion_heads_engraver"
733 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 This engraver splits all running notes at the bar line, and inserts
738 ties. One of its uses is to debug complex scores: if the measures are
739 not entirely filled, then the ties exactly show how much each measure
744 Not all durations (especially those containing tuplets) can be
745 represented exactly; the engraver will not insert tuplets.
749 Examples: @inputfileref{input/regression,completion-heads.ly}.
751 Internals: @internalsref{Completion_heads_engraver}.
755 @section Staff notation
757 This section describes music notation that occurs on staff level,
758 such as keys, clefs and time signatures.
760 @cindex Staff notation
774 @subsection Staff symbol
776 @cindex adjusting staff symbol
778 Notes, dynamic signs, etc. are grouped
779 with a set of horizontal lines, into a staff (plural `staves'). In our
780 system, these lines are drawn using a separate layout object called
784 @cindex staff lines, setting number of
785 @cindex staff lines, setting thickness of
786 @cindex thickness of staff lines, setting
787 @cindex number of staff lines, setting
791 Internals: @internalsref{StaffSymbol}.
793 Examples: @inputfileref{input/test,staff-lines.ly},
794 @inputfileref{input/test,staff-size.ly}.
798 If a staff is ended halfway a piece, the staff symbol may not end
799 exactly on the barline.
803 @subsection Key signature
804 @cindex Key signature
808 The key signature indicates the scale in which a piece is played. It
809 is denoted by a set of alterations (flats or sharps) at the start of
814 Setting or changing the key signature is done with the @code{\key}
817 @code{\key} @var{pitch} @var{type}
820 @cindex @code{\minor}
821 @cindex @code{\major}
822 @cindex @code{\minor}
823 @cindex @code{\ionian}
824 @cindex @code{\locrian}
825 @cindex @code{\aeolian}
826 @cindex @code{\mixolydian}
827 @cindex @code{\lydian}
828 @cindex @code{\phrygian}
829 @cindex @code{\dorian}
831 Here, @var{type} should be @code{\major} or @code{\minor} to get
832 @var{pitch}-major or @var{pitch}-minor, respectively.
833 The standard mode names @code{\ionian},
834 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
835 @code{\phrygian}, and @code{\dorian} are also defined.
837 This command sets the context property
838 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
839 can be specified by setting this property directly.
841 Accidentals and key signatures often confuse new users, because
842 unaltered notes get natural signs depending on the keysignature. The
843 tutorial explains why this is so in @ref{More about pitches}.
847 The ordering of a key cancellation is wrong when it is combined with
848 repeat bar lines. The cancellation is also printed after a line break.
852 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
854 @cindex @code{keySignature}
861 The clef indicates which lines of the staff correspond to which
866 The clef can be set or changed with the @code{\clef} command:
867 @lilypond[fragment,verbatim]
868 \key f\major c''2 \clef alto g'2
871 Supported clef-names include:
872 @c Moved standard clefs to the top /MB
876 @item treble, violin, G, G2
889 G clef on 1st line, so-called French violin clef
894 @cindex mezzosoprano clef
897 @cindex baritone clef
900 @cindex varbaritone clef
909 By adding @code{_8} or @code{^8} to the clef name, the clef is
910 transposed one octave down or up, respectively, and @code{_15} and
911 @code{^15} transposes by two octaves. The argument @var{clefname}
912 must be enclosed in quotes when it contains underscores or digits. For
916 @cindex choral tenor clef
917 @lilypond[verbatim,fragment,relative]
921 This command is equivalent to setting @code{clefGlyph},
922 @code{clefPosition} (which controls the Y position of the clef),
923 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
924 when any of these properties are changed.
928 Internals: the object for this symbol is @internalsref{Clef}.
932 @node Ottava brackets
933 @subsection Ottava brackets
935 ``Ottava'' brackets introduce an extra transposition of an octave for
936 the staff. They are created by invoking the function
937 @code{set-octavation}:
943 @lilypond[verbatim,fragment]
952 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
953 (for 15ma) as arguments. Internally the function sets the properties
954 @code{ottavation} (eg. to @code{"8va"}) and
955 @code{centralCPosition}. For overriding the text of the bracket, set
956 @code{ottavation} after invoking @code{set-octavation}, i.e.,
960 \set Staff.ottavation = #"8"
965 Internals: @internalsref{OttavaBracket}.
967 Examples: @inputfileref{input/regression,ottava.ly},
968 @inputfileref{input/regression,ottava-broken.ly}.
972 @code{set-octavation} will get confused when clef changes happen
973 during an octavation bracket.
976 @subsection Time signature
977 @cindex Time signature
981 Time signature indicates the metrum of a piece: a regular pattern of
982 strong and weak beats. It is denoted by a fraction at the start of the
987 The time signature is set or changed by the @code{\time}
989 @lilypond[fragment,verbatim]
990 \time 2/4 c'2 \time 3/4 c'2.
993 The symbol that is printed can be customized with the @code{style}
994 property. Setting it to @code{#'()} uses fraction style for 4/4 and
995 2/2 time. There are many more options for its layout. See
996 @inputfileref{input/test,time.ly} for more examples.
999 This command sets the property @code{timeSignatureFraction},
1000 @code{beatLength} and @code{measureLength} in the @code{Timing}
1001 context, which is normally aliased to @internalsref{Score}. The
1002 property @code{measureLength} determines where bar lines should be
1003 inserted, and how automatic beams should be generated. Changing the
1004 value of @code{timeSignatureFraction} also causes the symbol to be
1007 More options are available through the Scheme function
1008 @code{set-time-signature}. In combination with the
1009 @internalsref{Measure_grouping_engraver}, it will create
1010 @internalsref{MeasureGrouping} signs. Such signs ease reading
1011 rhythmically complex modern music. In the following example, the 9/8
1012 measure is subdivided in 2, 2, 2 and 3. This is passed to
1013 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1016 \score { \notes \relative c'' {
1017 #(set-time-signature 9 8 '(2 2 2 3))
1018 g8[ g] d[ d] g[ g] a8[( bes g]) |
1019 #(set-time-signature 5 8 '(3 2))
1024 \translator { \StaffContext
1025 \consists "Measure_grouping_engraver"
1031 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1036 Automatic beaming does not use measure grouping specified with
1037 @code{set-time-signature}.
1039 @node Partial measures
1040 @subsection Partial measures
1043 @cindex partial measure
1044 @cindex measure, partial
1045 @cindex shorten measures
1046 @cindex @code{\partial}
1048 Partial measures, for example in upsteps, are entered using the
1049 @code{\partial} command:
1050 @lilypond[fragment,verbatim,relative=1]
1051 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1054 The syntax for this command is
1056 \partial @var{duration}
1058 This is internally translated into
1060 \set Timing.measurePosition = -@var{length of duration}
1063 The property @code{measurePosition} contains a rational number
1064 indicating how much of the measure has passed at this point.
1066 @node Unmetered music
1067 @subsection Unmetered music
1069 Bar lines and bar numbers are calculated automatically. For unmetered
1070 music (e.g. cadenzas), this is not desirable. By setting
1071 @code{Score.timing} to false, this automatic timing can be switched
1077 @cindex @code{\cadenzaOn}
1079 @cindex @code{\cadenzaOff}
1083 @subsection Bar lines
1087 @cindex measure lines
1091 Bar lines delimit measures, but are also used to indicate repeats.
1092 Normally, they are inserted automatically. Line breaks may only
1098 of barlines can be forced with the @code{\bar} command:
1100 @lilypond[relative=1,fragment,verbatim]
1104 The following bar types are available:
1105 @lilypond[fragment,relative,raggedright,verbatim]
1118 For allowing linebreaks, there is a special command,
1122 This will insert an invisible barline, and allow linebreaks at this
1125 In scores with many staves, a @code{\bar} command in one staff is
1126 automatically applied to all staves. The resulting bar lines are
1127 connected between different staves of a @internalsref{StaffGroup}:
1129 @lilypond[fragment,verbatim]
1130 << \context StaffGroup <<
1134 \new Staff { \clef bass c4 g e g } >>
1135 \new Staff { \clef bass c2 c2 } >>
1139 The command @code{\bar @var{bartype}} is a short cut for doing
1140 @code{\set Score.whichBar = @var{bartype}} Whenever
1141 @code{whichBar} is set to a string, a bar line of that type is
1142 created. At the start of a measure it is set to
1143 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1144 to override default measure bars.
1146 Property @code{whichBar} can also be set directly, using @code{\set}
1147 or @code{\bar}. These settings take precedence over the automatic
1148 @code{whichBar} settings.
1151 @cindex repeatCommands
1152 @cindex defaultBarType
1154 You are encouraged to use @code{\repeat} for repetitions. See
1161 In this manual: @ref{Repeats}.
1164 Internals: the bar line objects that are created at
1165 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1166 lines that span staves are @internalsref{SpanBar}s.
1168 @cindex bar lines at start of system
1169 @cindex start of system
1171 The barlines at the start of each system are
1172 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1173 @internalsref{SystemStartBracket}. Only one of these types is created
1174 in every context, and that type is determined by the property
1175 @code{systemStartDelimiter}.
1177 Examples: @inputfileref{input/test,bar-lines.ly},
1183 The easiest way to enter fragments with more than one voice on a staff
1184 is to split chords using the separator @code{\\}. You can use it for
1185 small, short-lived voices or for single chords:
1187 @lilypond[verbatim,fragment]
1188 \context Staff \relative c'' {
1189 c4 << { f d e } \\ { b c2 } >>
1190 c4 << g' \\ b, \\ f' \\ d >>
1194 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1195 voices are sometimes called "layers" other notation packages}
1197 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1198 each of these contexts, vertical direction of slurs, stems, etc. is set
1201 @cindex @code{\voiceOne}
1202 @cindex @code{\voiceFour}
1204 This can also be done by instantiating @internalsref{Voice} contexts
1205 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1206 a stem directions and horizontal shift for each part:
1209 @lilypond[raggedright,verbatim]
1211 \context Staff << \new Voice { \voiceOne cis2 b }
1212 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1213 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1217 The command @code{\oneVoice} will revert back to the normal setting.
1218 @cindex @code{\oneVoice}
1221 Normally, note heads with a different number of dots are not merged, but
1222 when the object property @code{merge-differently-dotted} is set in
1223 the @internalsref{NoteCollision} object, they are merged:
1224 @lilypond[verbatim,fragment,raggedright]
1225 \relative c'' \context Voice << {
1227 \override Staff.NoteCollision
1228 #'merge-differently-dotted = ##t
1230 } \\ { g8.[ f16] g8.[ f16] }
1234 Similarly, you can merge half note heads with eighth notes, by setting
1235 @code{merge-differently-headed}:
1236 @lilypond[fragment,relative=2,verbatim]
1239 \override Staff.NoteCollision
1240 #'merge-differently-headed = ##t
1241 c8 c4. } \\ { c2 c2 } >>
1244 LilyPond also vertically shifts rests that are opposite of a stem:
1247 @lilypond[raggedright,fragment,verbatim]
1248 \context Voice << c''4 \\ r4 >>
1256 @cindex @code{\oneVoice}
1258 @cindex @code{\voiceOne}
1260 @cindex @code{\voiceTwo}
1262 @cindex @code{\voiceThree}
1264 @cindex @code{\voiceFour}
1268 The following commands specify in what chords of the current voice
1269 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1270 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1273 @cindex @code{\shiftOn}
1275 @cindex @code{\shiftOnn}
1277 @cindex @code{\shiftOnnn}
1279 @cindex @code{\shiftOff}
1286 Internals: the objects responsible for resolving collisions are
1287 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1289 Examples: See also example files
1290 @inputfileref{input/regression,collision-dots.ly},
1291 @inputfileref{input/regression,collision-head-chords.ly},
1292 @inputfileref{input/regression,collision-heads.ly},
1293 @inputfileref{input/regression,collision-mesh.ly}, and
1294 @inputfileref{input/regression,collisions.ly}.
1299 Resolving collisions is a intricate subject, and only a few situations
1300 are handled. When LilyPond cannot cope, the @code{force-hshift}
1301 property of the @internalsref{NoteColumn} object and pitched rests can
1302 be used to override typesetting decisions.
1304 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1305 note, and a downstem half note, the 8th note gets the wrong offset.
1307 There is no support for clusters where the same note occurs with
1308 different accidentals in the same chord. In this case, it is
1309 recommended to use enharmonic transcription, or to use special cluster
1310 notation (see @ref{Clusters}).
1315 Beams are used to group short notes into chunks that are aligned with
1316 the metrum. They are inserted automatically in most cases:
1318 @lilypond[fragment,verbatim,relative=2]
1319 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1322 When these automatic decisions are not good enough, beaming can be
1323 entered explicitly. It is also possible to define beaming patterns
1324 that differ from the defaults.
1328 Internals: @internalsref{Beam}.
1331 @cindex Automatic beams
1334 * Setting automatic beam behavior::
1338 @subsection Manual beams
1339 @cindex beams, manual
1343 In some cases it may be necessary to override the automatic beaming
1344 algorithm. For example, the auto beamer will not put beams over rests
1345 or bar lines. Such beams are specified by manually: the begin and end
1346 point are marked with @code{[} and @code{]}:
1348 @lilypond[fragment,relative,verbatim]
1350 r4 r8[ g' a r8] r8 g[ | a] r8
1354 @cindex @code{stemLeftBeamCount}
1356 Normally, beaming patterns within a beam are determined automatically.
1357 When this mechanism fouls up, the properties
1358 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1359 be used to control the beam subdivision on a stem. If either property
1360 is set, its value will be used only once, and then it is erased.
1362 @lilypond[fragment,relative,verbatim]
1365 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1368 @cindex @code{stemRightBeamCount}
1371 The property @code{subdivideBeams} can be set in order to subdivide
1372 all 16th or shorter beams at beat positions, as defined by the
1373 @code{beatLength} property . This accomplishes the same effect as
1374 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1375 but it take less typing:
1378 @lilypond[relative=1,verbatim,noindent]
1380 \set subdivideBeams = ##t
1382 \set Score.beatLength = #(ly:make-moment 1 8)
1385 @cindex subdivideBeams
1387 Kneed beams are inserted automatically, when a large gap is detected
1388 between the note heads. This behavior can be tuned through the object
1389 property @code{auto-knee-gap}.
1391 Normally, line breaks are forbidden when beams cross bar lines. This
1392 behavior can be changed by setting @code{allowBeamBreak}.
1394 @cindex @code{allowBeamBreak}
1395 @cindex beams and line breaks
1397 @cindex beams, kneed
1399 @cindex auto-knee-gap
1405 @cindex Frenched staves
1407 Automatically kneed beams cannot be used together with hidden staves.
1412 @node Setting automatic beam behavior
1413 @subsection Setting automatic beam behavior
1415 @cindex @code{autoBeamSettings}
1416 @cindex @code{(end * * * *)}
1417 @cindex @code{(begin * * * *)}
1418 @cindex automatic beams, tuning
1419 @cindex tuning automatic beaming
1421 @c [TODO: use \applycontext]
1423 In normal time signatures, automatic beams can start on any note but can
1424 only end in a few positions within the measure: beams can end on a beat,
1425 or at durations specified by the properties in
1426 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1427 are defined in @file{scm/auto-beam.scm}.
1429 The value of @code{autoBeamSettings} is changed using
1430 @code{\override} and restored with @code{\revert}:
1432 \override autoBeamSettings #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1433 \revert autoBeamSettings #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1435 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1436 whether the rule applies to begin or end-points. The quantity
1437 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1438 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1439 signature (wildcards `@code{* *}' may be entered to designate all time
1442 For example, if automatic beams should end on every quarter note, use
1445 \override autoBeamSettings
1446 #'(end * * * *) = #(ly:make-moment 1 4)
1448 Since the duration of a quarter note is 1/4 of a whole note, it is
1449 entered as @code{(ly:make-moment 1 4)}.
1451 The same syntax can be used to specify beam starting points. In this
1452 example, automatic beams can only end on a dotted quarter note:
1454 \override autoBeamSettings
1455 #'(end * * * *) = #(ly:make-moment 3 8)
1457 In 4/4 time signature, this means that automatic beams could end only on
1458 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1459 3/8, has passed within the measure).
1461 Rules can also be restricted to specific time signatures. A rule that
1462 should only be applied in @var{N}/@var{M} time signature is formed by
1463 replacing the second asterisks by @var{N} and @var{M}. For example, a
1464 rule for 6/8 time exclusively looks like
1466 \override autoBeamSettings
1467 #'(begin * * 6 8) = ...
1470 If a rule should be to applied only to certain types of beams, use the
1471 first pair of asterisks. Beams are classified according to the
1472 shortest note they contain. For a beam ending rule that only applies
1473 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1476 If a score ends while an automatic beam has not been ended and is still
1477 accepting notes, this last beam will not be typeset at all.
1479 @cindex automatic beam generation
1481 @cindex @code{autoBeaming}
1484 For melodies that have lyrics, you may want to switch off
1485 automatic beaming. This is done by setting @code{autoBeaming} to
1490 @cindex @code{\autoBeamOff}
1491 @code{\autoBeamOff},
1492 @cindex @code{\autoBeamOn}
1498 The rules for ending a beam depend on the shortest note in a beam.
1499 So, while it is possible to have different ending rules for eight
1500 beams and sixteenth beams, a beam that contains both eight and
1501 sixteenth notes will use the rules for the sixteenth beam.
1503 In the example below, the autobeamer makes eight beams and sixteenth
1504 end at 3 eights; the third beam can only be corrected by specifying
1507 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1508 \override autoBeamSettings
1509 #'(end * * * *) = #(ly:make-moment 3 8)
1510 % rather show case where it goes wrong
1511 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1512 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1514 It is not possible to specify beaming parameters that act differently in
1515 different parts of a measure. This means that it is not possible to use
1516 automatic beaming in irregular meters such as @code{5/8}.
1519 @section Accidentals
1522 This section describes how to change the way that accidentals are
1523 inserted automatically before the running notes.
1527 * Using the predefined accidental variables::
1528 * Customized accidental rules::
1531 @node Using the predefined accidental variables
1532 @subsection Using the predefined accidental variables
1534 The constructs for describing the accidental typesetting rules are
1535 quite hairy, so non-experts should stick to the variables
1536 defined in @file{ly/property-init.ly}.
1537 @cindex @file{property-init.ly}
1539 The variables set properties in the ``@code{Current}'' context (see
1540 @ref{Context properties}). This means that the variables should
1541 normally be added right after the creation of the context in which the
1542 accidental typesetting described by the variable is to take
1543 effect. For example, if you want to use piano-accidentals in a piano
1544 staff then issue @code{\pianoAccidentals} first thing after the
1545 creation of the piano staff:
1548 \notes \relative c'' <<
1549 \new Staff @{ cis4 d e2 @}
1550 \context GrandStaff <<
1552 \new Staff @{ cis4 d e2 @}
1553 \new Staff @{ es2 c @}
1555 \new Staff @{ es2 c @}
1559 @lilypond[raggedright]
1561 \notes \relative c'' <<
1562 \new Staff { cis4 d e2 }
1563 \context GrandStaff <<
1565 \new Staff { cis4 d e2 }
1566 \new Staff { es2 c }
1568 \new Staff { es2 c }
1573 minimumVerticalExtent = #'(-4.0 . 4.0)
1581 @item \defaultAccidentals
1582 @cindex @code{\defaultAccidentals}
1583 This is the default typesetting behaviour. It should correspond
1584 to 18th century common practice: Accidentals are
1585 remembered to the end of the measure in which they occur and
1586 only on their own octave.
1588 @item \voiceAccidentals
1589 @cindex @code{\voiceAccidentals}
1591 The normal behaviour is to
1592 remember the accidentals on Staff-level. This variable, however,
1593 typesets accidentals individually for each voice. Apart from that the
1594 rule is similar to @code{\defaultAccidentals}.
1596 This leads to some weird and often unwanted results
1597 because accidentals from one voice do not get cancelled in other
1599 @lilypond[raggedright,relative,fragment,verbatim,quote]
1607 Hence you should only use @code{\voiceAccidentals} if the voices
1608 are to be read solely by individual musicians. If the staff is to be
1609 used by one musician (e.g. a conductor) then you use
1610 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1613 @item \modernAccidentals
1614 @cindex @code{\modernAccidentals}
1615 This rule corresponds to the common practice in the 20th
1617 The rule is more complex than @code{\defaultAccidentals}.
1618 You get all the same accidentals, but temporary
1619 accidentals also get cancelled in other octaves. Furthermore,
1620 in the same octave, they also get cancelled in the following measure:
1621 @lilypond[raggedright,fragment,verbatim]
1623 cis' c'' cis'2 | c'' c'
1626 @item \modernCautionaries
1627 @cindex @code{\modernCautionaries}
1628 This rule is similar to @code{\modernAccidentals}, but the
1629 ``extra'' accidentals (the ones not typeset by
1630 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1631 They are printed in reduced size or with parentheses:
1632 @lilypond[raggedright,fragment,verbatim]
1634 cis' c'' cis'2 | c'' c'
1637 @cindex @code{\modernVoiceAccidentals}
1638 @item \modernVoiceAccidentals
1639 is used for multivoice accidentals to be read both by musicians
1640 playing one voice and musicians playing all voices. Accidentals are
1641 typeset for each voice, but they @emph{are} cancelled across voices in
1642 the same @internalsref{Staff}.
1644 @cindex @code{\modernVoiceCautionaries}
1645 @item \modernVoiceCautionaries
1646 is the same as @code{\modernVoiceAccidentals}, but with the extra
1647 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1648 as cautionaries. Even though all accidentals typeset by
1649 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1650 some of them are typeset as cautionaries.
1652 @item \pianoAccidentals
1653 @cindex @code{\pianoAccidentals}
1654 20th century practice for piano notation. Very similar to
1655 @code{\modernAccidentals} but accidentals also get cancelled
1656 across the staves in the same @internalsref{GrandStaff} or
1657 @internalsref{PianoStaff}.
1659 @item \pianoCautionaries
1660 @cindex @code{\pianoCautionaries}
1661 As @code{\pianoAccidentals} but with the extra accidentals
1662 typeset as cautionaries.
1665 @cindex @code{\noResetKey}
1666 Same as @code{\defaultAccidentals} but with accidentals lasting
1667 ``forever'' and not only until the next measure:
1668 @lilypond[raggedright,fragment,verbatim,relative]
1673 @item \forgetAccidentals
1674 @cindex @code{\forgetAccidentals}
1675 This is sort of the opposite of @code{\noResetKey}: Accidentals
1676 are not remembered at all---and hence all accidentals are
1677 typeset relative to the key signature, regardless of what was
1678 before in the music:
1679 @lilypond[raggedright,fragment,verbatim,relative]
1681 \key d\major c4 c cis cis d d dis dis
1685 @node Customized accidental rules
1686 @subsection Customized accidental rules
1688 For determining when to print an accidental, several different rules
1689 are tried. The rule that gives the highest number of accidentals is
1690 used. Each rule consists of
1693 In which context is the rule applied. For example, if
1694 @var{context} is @internalsref{Score} then all staves share
1695 accidentals, and if @var{context} is @internalsref{Staff} then all
1696 voices in the same staff share accidentals, but staves do not.
1699 Whether the accidental changes all octaves or only the current
1700 octave. Valid choices are
1704 This is the default algorithm. Accidentals are typeset if the note changes
1705 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1706 and then as many measures as specified in the value. I.e. 1 means to the end
1707 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1709 Accidentals are typeset if the note is different from
1710 the previous note on the same pitch in any octave. The value has same meaning as in
1716 Over how many barlines the accidental lasts.
1717 If @var{lazyness} is @code{-1} then the accidental is forget
1718 immediately, and if @var{lazyness} is @code{#t} then the accidental
1725 @cindex @code{\defaultAccidentals}
1726 @code{\defaultAccidentals},
1727 @cindex @code{\voiceAccidentals}
1728 @code{\voiceAccidentals},
1729 @cindex @code{\modernAccidentals}
1730 @code{\modernAccidentals},
1731 @cindex @code{\modernCautionaries}
1732 @code{\modernCautionaries},
1733 @cindex @code{\modernVoiceAccidentals}
1734 @code{\modernVoiceAccidentals},
1735 @cindex @code{\modernVoiceCautionaries}
1736 @code{\modernVoiceCautionaries},
1737 @cindex @code{\pianoAccidentals}
1738 @code{\pianoAccidentals},
1739 @cindex @code{\pianoCautionaries}
1740 @code{\pianoCautionaries},
1741 @cindex @code{\noResetKey}
1743 @cindex @code{\forgetAccidentals}
1744 @code{\forgetAccidentals}.
1748 Internals: @internalsref{Accidental_engraver},
1749 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1754 Currently the simultaneous notes are considered to be entered in
1755 sequential mode. This means that in a chord the accidentals are
1756 typeset as if the notes in the chord happened once at a time - in the
1757 order in which they appear in the input file.
1759 This is only a problem when there are simultaneous notes whose
1760 accidentals depend on each other. The problem only occurs when using
1761 non-default accidentals. In the default scheme, accidentals only
1762 depend on other accidentals with the same pitch on the same staff, so
1763 no conflicts possible.
1765 This example shows two examples of the same music giving different
1766 accidentals depending on the order in which the notes occur in the
1769 @lilypond[raggedright,fragment,verbatim]
1770 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1771 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1772 | <cis' c''> r | <c'' cis'> r |
1775 This problem can be solved by manually inserting @code{!} and @code{?}
1776 for the problematic notes.
1778 @node Expressive marks
1779 @section Expressive marks
1782 @c todo: should change ordering
1783 @c where to put text spanners, metronome marks,
1792 * Analysis brackets::
1794 * Fingering instructions::
1805 A slur indicates that notes are to be played bound or @emph{legato}.
1809 They are entered using parentheses:
1810 @lilypond[relative=1,fragment,verbatim,center]
1811 f( g)( a) a8 b( a4 g2 f4)
1816 @c TODO: should explain that ^( and _( set directions
1817 @c should set attachments with ^ and _ ?
1819 Slurs avoid crossing stems, and are generally attached to note heads.
1820 However, in some situations with beams, slurs may be attached to stem
1821 ends. If you want to override this layout you can do this through the
1822 object property @code{attachment} of @internalsref{Slur} in
1823 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1824 the attachment type of the left and right end points:
1826 @lilypond[fragment,relative,verbatim]
1828 \override Stem #'length = #5.5
1830 \override Slur #'attachment = #'(stem . stem)
1834 If a slur would strike through a stem or beam, the slur will be moved
1835 away upward or downward. If this happens, attaching the slur to the
1836 stems might look better:
1838 @lilypond[fragment,relative,verbatim]
1841 \override Slur #'attachment = #'(stem . stem)
1848 @cindex @code{\slurUp}
1850 @cindex @code{\slurDown}
1852 @cindex @code{\slurBoth}
1854 @cindex @code{\slurDotted}
1856 @cindex @code{\slurSolid}
1861 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1866 Producing nice slurs is a difficult problem, and LilyPond currently
1867 uses a simple, empiric method to produce slurs. In some cases, its
1871 @cindex Adjusting slurs
1873 @node Phrasing slurs
1874 @subsection Phrasing slurs
1876 @cindex phrasing slurs
1877 @cindex phrasing marks
1879 A phrasing slur (or phrasing mark) connects chords and is used to
1880 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1883 @lilypond[fragment,verbatim,center,relative]
1884 \time 6/4 c'\( d( e) f( e) d\)
1887 Typographically, the phrasing slur behaves almost exactly like a
1888 normal slur. However, they are treated as different objects. A
1889 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1890 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1891 @code{\phrasingSlurBoth}.
1893 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1894 will only affect normal slurs and not phrasing slurs.
1898 @cindex @code{\phrasingSlurUp}
1899 @code{\phrasingSlurUp},
1900 @cindex @code{\phrasingSlurDown}
1901 @code{\phrasingSlurDown},
1902 @cindex @code{\phrasingSlurBoth}
1903 @code{\phrasingSlurBoth},
1907 Internals: see also @internalsref{PhrasingSlur}, and
1908 @internalsref{PhrasingSlurEvent}.
1912 Phrasing slurs have the same limitations in their formatting as normal
1913 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1916 @subsection Breath marks
1918 Breath marks are entered using @code{\breathe}:
1921 @lilypond[fragment,relative,verbatim]
1925 The glyph of the breath mark can be tweaked by overriding the
1926 @code{text} property of the @code{BreathingSign} layout object with
1927 any markup text. For example,
1928 @lilypond[fragment,verbatim,relative]
1930 \override BreathingSign #'text
1931 = #(make-musicglyph-markup "scripts-rvarcomma")
1938 Internals: @internalsref{BreathingSign},
1939 @internalsref{BreathingSignEvent}.
1941 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1944 @node Metronome marks
1945 @subsection Metronome marks
1948 @cindex beats per minute
1949 @cindex metronome marking
1951 Metronome settings can be entered as follows:
1953 \tempo @var{duration} = @var{perminute}
1956 In the MIDI output, they are interpreted as a tempo change, and in the
1957 paper output, a metronome marking is printed:
1958 @cindex @code{\tempo}
1959 @lilypond[fragment,verbatim]
1965 Internals: @internalsref{MetronomeChangeEvent}.
1970 @subsection Text spanners
1971 @cindex Text spanners
1973 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1974 are written as texts, and extended over many measures with dotted
1975 lines. You can create such texts using text spanners: attach
1976 @code{\startTextSpan} and @code{\stopTextSpan} to the
1977 start and ending note of the spanner.
1979 The string to be printed, as well as the style, is set through object
1982 @lilypond[fragment,relative,verbatim]
1984 \override TextSpanner #'direction = #-1
1985 \override TextSpanner #'edge-text = #'("rall " . "")
1986 c2\startTextSpan b c\stopTextSpan a }
1992 Internals @internalsref{TextSpanEvent},
1993 @internalsref{TextSpanner}.
1995 Examples: @inputfileref{input/regression,text-spanner.ly}.
1998 @node Analysis brackets
1999 @subsection Analysis brackets
2001 @cindex phrasing brackets
2002 @cindex musicological analysis
2003 @cindex note grouping bracket
2005 Brackets are used in musical analysis to indicate structure in musical
2006 pieces. LilyPond supports a simple form of nested horizontal brackets.
2007 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2008 @internalsref{Staff} context. A bracket is started with
2009 @code{\startGroup} and closed with @code{\stopGroup}:
2011 @lilypond[raggedright,verbatim]
2012 \score { \notes \relative c'' {
2013 c4\startGroup\startGroup
2016 c4\stopGroup\stopGroup
2018 \paper { \translator {
2019 \StaffContext \consists "Horizontal_bracket_engraver"
2025 Internals: @internalsref{HorizontalBracket},
2026 @internalsref{NoteGroupingEvent}.
2028 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2032 @subsection Articulations
2033 @cindex Articulations
2035 @cindex articulations
2039 A variety of symbols can appear above and below notes to indicate
2040 different characteristics of the performance. They are added to a note
2041 by adding a dash and the character signifying the
2042 articulation. They are demonstrated here:
2044 @lilypondfile[]{script-abbreviations.ly}
2046 The meanings of these shorthands can be changed: see
2047 @file{ly/script-init.ly} for examples.
2050 The script is automatically placed, but if you need to force
2051 directions, you can use @code{_} to force them down, or @code{^} to
2053 @lilypond[fragment,verbatim]
2057 Other symbols can be added using the syntax
2058 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2059 can be forced up or down using @code{^} and @code{_},
2062 @lilypond[verbatim,fragment,relative=2]
2063 c\fermata c^\fermata c_\fermata
2070 @cindex staccatissimo
2079 @cindex organ pedal marks
2088 @cindex prallmordent
2092 @cindex thumb marking
2097 @lilypondfile[]{script-chart.ly}
2102 @cindex @code{\scriptUp}
2104 @cindex @code{\scriptDown}
2106 @cindex @code{\scriptBoth}
2111 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2115 These note ornaments appear in the printed output but have no
2116 effect on the MIDI rendering of the music.
2119 @node Fingering instructions
2120 @subsection Fingering instructions
2124 Fingering instructions can be entered using
2126 @var{note}-@var{digit}
2128 For finger changes, use markup texts:
2130 @lilypond[verbatim,raggedright,fragment]
2131 c'4-1 c'4-2 c'4-3 c'4-4
2132 c'^\markup { \fontsize #-3 \number "2-3" }
2135 @cindex finger change
2140 You can use the thumb-script to indicate that a note should be
2141 played with the thumb (e.g. in cello music):
2143 @lilypond[verbatim,raggedright,fragment]
2144 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2145 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2148 Fingerings for chords can also be added to individual notes
2149 of the chord by adding them after the pitches:
2150 @lilypond[verbatim,raggedright,fragment,relative=1]
2151 < c-1 e-2 g-3 b-5 > 4
2155 In this case, setting @code{fingeringOrientations} will put fingerings next
2158 @lilypond[verbatim,raggedright,fragment,relative=1]
2159 \set fingeringOrientations = #'(left down)
2160 <c-1 es-2 g-4 bes-5 > 4
2161 \set fingeringOrientations = #'(up right down)
2162 <c-1 es-2 g-4 bes-5 > 4
2165 By using single note chords, fingering instructions can be put close
2166 to note heads in monophonic music.
2170 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2172 Examples: @inputfileref{input/regression,finger-chords.ly}.
2175 @subsection Text scripts
2176 @cindex Text scripts
2178 @cindex text items, non-empty
2179 @cindex non-empty texts
2181 It is possible to place arbitrary strings of text or markup text (see
2182 @ref{Text markup}) above or below notes by using a string:
2183 @code{c^"text"}. By default, these indications do not influence the
2184 note spacing, but by using the command @code{\fatText}, the widths
2185 will be taken into account:
2187 @lilypond[fragment,raggedright,verbatim] \relative c' {
2188 c4^"longtext" \fatText c4_"longlongtext" c4 }
2191 It is possible to use @TeX{} commands in the strings, but this should
2192 be avoided because the exact dimensions of the string can then no
2197 @refcommand{fatText}, @refcommand{emptyText}.
2202 In this manual: @ref{Text markup}.
2204 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2210 @subsection Grace notes
2213 @c should have blurb about accaciatura / appogiatura
2215 @cindex @code{\grace}
2219 Grace notes are ornaments that are written out. The most common ones
2220 are acciaccatura, which should be played as very short. It is denoted
2221 by a slurred small note with a slashed stem. The appoggiatura is a
2222 grace note that takes a fixed fraction of the main note, is and
2223 denoted as a slurred note in small print without a slash.
2224 They are entered with the commands @code{\acciaccatura} and
2225 @code{\appoggiatura}, as demonstrated in the following example:
2228 @cindex appoggiatura
2229 @cindex acciaccatura
2231 @lilypond[relative=2,verbatim,fragment]
2232 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2233 \acciaccatura { g16[ f] } e4
2236 Both are special forms of the @code{\grace} command. By prefixing this
2237 keyword to a music expression, a new one is formed, which will be
2238 printed in a smaller font and takes up no logical time in a measure.
2239 @lilypond[relative=2,verbatim,fragment]
2241 \grace { c16[ d16] } c2 c4
2245 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2246 @code{\grace} command does not start a slur.
2248 Internally, timing for grace notes is done using a second, `grace'
2249 time. Every point in time consists of two rational numbers: one
2250 denotes the logical time, one denotes the grace timing. The above
2251 example is shown here with timing tuples:
2253 @lilypond[raggedright]
2256 c4 \grace c16 c4 \grace {
2259 \new Lyrics \lyrics {
2262 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2263 \markup { (\fraction 1 4 , 0 ) } 4
2265 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2266 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2268 \markup { ( \fraction 2 4 , 0 ) }
2273 The placement of grace notes is synchronized between different staves.
2274 In the following example, there are two sixteenth graces notes for
2275 every eighth grace note:
2277 @lilypond[relative=2,verbatim,fragment]
2278 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2279 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2284 If you want to end a note with a grace, then the standard trick
2285 is to put the grace notes after a ``space note'', e.g.
2286 @lilypond[fragment,verbatim,relative=2]
2289 { s2 \grace { c16[ d] } } >>
2295 By adjusting the duration of the skip note (here it is a half-note),
2296 the space between the main-note and the grace is adjusted.
2299 A @code{\grace} section will introduce special typesetting settings,
2300 for example, to produce smaller type, and set directions. Hence, when
2301 introducing layout tweaks, they should be inside the grace section,
2303 @lilypond[fragment,verbatim,relative=1]
2306 \override Stem #'direction = #-1
2308 \revert Stem #'direction
2315 The overrides should also be reverted inside the grace section.
2317 If the layout of grace sections must be changed throughout the music,
2318 then this can be accomplished through the function
2319 @code{add-grace-property}. The following example
2320 undefines the Stem direction grace section, so stems do not always
2325 #(add-grace-property "Voice" Stem direction '())
2331 Another option is to change the variables @code{startGraceMusic},
2332 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2333 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2334 @code{stopAppoggiaturaMusic}. More information is in the file
2335 @file{ly/grace-init.ly}
2340 Internals: @internalsref{GraceMusic}.
2344 A score that starts with an @code{\grace} section needs an explicit
2345 @code{\context Voice} declaration, otherwise the main note and grace
2346 note end up on different staves.
2348 Grace note synchronization can also lead to surprises. Staff notation,
2349 such as key signatures, barlines, etc. are also synchronized. Take
2350 care when you mix staves with grace notes and staves without, for example,
2352 @lilypond[relative=2,verbatim,fragment]
2353 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2354 \new Staff { c4 \bar "|:" d4 } >>
2357 Grace sections should only be used within sequential music
2358 expressions. Nesting or juxtaposing grace sections is not supported,
2359 and might produce crashes or other errors.
2363 @subsection Glissando
2366 @cindex @code{\glissando}
2368 A glissando is a smooth change in pitch. It is denoted by a line or a
2369 wavy line between two notes.
2373 A glissando line can be requested by attaching a @code{\glissando} to
2376 @lilypond[fragment,relative,verbatim]
2382 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2387 Adding additional texts (such as @emph{gliss.}) is not supported.
2391 @subsection Dynamics
2404 @cindex @code{\ffff}
2414 Absolute dynamic marks are specified using an variable after a
2415 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2416 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2417 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2418 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2420 @lilypond[verbatim,raggedright,fragment,relative]
2421 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2427 @cindex @code{\decr}
2428 @cindex @code{\rced}
2435 A crescendo mark is started with @code{\<} and terminated with
2436 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2437 with @code{\!}. Because these marks are bound to notes, if you must
2438 use spacer notes if multiple marks during one note are needed:
2440 @lilypond[fragment,verbatim,center,quote]
2441 c''\< c''\! d''\decr e''\rced
2442 << f''1 { s4 s4\< s4\! \> s4\! } >>
2444 This may give rise to very short hairpins. Use @code{minimum-length}
2445 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2449 \override Staff.Hairpin #'minimum-length = #5
2452 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2453 is an example how to do it:
2455 @lilypond[fragment,relative=2,verbatim]
2456 c4 \cresc c4 c c c \endcresc c4
2462 You can also supply your own texts:
2463 @lilypond[fragment,relative,verbatim]
2465 \set crescendoText = \markup { \italic "cresc. poco" }
2466 \set crescendoSpanner = #'dashed-line
2476 @cindex @code{\dynamicUp}
2478 @cindex @code{\dynamicDown}
2479 @code{\dynamicDown},
2480 @cindex @code{\dynamicBoth}
2481 @code{\dynamicBoth}.
2483 @cindex direction, of dynamics
2487 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2488 @internalsref{AbsoluteDynamicEvent}.
2490 Dynamics are objects of @internalsref{DynamicText} and
2491 @internalsref{Hairpin}. Vertical positioning of these symbols is
2492 handled by the @internalsref{DynamicLineSpanner} object.
2494 If you want to adjust padding or vertical direction of the dynamics, you
2495 must set properties for the @internalsref{DynamicLineSpanner} object.
2503 @cindex @code{\repeat}
2506 Repetition is a central concept in music, and multiple notations exist
2507 for repetitions. In LilyPond, most of these notations can be captured
2508 in a uniform syntax. One of the advantages is that they can be
2509 rendered in MIDI accurately.
2511 The following types of repetition are supported:
2515 Repeated music is fully written (played) out. Useful for MIDI
2516 output, and entering repetitive music.
2519 This is the normal notation: Repeats are not written out, but
2520 alternative endings (voltas) are printed, left to right.
2524 Alternative endings are written stacked. This has limited use but may be
2525 used to typeset two lines of lyrics in songs with repeats, see
2526 @inputfileref{input,star-spangled-banner.ly}.
2534 Make beat or measure repeats. These look like percent signs.
2540 * Repeats and MIDI::
2541 * Manual repeat commands::
2543 * Tremolo subdivisions::
2548 @subsection Repeat syntax
2552 LilyPond has one syntactic construct for specifying different types of
2553 repeats. The syntax is
2556 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2559 If you have alternative endings, you may add
2560 @cindex @code{\alternative}
2562 \alternative @code{@{} @var{alternative1}
2564 @var{alternative3} @dots{} @code{@}}
2566 where each @var{alternative} is a music expression. If you do not
2567 give enough alternatives for all of the repeats, then the first
2568 alternative is assumed to be played more than once.
2570 Normal notation repeats are used like this:
2571 @lilypond[fragment,verbatim,relative=1]
2573 \repeat volta 2 { c4 d e f }
2574 \repeat volta 2 { f e d c }
2577 With alternative endings:
2578 @lilypond[fragment,verbatim,relative=1]
2580 \repeat volta 2 {c4 d e f}
2581 \alternative { {d2 d} {f f,} }
2585 @lilypond[fragment,verbatim,relative=1]
2588 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2589 \alternative { { g4 g g } { a | a a a a | b2. } }
2595 If you do a nested repeat like
2604 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2605 belongs. This ambiguity is resolved by always having the
2606 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2607 it is advisable to use braces in such situations.
2610 @node Repeats and MIDI
2611 @subsection Repeats and MIDI
2613 @cindex expanding repeats
2615 For instructions on how to unfold repeats for MIDI output, see the
2616 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2621 Timing information is not remembered at the start of an alternative,
2622 so after a repeat timing information must be reset by hand, for
2623 example by setting @code{Score.measurePosition} or entering
2624 @code{\partial}. Similarly, slurs or ties are also not repeated.
2627 @node Manual repeat commands
2628 @subsection Manual repeat commands
2630 @cindex @code{repeatCommands}
2632 The property @code{repeatCommands} can be used to control the layout of
2633 repeats. Its value is a Scheme list of repeat commands, where each repeat
2637 @item the symbol @code{start-repeat},
2638 which prints a @code{|:} bar line,
2639 @item the symbol @code{end-repeat},
2640 which prints a @code{:|} bar line,
2641 @item the list @code{(volta @var{text})},
2642 which prints a volta bracket saying @var{text}: The text can be specified as
2643 a text string or as a markup text, see @ref{Text markup}. Do not
2644 forget to change the font, as the default number font does not contain
2645 alphabetic characters. Or,
2646 @item the list @code{(volta #f)}, which
2647 stops a running volta bracket:
2650 @lilypond[verbatim,fragment,relative=2]
2652 \set Score.repeatCommands = #'((volta "93") end-repeat)
2654 \set Score.repeatCommands = #'((volta #f))
2661 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2662 @internalsref{VoltaRepeatedMusic},
2663 @internalsref{UnfoldedRepeatedMusic}, and
2664 @internalsref{FoldedRepeatedMusic}.
2666 @node Tremolo repeats
2667 @subsection Tremolo repeats
2668 @cindex tremolo beams
2670 To place tremolo marks between notes, use @code{\repeat} with tremolo
2672 @lilypond[verbatim,raggedright]
2674 \context Voice \notes\relative c' {
2675 \repeat "tremolo" 8 { c16 d16 }
2676 \repeat "tremolo" 4 { c16 d16 }
2677 \repeat "tremolo" 2 { c16 d16 }
2682 Tremolo marks can also be put on a single note. In this case, the
2683 note should not be surrounded by braces.
2684 @lilypond[verbatim,raggedright]
2685 \repeat "tremolo" 4 c16
2688 A similar mechanism is the tremolo subdivision, described in
2689 @ref{Tremolo subdivisions}.
2693 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2695 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2696 tremolos are @internalsref{StemTremolo}s. The music expression is
2697 @internalsref{TremoloEvent}.
2699 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2700 @inputfileref{input/regression,stem-tremolo.ly}.
2702 @node Tremolo subdivisions
2703 @subsection Tremolo subdivisions
2704 @cindex tremolo marks
2705 @cindex @code{tremoloFlags}
2707 Tremolo marks can be printed on a single note by adding
2708 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2709 A @var{length} value of 8 gives one line across the note stem. If the
2710 length is omitted, then then the last value (stored in
2711 @code{tremoloFlags}) is used:
2713 @lilypond[verbatim,fragment,center]
2714 c'2:8 c':32 | c': c': |
2717 @c [TODO : stok is te kort bij 32en]
2721 Tremolos in this style do not carry over into the MIDI output.
2725 In this manual: @ref{Tremolo repeats}.
2727 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2729 @node Measure repeats
2730 @subsection Measure repeats
2732 @cindex percent repeats
2733 @cindex measure repeats
2735 In the @code{percent} style, a note pattern can be repeated. It is
2736 printed once, and then the pattern is replaced with a special sign.
2737 Patterns of a one and two measures are replaced by percent-like signs,
2738 patterns that divide the measure length are replaced by slashes:
2740 @lilypond[verbatim,raggedright]
2741 \context Voice { \repeat "percent" 4 { c'4 }
2742 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2748 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2749 @internalsref{PercentRepeatedMusic}, and
2750 @internalsref{DoublePercentRepeat}.
2754 @node Rhythmic music
2755 @section Rhythmic music
2759 * Showing melody rhythms::
2760 * Entering percussion::
2761 * Percussion staves::
2765 @node Showing melody rhythms
2766 @subsection Showing melody rhythms
2768 Sometimes you might want to show only the rhythm of a melody. This
2769 can be done with the rhythmic staff. All pitches of notes on such a
2770 staff are squashed, and the staff itself has a single line:
2772 @lilypond[fragment,relative,verbatim]
2773 \context RhythmicStaff {
2775 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2781 Internals: @internalsref{RhythmicStaff}.
2783 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2786 @node Entering percussion
2787 @subsection Entering percussion
2794 Percussion notes may be entered in @code{\drums} mode, which is
2795 similar to @code{notes}. Each piece of percussion has a full name and
2796 an abbreviated name, and both be used in input files:
2798 @lilypond[raggedright]
2799 \drums { hihat4 hh4 }
2802 The complete list of drum names is in the init file
2803 @file{ly/drumpitch-init.ly}.
2804 @c TODO: properly document this.
2808 Internals: @internalsref{DrumNoteEvent}.
2810 @node Percussion staves
2811 @subsection Percussion staves
2815 A percussion part for more than one instrument typically uses a
2816 multiline staff where each position in the staff refers to one piece
2820 To typeset the music, the notes must be interpreted in a
2821 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2824 @lilypond[raggedright,verbatim,quote]
2825 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2826 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2829 << \new DrumVoice { \voiceOne \up }
2830 \new DrumVoice { \voiceTwo \down }
2834 There are also other layout possibilities. To use these, set the
2835 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2836 The following variables have been predefined:
2840 is the default. It typesets a typical drum kit on a five-line staff
2843 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2844 bd sn ss tomh tommh tomml toml tomfh tomfl }
2845 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2846 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2848 << \new DrumStaff\with {
2849 \remove Bar_engraver
2850 \remove Time_signature_engraver
2851 Stem \set #'transparent = ##t
2852 Stem \set #'Y-extent-callback = ##f
2853 minimumVerticalExtent = #'(-4.0 . 5.0)
2855 \context Lyrics \nam
2858 %% need to do this, because of indented @itemize
2860 \translator { \ScoreContext
2861 BarNumber \set #'transparent =##T
2865 The drum scheme supports six different toms. When there fewer toms, simply
2866 select the toms that produce the desired result, i.e. to get toms on
2867 the three middle lines you use @code{tommh}, @code{tomml} and
2870 @item timbales-style
2871 to typeset timbales on a two line staff:
2873 @lilypond[raggedright]
2874 nam = \lyrics { timh ssh timl ssl cb }
2875 mus = \drums { timh ssh timl ssl cb s16 }
2878 \context DrumStaff \with {
2879 \remove Bar_engraver
2880 \remove Time_signature_engraver
2881 Stem \set #'transparent = ##t
2882 Stem \set #'Y-extent-callback = ##f
2883 StaffSymbol \override #'line-count = #2
2884 StaffSymbol \override #'staff-space = #2
2885 minimumVerticalExtent = #'(-3.0 . 4.0)
2886 drumStyleTable = #timbales-style
2888 \context Lyrics \nam
2893 to typeset congas on a two line staff:
2895 @lilypond[raggedright]
2896 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2897 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2900 \context DrumStaff\with {
2901 \remove Bar_engraver
2902 \remove Time_signature_engraver
2903 drumStyleTable = #congas-style
2904 StaffSymbol \override #'line-count = #2
2906 %% this sucks; it will lengthen stems.
2907 StaffSymbol \override #'staff-space = #2
2908 Stem \set #'transparent = ##t
2909 Stem \set #'Y-extent-callback = ##f
2911 \context Lyrics \nam
2916 to typeset bongos on a two line staff:
2918 @lilypond[raggedright]
2919 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2920 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2923 \context DrumStaff\with {
2924 \remove Bar_engraver
2925 \remove Time_signature_engraver
2926 StaffSymbol \override #'line-count = #2
2927 drumStyleTable = #bongos-style
2929 %% this sucks; it will lengthen stems.
2930 StaffSymbol \override #'staff-space = #2
2931 Stem \set #'transparent = ##t
2932 Stem \set #'Y-extent-callback = ##f
2934 \context Lyrics \nam
2939 @item percussion-style
2940 to typeset all kinds of simple percussion on one line staves:
2941 @lilypond[raggedright]
2942 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2943 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2946 \context DrumStaff\with{
2947 \remove Bar_engraver
2948 drumStyleTable = #percussion-style
2949 StaffSymbol \override #'line-count = #1
2950 \remove Time_signature_engraver
2951 Stem \set #'transparent = ##t
2952 Stem \set #'Y-extent-callback = ##f
2954 \context Lyrics \nam
2960 If you do not like any of the predefined lists you can define your own
2961 list at the top of your file:
2963 @lilypond[raggedright,verbatim]
2965 (bassdrum default #f -1)
2966 (snare default #f 0)
2968 (pedalhihat xcircle "stopped" 2)
2969 (lowtom diamond #f 3)
2971 up = \drums { hh8 hh hh hh hhp4 hhp }
2972 down = \drums { bd4 sn bd toml8 toml }
2975 \set DrumStaff.drumStyleTable
2976 = #(alist->hash-table mydrums)
2977 \new DrumVoice { \voiceOne \up }
2978 \new DrumVoice { \voiceTwo \down }
2986 Init files: @file{ly/drumpitch-init.ly}.
2988 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2992 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2993 work for @internalsref{DrumVoices}.
2995 Because general MIDI does not contain rimshots the sidestick is used
2996 for this purpose instead.
2999 @section Piano music
3001 Piano staves are two normal staves coupled with a brace. The staves
3002 are largely independent, but sometimes voices can cross between the
3003 two staves. The same notation is also used for harps and other key
3004 instruments. The @internalsref{PianoStaff} is especially built to
3005 handle this cross-staffing behavior. In this section we discuss the
3006 @internalsref{PianoStaff} and some other pianistic peculiarities.
3010 * Automatic staff changes::
3011 * Manual staff switches::
3014 * Staff switch lines::
3019 There is no support for putting chords across staves. You can get
3020 this result by increasing the length of the stem in the lower stave so
3021 it reaches the stem in the upper stave, or vice versa. An example is
3022 included with the distribution as
3023 @inputfileref{input/test,stem-cross-staff.ly}.
3025 Dynamics are not centered, but kludges do exist. See
3026 @inputfileref{input/template,piano-dynamics.ly}.
3028 @cindex cross staff stem
3029 @cindex stem, cross staff
3032 @c fixme: should have hyperlinks as well.
3038 @node Automatic staff changes
3039 @subsection Automatic staff changes
3040 @cindex Automatic staff changes
3042 Voices can switch automatically between the top and the bottom
3043 staff. The syntax for this is
3045 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3047 The two staffs of the piano staff must be named @code{up} and
3050 The autochanger switches on basis of pitch (central C is the turning
3051 point), and it looks ahead skipping over rests to switch in
3052 advance. Here is a practical example:
3054 @lilypond[verbatim,raggedright,quote]
3055 \score { \notes \context PianoStaff <<
3056 \context Staff = "up" {
3057 \autochange \new Voice \relative c' {
3058 g4 a b c d r4 a g } }
3059 \context Staff = "down" {
3066 In this example, spacer rests are used to prevent the bottom staff from
3067 terminating too soon.
3072 In this manual: @ref{Manual staff switches}.
3074 Internals: @internalsref{AutoChangeMusic}.
3080 The staff switches often do not end up in optimal places. For high
3081 quality output, staff switches should be specified manually.
3085 @node Manual staff switches
3086 @subsection Manual staff switches
3088 @cindex manual staff switches
3089 @cindex staff switch, manual
3091 Voices can be switched between staves manually, using the following command:
3093 \change Staff = @var{staffname} @var{music}
3097 The string @var{staffname} is the name of the staff. It switches the
3098 current voice from its current staff to the Staff called
3099 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3108 Pianos have pedals that alter the way sound are produced. Generally, a
3109 piano has three pedals, sustain, una corda, and sostenuto.
3113 Piano pedal instruction can be expressed by attaching
3114 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3115 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3118 @lilypond[fragment,verbatim]
3119 c'4\sustainDown c'4\sustainUp
3122 What is printed can be modified by setting @code{pedal@var{X}Strings},
3123 where @var{X} is one of the pedal types: @code{Sustain},
3124 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3125 documentation of @internalsref{SustainPedal} for more information.
3127 Pedals can also be indicated by a sequence of brackets, by setting the
3128 @code{pedalSustainStyle} property to @code{bracket} objects:
3130 @lilypond[fragment,verbatim]
3131 \set Staff.pedalSustainStyle = #'bracket
3132 c''4\sustainDown d''4 e''4
3133 a'4\sustainUp\sustainDown
3134 f'4 g'4 a'4\sustainUp
3137 A third style of pedal notation is a mixture of text and brackets,
3138 obtained by setting the @code{pedalSustainStyle} style property to
3141 @lilypond[fragment,verbatim]
3142 \set Staff.pedalSustainStyle = #'mixed
3143 c''4\sustainDown d''4 e''4
3144 c'4\sustainUp\sustainDown
3145 f'4 g'4 a'4\sustainUp
3148 The default `*Ped' style for sustain and damper pedals corresponds to
3149 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3152 @lilypond[fragment,verbatim]
3153 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3156 For fine-tuning of the appearance of a pedal bracket, the properties
3157 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3158 @code{PianoPedalBracket} objects (see
3159 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3160 bracket may be extended to the end of the note head:
3162 @lilypond[fragment,verbatim]
3163 \override Staff.PianoPedalBracket
3164 #'shorten-pair = #'(0 . -1.0)
3165 c''4\sostenutoDown d''4 e''4 c'4
3166 f'4 g'4 a'4\sostenutoUp
3170 @subsection Arpeggio
3173 @cindex broken arpeggio
3174 @cindex @code{\arpeggio}
3176 You can specify an arpeggio sign on a chord by attaching an
3177 @code{\arpeggio} to a chord:
3180 @lilypond[fragment,relative,verbatim]
3184 When an arpeggio crosses staves, you attach an arpeggio to the chords
3185 in both staves, and set
3186 @internalsref{PianoStaff}.@code{connectArpeggios}:
3188 @lilypond[fragment,relative,verbatim]
3189 \context PianoStaff <<
3190 \set PianoStaff.connectArpeggios = ##t
3191 \new Staff { <c' e g c>\arpeggio }
3192 \new Staff { \clef bass <c,, e g>\arpeggio }
3196 The direction of the arpeggio is sometimes denoted by adding an
3197 arrowhead to the wiggly line. This can be typeset by setting
3198 @code{arpeggio-direction}:
3200 @lilypond[fragment,relative,verbatim]
3202 \override Arpeggio #'arpeggio-direction = #1
3204 \override Arpeggio #'arpeggio-direction = #-1
3209 A square bracket on the left indicates that the player should not
3210 arpeggiate the chord. To draw these brackets, set the
3211 @code{print-function} property of @code{Arpeggio} or
3212 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3213 @code{\arpeggio} statements within the chords as before:
3215 @lilypond[fragment,relative,verbatim]
3216 \override PianoStaff.Arpeggio
3217 #'print-function = \arpeggioBracket
3223 @cindex @code{\arpeggioBracket}
3224 @code{\arpeggioBracket},
3225 @cindex @code{\arpeggio}
3230 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3231 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3232 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3236 It is not possible to mix connected arpeggios and unconnected
3237 arpeggios in one @internalsref{PianoStaff} at the same time.
3239 @node Staff switch lines
3240 @subsection Staff switch lines
3243 @cindex follow voice
3244 @cindex staff switching
3247 @cindex @code{followVoice}
3249 Whenever a voice switches to another staff a line connecting the notes
3250 can be printed automatically. This is enabled if the property
3251 @code{PianoStaff.followVoice} is set to true:
3253 @lilypond[fragment,relative,verbatim]
3254 \context PianoStaff <<
3255 \set PianoStaff.followVoice = ##t
3256 \context Staff \context Voice {
3261 \context Staff=two { \clef bass \skip 1*2 }
3265 The associated object is @internalsref{VoiceFollower}.
3269 @cindex @code{\showStaffSwitch}
3270 @code{\showStaffSwitch},
3271 @cindex @code{\hideStaffSwitch}
3272 @code{\hideStaffSwitch}.
3276 @section Vocal music
3278 This section discusses how to enter and print lyrics.
3282 * The Lyrics context::
3287 @node Entering lyrics
3288 @subsection Entering lyrics
3292 @cindex @code{\lyrics}
3295 Lyrics are entered in a special input mode. This mode is is introduced
3296 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3297 punctuation and accents without any hassle. Syllables are entered like
3298 notes, but with pitches replaced by text. For example,
3300 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3303 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3304 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3305 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3306 any 8-bit character with ASCII code over 127, or a two-character
3307 combination of a backslash followed by one of @code{`}, @code{'},
3308 @code{"}, or @code{^}.
3310 Subsequent characters of a word can be any character that is not a digit
3311 and not white space. One important consequence of this is that a word
3312 can end with @code{@}}. The following example is usually a bug. The
3313 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3315 \lyrics @{ twinkle@}
3318 @cindex @code{\property}, in @code{\lyrics}
3319 Similarly, a period following a alphabetic sequence, is included in
3320 the resulting string. As a consequence, spaces must be inserted around
3323 \override Score . LyricText #'font-shape = #'italic
3327 @cindex spaces, in lyrics
3328 @cindex quotes, in lyrics
3330 Any @code{_} character which appears in an unquoted word is converted
3331 to a space. This provides a mechanism for introducing spaces into words
3332 without using quotes. Quoted words can also be used in Lyrics mode to
3333 specify words that cannot be written with the above rules:
3336 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3340 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3345 These will be attached to the end of the first syllable.
3347 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3348 as a separate word between syllables. The hyphen will have variable
3349 length depending on the space between the syllables and it will be
3350 centered between the syllables.
3355 When a lyric is sung over many notes (this is called a melisma), this is
3356 indicated with a horizontal line centered between a syllable and the
3357 next one. Such a line is called an extender line, and it is entered as
3362 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3363 @internalsref{ExtenderEvent}.
3365 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3369 The definition of lyrics mode is too complex.
3373 @node The Lyrics context
3374 @subsection The Lyrics context
3376 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3378 \context Lyrics \lyrics @dots{}
3381 @cindex automatic syllable durations
3382 @cindex @code{\lyricsto}
3383 @cindex lyrics and melodies
3385 This will place the lyrics according to the durations that were
3386 entered. The lyrics can also be aligned under a given melody
3387 automatically. In this case, it is no longer necessary to enter the
3388 correct duration for each syllable. This is achieved by combining the
3389 melody and the lyrics with the @code{\lyricsto} expression:
3391 \lyricsto @var{name} \new Lyrics @dots{}
3394 This aligns the lyrics to the
3396 notes of the @internalsref{Voice} context called @var{name}, which has
3397 to exist. Therefore, normally the @code{Voice} is specified first, and
3398 then the lyrics are specified with @code{\lyricsto}.
3400 For different or more complex orderings, the best way is to setup the
3401 hierarchy of staves and lyrics first, e.g.
3403 \context ChoirStaff \notes <<
3404 \context Lyrics = sopranoLyrics @{ s1 @}
3405 \context Voice = soprano @{ @emph{music} @}
3406 \context Lyrics = tenor @{ s1 @}
3407 \context Voice = tenorLyrics @{ @emph{music} @}
3410 and then combine the appropriate melodies and lyric lines:
3412 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3416 The final input would resemble
3419 << \context ChoirStaff \notes << @emph{setup the music} >>
3420 \lyricsto "soprano" @emph{etc}
3421 \lyricsto "alto" @emph{etc}
3427 The @code{\lyricsto} command detects melismata: it only puts one
3428 syllable under a tied or slurred group of notes. If you want to force
3429 an unslurred group of notes to be a melisma, then insert
3430 @code{\melisma} after the first note of the group, and
3431 @code{\melismaEnd} after the last one, e.g.
3433 @lilypond[relative=1,raggedright,fragment,verbatim]
3434 << \context Voice = "lala" { \time 3/4
3440 \lyricsto "lala" \new Lyrics \lyrics {
3445 In addition, notes are considered a melisma if they are manually
3446 beamed, and automatic beaming (see @ref{Setting automatic beam
3447 behavior}) is switched off. The criteria for deciding melismata
3448 can be tuned with the property @code{melismaBusyProperties}. See
3449 @internalsref{Melisma_engraver} for more information.
3451 When multiple stanzas are put on the same melody, it can happen that
3452 two stanzas have melismata in different locations. This can be
3453 remedied by switching off melismata for one
3454 @internalsref{Lyrics}. This is achieved by setting
3455 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3456 in @inputfileref{input/regression,lyric-combine-new.ly}.
3459 @cindex choral score
3461 A complete example of a SATB score setup is in the file
3462 @inputfileref{input/template,satb.ly}.
3467 @code{\melisma}, @code{\melismaEnd}
3468 @cindex @code{\melismaEnd}
3469 @cindex @code{\melisma}
3473 Internals: Music expressions: @internalsref{LyricCombineMusic},
3474 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_engraver}.
3476 Examples: @inputfileref{input/template,satb.ly},
3477 @inputfileref{input/regression,lyric-combine-new.ly}.
3481 Melismata are not detected automatically, and extender lines must be
3485 For proper processing of extender lines, the
3486 @internalsref{Lyrics} and @internalsref{Voice} should be
3487 linked. This can be achieved either by using @code{\lyricsto} or by
3488 setting corresponding names for both contexts. The latter is explained
3489 in @ref{More stanzas}.
3492 @subsection More stanzas
3494 @cindex phrasing, in lyrics
3497 The lyrics should be aligned with the note heads of the melody. To
3498 achieve this, each line of lyrics should be marked to correspond with
3499 the melodic line. This is done automatically when @code{\lyricsto},
3500 but it can also be done manually.
3502 To this end, give the @internalsref{Voice} context an identity:
3504 \context Voice = duet @{
3509 Then set the @internalsref{Lyrics} contexts to names starting with
3510 that identity followed by a dash. In the preceding example, the
3511 @internalsref{Voice} identity is @code{duet}, so the identities of the
3512 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3514 \context Lyrics = "duet-1" @{
3515 Hi, my name is bert. @}
3516 \context Lyrics = "duet-2" @{
3517 Ooooo, ch\'e -- ri, je t'aime. @}
3520 The complete example is shown here:
3521 @lilypond[raggedright,verbatim]
3523 << \notes \relative c'' \context Voice = duet { \time 3/4
3525 \lyrics << \lyricsto "duet" \new Lyrics {
3527 Hi, my name is bert. }
3528 \lyricsto "duet" \new Lyrics {
3530 Ooooo, ch\'e -- ri, je t'aime. }
3535 @cindex stanza number
3536 @cindex singer's names
3537 @cindex name of singer
3539 Stanza numbers can be added by setting @code{stanza}, e.g.
3542 \set stanza = "Bert"
3544 \set stanza = "Ernie"
3547 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3548 prevent @code{stanza} being interpreted as a single
3551 Names of the singers should be added using @code{Lyrics
3552 . vocalName} and @code{Lyrics . vocNam}, analogous to instrument
3553 annotations for staves.
3555 To make empty spaces in lyrics, use @code{\skip}.
3560 Internals: Layout objects @internalsref{LyricText}
3561 @internalsref{VocalName}. Music expressions:
3562 @internalsref{LyricEvent}.
3568 Input for lyrics introduces a syntactical ambiguity:
3575 is interpreted as assigning a string identifier @code{\foo} such that
3576 it contains @code{"bar"}. However, it could also be interpreted as
3577 making or a music identifier @code{\foo} containing the syllable
3578 `bar'. The force the latter interpretation, use
3588 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3589 for a given voice in a part of music. It also may denote the pitch
3590 range that a musical instrument is capable of playing. Most musical
3591 instruments have their ambitus standardized (or at least there is
3592 agreement upon the minimal ambitus of a particular type of
3593 instrument), such that a composer or arranger of a piece of music can
3594 easily meet the ambitus constraints of the targeted instrument.
3595 However, the ambitus of the human voice depends on individual
3596 physiological state, including education and training of the voice.
3597 Therefore, a singer potentially has to check for each piece of music
3598 if the ambitus of that piece meets his individual capabilities. This
3599 is why the ambitus of a piece may be of particular value to vocal
3602 The ambitus is typically notated on a per-voice basis at the very
3603 beginning of a piece, e.g. nearby the initial clef or time signature of
3604 each staff. The range is graphically specified by two noteheads, that
3605 represent the minimum and maximum pitch. Some publishers use a textual
3606 notation: they put the range in words in front of the corresponding
3607 staff. LilyPond only supports the graphical ambitus notation.
3609 To apply, add the @internalsref{Ambitus_engraver} to the
3610 @internalsref{Voice} context, i.e.
3616 \consists Ambitus_engraver
3621 This results in the following output:
3623 @lilypond[raggedright]
3624 upper = \notes \relative c {
3627 as'' c e2 bes f cis d4 e f2 g
3629 lower = \notes \relative c {
3632 e'4 b g a c es fis a cis b a g f e d2
3635 \context ChoirStaff {
3637 \new Staff { \upper }
3638 \new Staff { \lower }
3644 \consists Ambitus_engraver
3650 If you have multiple voices in a single staff, and you want a single
3651 ambitus per staff rather than per each voice, then add the
3652 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3653 rather than to the @internalsref{Voice} context.
3655 It is possible to tune individual ambituses for multiple voices on a
3656 single staff, for example by erasing or shifting them horizontally. An
3657 example is in @inputfileref{input/test,ambitus-mixed.ly}
3661 Internals: @internalsref{Ambitus}.
3663 Examples: @inputfileref{input/regression,ambitus.ly},
3664 @inputfileref{input/test,ambitus-mixed.ly}.
3668 There is no collision handling in the case of multiple per-voice
3674 Tablature notation is used for notating music for plucked string
3675 instruments. It notates pitches not by using note heads, but by
3676 indicating on which string and fret a note must be played. LilyPond
3677 offers limited support for tablature.
3680 * Tablatures basic::
3681 * Non-guitar tablatures::
3684 @node Tablatures basic
3685 @subsection Tablatures basic
3686 @cindex Tablatures basic
3688 The string number associated to a note is given as a backslash
3689 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3690 string. By default, string 1 is the highest one, and the tuning
3691 defaults to the standard guitar tuning (with 6 strings). The notes
3692 are printed as tablature, by using @internalsref{TabStaff} and
3693 @internalsref{TabVoice} contexts:
3695 @lilypond[fragment,verbatim]
3696 \notes \context TabStaff {
3704 When no string is specified, the first string that does not give a
3705 fret number less than @code{minimumFret} is selected. The default
3706 value for @code{minimumFret} is 0:
3710 e8 fis gis a b cis' dis' e'
3711 \set TabStaff.minimumFret = #8
3712 e8 fis gis a b cis' dis' e'
3717 e8 fis gis a b cis' dis' e'
3718 \set TabStaff.minimumFret = #8
3719 e8 fis gis a b cis' dis' e'
3722 \context StaffGroup <<
3723 \context Staff { \clef "G_8" \frag }
3724 \context TabStaff { \frag }
3731 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3732 @internalsref{StringNumberEvent}.
3736 Chords are not handled in a special way, and hence the automatic
3737 string selector may easily select the same string to two notes in a
3741 @node Non-guitar tablatures
3742 @subsection Non-guitar tablatures
3743 @cindex Non-guitar tablatures
3745 You can change the number of strings, by setting the number of lines
3746 in the @internalsref{TabStaff}.
3748 You can change the tuning of the strings. A string tuning is given as
3749 a Scheme list with one integer number for each string, the number
3750 being the pitch (measured in semitones relative to central C) of an
3751 open string. The numbers specified for @code{stringTuning} are the
3752 numbers of semitones to subtract or add, starting the specified pitch
3753 by default middle C, in string order. Thus, the notes are e, a, d, and
3756 @lilypond[fragment,verbatim]
3757 \context TabStaff <<
3758 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3761 a,4 c' a e' e c' a e'
3766 It is possible to change the Scheme function to format the tablature
3767 note text. The default is @code{fret-number-tablature-format}, which
3768 uses the fret number. For instruments that do not use this notation,
3769 you can create a special tablature formatting function. This function
3770 takes three argument: string number, string tuning and note pitch.
3774 No guitar special effects have been implemented.
3779 @section Chord names
3782 LilyPond has support for both printing chord names. Chords may be
3783 entered in musical chord notation, i.e. @code{< .. >}, but they can
3784 also be entered by name. Internally, the chords are represented as a
3785 set of pitches, so they can be transposed:
3788 @lilypond[verbatim,raggedright]
3789 twoWays = \notes \transpose c c' {
3799 << \context ChordNames \twoWays
3800 \context Voice \twoWays >> }
3803 This example also shows that the chord printing routines do not try to
3804 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3810 * Printing chord names::
3815 @subsection Chords mode
3818 Chord mode is a mode where you can input sets of pitches using common
3819 names. It is introduced by the keyword @code{\chords}.
3820 In chords mode, a chord is entered by the root, which is entered
3821 like a common pitch:
3822 @lilypond[fragment,verbatim,quote,relative=1]
3823 \chords { es4. d8 c2 }
3828 Other chords may be entered by suffixing a colon, and introducing a
3829 modifier, and optionally, a number:
3831 @lilypond[fragment,verbatim,quote]
3832 \chords { e1:m e1:7 e1:m7 }
3834 The first number following the root is taken to be the `type' of the
3835 chord, thirds are added to the root until it reaches the specified
3837 @lilypond[fragment,verbatim]
3838 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3841 @cindex root of chord
3842 @cindex additions, in chords
3843 @cindex removals, in chords
3845 More complex chords may also be constructed adding separate steps
3846 to a chord. Additions are added after the number following
3847 the colon, and are separated by dots:
3849 @lilypond[verbatim,fragment,quote]
3850 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3852 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3854 @lilypond[verbatim,fragment,quote]
3855 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3857 Removals are specified similarly, and are introduced by a caret. They
3858 must come after the additions:
3859 @lilypond[verbatim,fragment]
3860 \chords { c^3 c:7^5 c:9^3.5 }
3863 Modifiers can be used to change pitches. The following modifiers are
3867 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3869 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3872 is the augmented chord. This modifier raises the 5th step.
3874 is the major 7th chord. This modifier raises the 7th step if present.
3876 is the suspended 4th or 2nd. This modifier removes the 3rd
3877 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3880 Modifiers can be mixed with additions:
3881 @lilypond[verbatim,fragment]
3882 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3885 @cindex modifiers, in chords.
3892 Since an unaltered 11 does not sound good when combined with an
3893 unaltered 13, the 11 is removed in this case (unless it is added
3896 @lilypond[fragment,verbatim]
3897 \chords { c:13 c:13.11 c:m13 }
3902 An inversion (putting one pitch of the chord on the bottom), as well
3903 as bass notes, can be specified by appending
3904 @code{/}@var{pitch} to the chord:
3905 @lilypond[fragment,verbatim,center]
3906 \chords { c1 c/g c/f }
3910 A bass note can be added instead of transposed out of the chord,
3911 by using @code{/+}@var{pitch}.
3913 @lilypond[fragment,verbatim,center]
3914 \chords { c1 c/+g c/+f }
3917 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3918 of the commands continue to work, for example, @code{r} and
3919 @code{\skip} can be used to insert rests and spaces, and property
3920 commands may be used to change various settings.
3926 Each step can only be present in a chord once. The following
3927 simply produces the augmented chord, since @code{5+} is interpreted
3930 @lilypond[verbatim,fragment]
3931 \chords { c:5.5-.5+ }
3935 @node Printing chord names
3936 @subsection Printing chord names
3938 @cindex printing chord names
3942 For displaying printed chord names, use the @internalsref{ChordNames} context.
3943 The chords may be entered either using the notation
3944 described above, or directly using @code{<} and @code{>}:
3946 @lilypond[verbatim,raggedright]
3948 \chords {a1 b c} <d' f' a'> <e' g' b'>
3952 \context ChordNames \scheme
3953 \context Staff \scheme
3958 You can make the chord changes stand out by setting
3959 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3960 display chord names when there is a change in the chords scheme and at
3961 the start of a new line:
3963 @lilypond[verbatim,linewidth=9\cm]
3965 c1:m c:m \break c:m c:m d
3969 \context ChordNames {
3970 \set chordChanges = ##t
3972 \context Staff \transpose c c' \scheme
3977 The default chord name layout is a system for Jazz music, proposed by
3978 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3979 following properties:
3982 @cindex chordNameExceptions
3983 @item chordNameExceptions
3984 This is a list that contains the chords that have special formatting.
3986 @inputfileref{input/regression,chord-name-exceptions.ly}.
3987 @cindex exceptions, chord names.
3990 @cindex majorSevenSymbol
3991 @item majorSevenSymbol
3992 This property contains the markup object used for the 7th step, when
3993 it is major. Predefined options are @code{whiteTriangleMarkup} and
3994 @code{blackTriangleMarkup}. See
3995 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3997 @cindex chordNameSeparator
3998 @item chordNameSeparator
3999 Different parts of a chord name are normally separated by a
4000 slash. By setting @code{chordNameSeparator}, you can specify other
4002 @lilypond[fragment,verbatim]
4003 \context ChordNames \chords {
4005 \set chordNameSeparator
4006 = \markup { \typewriter "|" }
4010 @cindex chordRootNamer
4011 @item chordRootNamer
4012 The root of a chord is usually printed as a letter with an optional
4013 alteration. The transformation from pitch to letter is done by this
4014 function. Special note names (for example, the German ``H'' for a
4015 B-chord) can be produced by storing a new function in this property.
4017 The pre-defined variables @code{\germanChords},
4018 @code{\semiGermanChords} set these variables.
4021 @cindex chordNoteNamer
4022 @item chordNoteNamer
4023 The default is to print single pitch, e.g. the bass note, using the
4024 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4025 to a specialized function to change this behavior. For example, the
4026 base can be printed in lower case.
4031 There are also two other chord name schemes implemented: an alternate
4032 Jazz chord notation, and a systematic scheme called Banter chords. The
4033 alternate jazz notation is also shown on the chart in @ref{Chord name
4034 chart}. Turning on these styles is described in the input file
4035 @inputfileref{input/test,chord-names-jazz.ly}.
4039 @cindex chords, jazz
4044 @cindex @code{\germanChords}
4045 @code{\germanChords},
4046 @cindex @code{\semiGermanChords}
4047 @code{\semiGermanChords}.
4054 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4055 @inputfileref{input/regression,chord-name-exceptions.ly},
4056 @inputfileref{input/test,chord-names-jazz.ly},
4057 @inputfileref{input/test,chord-names-german.ly}.
4059 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4064 Chord names are determined solely from the list of pitches. Chord
4065 inversions are not identified, and neither are added bass notes. This
4066 may result in strange chord names when chords are entered with the
4067 @code{< .. >} syntax.
4072 @node Orchestral music
4073 @section Orchestral music
4075 @cindex Writing parts
4077 Orchestral music involves some special notation, both in the full
4078 score and the individual parts. This section explains how to tackle
4079 some common problems in orchestral music.
4084 * Multiple staff contexts::
4087 * Instrument names::
4089 * Multi measure rests::
4090 * Automatic part combining::
4092 * Different editions from one source::
4093 * Sound output for transposing instruments::
4096 @node Multiple staff contexts
4097 @subsection Multiple staff contexts
4099 Polyphonic scores consist of many staves. These staves can be
4100 constructed in three different ways:
4102 @item The group is started with a brace at the left. This is done with the
4103 @internalsref{GrandStaff} context.
4104 @item The group is started with a bracket. This is done with the
4105 @internalsref{StaffGroup} context
4106 @item The group is started with a vertical line. This is the default
4110 @cindex Staff, multiple
4111 @cindex bracket, vertical
4112 @cindex brace, vertical
4119 @node Rehearsal marks
4120 @subsection Rehearsal marks
4121 @cindex Rehearsal marks
4123 @cindex @code{\mark}
4125 To print a rehearsal mark, use the @code{\mark} command:
4126 @lilypond[fragment,verbatim]
4137 (The letter I is skipped in accordance with engraving traditions.)
4139 The mark is incremented automatically if you use @code{\mark
4140 \default}, but you can also use an integer argument to set the mark
4141 manually. The value to use is stored in the property
4142 @code{rehearsalMark}.
4144 The style is defined by the property @code{markFormatter}. It is a
4145 function taking the current mark (an integer) and the current context
4146 as argument. It should return a markup object. In the following
4147 example, @code{markFormatter} is set to a canned procedure. After a
4148 few measures, it is set to function that produces a boxed number.
4150 @lilypond[verbatim,fragment,relative=1]
4151 \set Score.markFormatter = #format-mark-numbers
4154 \set Score.markFormatter
4155 = #(lambda (mark context)
4156 (make-bold-markup (make-box-markup (number->string mark))))
4161 The file @file{scm/translation-functions.scm} contains the definitions
4162 of @code{format-mark-numbers} (the default format) and
4163 @code{format-mark-letters}. They can be used as inspiration for other
4164 formatting functions.
4167 @cindex coda on bar line
4168 @cindex segno on bar line
4169 @cindex fermata on bar line
4170 @cindex bar lines, symbols on
4172 The @code{\mark} command can also be used to put signs like coda,
4173 segno and fermatas on a barline. Use @code{\markup} to
4174 to access the appropriate symbol:
4176 @lilypond[fragment,verbatim,relative=1]
4177 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4181 In this case, during line breaks, marks must also be printed at the
4182 end of the line, and not at the beginning. Use the following to force
4185 \override Score.RehearsalMark
4186 #'break-visibility = #begin-of-line-invisible
4192 @cindex barlines, putting symbols on
4196 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4198 Init files: @file{scm/translation-functions.scm} contains the
4199 definition of @code{format-mark-numbers} and
4200 @code{format-mark-letters}. They can be used as inspiration for other
4201 formatting functions.
4203 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4204 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4208 @subsection Bar numbers
4212 @cindex measure numbers
4213 @cindex currentBarNumber
4215 Bar numbers are printed by default at the start of the line. The
4216 number itself is stored in the
4217 @code{currentBarNumber} property,
4218 which is normally updated automatically for every measure.
4220 Bar numbers can be typeset at regular intervals instead of at the
4221 beginning of each line. This is illustrated in the following example,
4222 whose source is available as
4223 @inputfileref{input/test,bar-number-regular-interval.ly}:
4225 @lilypondfile[]{bar-number-regular-interval.ly}
4230 Internals: @internalsref{BarNumber}.
4232 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4233 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4237 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4238 there is one at the top. To solve this, the
4239 @code{padding} property of @internalsref{BarNumber} can be
4240 used to position the number correctly.
4242 @node Instrument names
4243 @subsection Instrument names
4245 In an orchestral score, instrument names are printed left side of the
4248 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4249 and @internalsref{Staff}.@code{instr}. This will print a string before
4250 the start of the staff. For the first start, @code{instrument} is
4251 used, for the next ones @code{instr} is used:
4254 @lilypond[verbatim,raggedright]
4255 \set Staff.instrument = "ploink " { c''4 }
4259 You can also use markup texts to construct more complicated instrument
4263 @lilypond[fragment,verbatim,raggedright]
4265 \set Staff.instrument = \markup {
4266 \column < "Clarinetti"
4268 \smaller \musicglyph #"accidentals--1"
4279 Internals: @internalsref{InstrumentName}.
4283 When you put a name on a grand staff or piano staff the width of the
4284 brace is not taken into account. You must add extra spaces to the end of
4285 the name to avoid a collision.
4288 @subsection Transpose
4290 @cindex transposition of pitches
4291 @cindex @code{\transpose}
4293 A music expression can be transposed with @code{\transpose}. The syntax
4296 \transpose @var{from} @var{to} @var{musicexpr}
4299 This means that @var{musicexpr} is transposed by the interval between
4300 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4301 is changed to @code{to}.
4304 For example, consider a piece written in the key of D major. If
4305 this piece is a little too low for its performer, it can be
4306 transposed up to E major with
4308 \tranpose d e @dots{}
4311 Consider a part written for violin (a C instrument). If
4312 this part is to be played on the A clarinet, the following
4313 transposition will produce the appropriate part
4316 \transpose a c @dots{}
4319 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4320 inside a @code{\notes} section. @code{\transpose} distinguishes
4321 between enharmonic pitches: both @code{\transpose c cis} or
4322 @code{\transpose c des} will transpose up half a tone. The first
4323 version will print sharps and the second version will print flats:
4325 @lilypond[raggedright,verbatim]
4326 mus =\notes { \key d \major cis d fis g }
4327 \score { \notes \context Staff {
4330 \transpose c g' \mus
4331 \transpose c f' \mus
4338 Internals: @internalsref{TransposedMusic}, and
4339 @internalsref{UntransposableMusic}.
4343 If you want to use both @code{\transpose} and @code{\relative}, then
4344 you must put @code{\transpose} outside of @code{\relative}, since
4345 @code{\relative} will have no effect music that appears inside a
4351 @node Multi measure rests
4352 @subsection Multi measure rests
4353 @cindex multi measure rests
4354 @cindex Rests, multi measure
4358 Multi measure rests are entered using `@code{R}'. It is specifically
4359 meant for full bar rests and for entering parts: the rest can expand
4360 to fill a score with rests, or it can be printed as a single
4361 multimeasure rest. This expansion is controlled by the property
4362 @code{Score.skipBars}. If this is set to true, empty measures will not
4363 be expanded, and the appropriate number is added automatically:
4365 @lilypond[fragment,verbatim]
4366 \time 4/4 r1 | R1 | R1*2
4367 \set Score.skipBars = ##t R1*17 R1*4
4370 The @code{1} in @code{R1} is similar to the duration notation used for
4371 notes. Hence, for time signatures other than 4/4, you must enter other
4372 durations. This can be done with augmentation dots or fractions:
4374 @lilypond[fragment,verbatim]
4375 \set Score.skipBars = ##t
4383 An @code{R} spanning a single measure is printed as either a whole rest
4384 or a breve, centered in the measure regardless of the time signature.
4386 @cindex text on multi-measure rest
4387 @cindex script on multi-measure rest
4388 @cindex fermata on multi-measure rest
4390 Texts can be added to multi-measure rests by using the
4391 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4392 replaced. If you need both texts and the number, you must add the
4393 number by hand. A variable (@code{\fermataMarkup}) is provided for
4397 @lilypond[verbatim,fragment]
4399 R2._\markup { "Ad lib" }
4403 If you want to have a text on the left end of a multi-measure rest,
4404 attach the text to a zero-length skip note, i.e.
4412 @cindex whole rests for a full measure
4416 Internals: @internalsref{MultiMeasureRestEvent},
4417 @internalsref{MultiMeasureTextEvent},
4418 @internalsref{MultiMeasureRestMusicGroup}, and
4419 @internalsref{MultiMeasureRest}.
4421 The layout object @internalsref{MultiMeasureRestNumber} is for the
4422 default number, and @internalsref{MultiMeasureRestText} for user
4427 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4428 over multi-measure rests.
4430 @cindex condensing rests
4432 There is no way to automatically condense multiple rests into a single
4433 multimeasure rest. Multi measure rests do not take part in rest
4436 Be careful when entering multimeasure rests followed by whole
4437 notes. The following will enter two notes lasting four measures each:
4441 When @code{skipBars} is set, then the result will look OK, but the
4442 bar numbering will be off.
4444 @node Automatic part combining
4445 @subsection Automatic part combining
4446 @cindex automatic part combining
4447 @cindex part combiner
4450 Automatic part combining is used to merge two parts of music onto a
4451 staff. It is aimed at typesetting orchestral scores. When the two
4452 parts are identical for a period of time, only one is shown. In
4453 places where the two parts differ, they are typeset as separate
4454 voices, and stem directions are set automatically. Also, solo and
4455 @emph{a due} parts are identified and can be marked.
4459 The syntax for part combining is
4462 \partcombine @var{musicexpr1} @var{musicexpr2}
4465 The music expressions will be interpreted as @internalsref{Voice}
4468 The following example demonstrates the basic functionality of the part
4469 combiner: putting parts on one staff, and setting stem directions and
4472 @lilypond[verbatim,raggedright,fragment,relative=1]
4473 \new Staff \partcombine
4482 The first @code{g} appears only once, although it was
4483 specified twice (once in each part). Stem, slur and tie directions are
4484 set automatically, depending whether there is a solo or unisono. The
4485 first part (with context called @code{one}) always gets up stems, and
4486 `solo', while the second (called @code{two}) always gets down stems and
4489 If you just want the merging parts, and not the textual markings, you
4490 may set the property @var{soloADue} to false:
4492 @lilypond[verbatim,raggedright,fragment]
4494 \set Staff.soloADue = ##f
4506 Internals: @internalsref{PartCombineMusic},
4507 @internalsref{SoloOneEvent}, and
4508 @internalsref{SoloTwoEvent}, and
4509 @internalsref{UnisonoEvent}.
4513 In @code{soloADue} mode, when the two voices play the same notes on and
4514 off, the part combiner may typeset @code{a2} more than once in a
4517 @code{\partcombine} can not be inside @code{\times}.
4522 @subsection Hiding staves
4524 @cindex Frenched scores
4525 @cindex Hiding staves
4527 In orchestral scores, staff lines that only have rests are usually
4528 removed. This saves some space. This style is called `French Score'.
4529 For @internalsref{Lyrics}, @internalsref{Lyrics},
4530 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4531 switched on by default. When these line of these contexts turn out
4532 empty after the line-breaking process, they are removed.
4534 For normal staves, a specialized @internalsref{Staff} context is
4535 available, which does the same: staves containing nothing (or only
4536 multi measure rests) are removed. The context definition is stored in
4537 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4538 in this example disappears in the second line:
4543 \notes \relative c' <<
4544 \new Staff { e4 f g a \break c1 }
4545 \new Staff { c4 d e f \break R1 }
4549 \translator { \RemoveEmptyStaffContext }
4554 The first page shows all staffs in full. If they should be removed
4555 from the first page too, set @code{remove-first} to false
4556 in @internalsref{RemoveEmptyVerticalGroup}.
4558 @node Different editions from one source
4559 @subsection Different editions from one source
4561 The @code{\tag} command marks music expressions with a name. These
4562 tagged expressions can be filtered out later. With this mechanism it
4563 is possible to make different versions of the same music source.
4565 In the following example, we see two versions of a piece of music, one
4566 for the full score, and one with cue notes for the instrumental part:
4582 The same can be applied to articulations, texts, etc.: they are
4585 -\tag #@var{your-tag}
4587 to an articulation, for example,
4592 This defines a note with a conditional fingering indication.
4594 By applying the @code{remove-tag} function, tagged expressions can be
4595 filtered. For example,
4599 \apply #(remove-tag 'score) @var{the music}
4600 \apply #(remove-tag 'part) @var{the music}
4605 @lilypondfile[]{tag-filter.ly}
4607 The argument of the @code{\tag} command should be a symbol, or a list
4608 of symbols, for example,
4610 \tag #'(original-part transposed-part) @dots{}
4615 Examples: @inputfileref{input/regression,tag-filter.ly}.
4618 @node Sound output for transposing instruments
4619 @subsection Sound output for transposing instruments
4621 When you want to make a MIDI file from a score containing transposed
4622 and untransposed instruments, you have to instruct LilyPond the pitch
4623 offset (in semitones) for the transposed instruments. This is done
4624 using the @code{transposing} property. It does not affect printed
4627 @cindex @code{transposing}
4630 \set Staff.instrument = #"Cl. in B-flat"
4631 \set Staff.transposing = #-2
4635 @node Ancient notation
4636 @section Ancient notation
4638 @cindex Vaticana, Editio
4639 @cindex Medicaea, Editio
4644 @c [TODO: write more comprehensive introduction on ancient notation]
4646 Support for ancient notation is still under heavy development.
4647 Regardless of all of the current limitations (see the bugs section
4648 below for details), it includes features for mensural
4649 notation and Gregorian Chant notation. There is also limited support
4650 for figured bass notation.
4652 Many graphical objects provide a @code{style} property, see
4653 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4654 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4655 signatures}. By manipulating such a grob property, the typographical
4656 appearance of the affected graphical objects can be accomodated for a
4657 specific notation flavour without need for introducing any new
4661 Other aspects of ancient notation can not that easily be expressed as
4662 in terms of just changing a style property of a graphical object.
4663 Therefore, some notational concepts are introduced specifically for
4664 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4665 @ref{Ligatures}, and @ref{Figured bass}.
4669 * Ancient note heads::
4670 * Ancient accidentals::
4674 * Ancient time signatures::
4679 * Vaticana style contexts::
4682 If this all is way too much of documentation for you, and you just
4683 want to dive into typesetting without worrying too much about the
4684 details on how to customize a context, then you may have a look at the
4685 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4686 set up predefined style-specific voice and staff contexts, and
4687 directly go ahead with the note entry.
4691 Ligatures need special spacing that has not yet been implemented. As
4692 a result, there is too much space between ligatures most of the time,
4693 and line breaking often is unsatisfactory. Also, lyrics do not
4694 correctly align with ligatures.
4696 Accidentals must not be printed within a ligature, but instead need to
4697 be collected and printed in front of it.
4699 Augmentum dots within ligatures are not handled correctly.
4702 @node Ancient note heads
4703 @subsection Ancient note heads
4709 For ancient notation, a note head style other than the @code{default}
4710 style may be chosen. This is accomplished by setting the @code{style}
4711 property of the NoteHead object to the desired value (@code{baroque},
4712 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4713 differs from the @code{default} style only in using a square shape for
4714 @code{\breve} note heads. The @code{neo_mensural} style differs from
4715 the @code{baroque} style in that it uses rhomboidal heads for whole
4716 notes and all smaller durations. Stems are centered on the note
4717 heads. This style is in particular useful when transcribing mensural
4718 music, e.g. for the incipit. The @code{mensural} style finally
4719 produces note heads that mimick the look of note heads in historic
4720 printings of the 16th century.
4722 The following example demonstrates the @code{neo_mensural} style:
4724 @lilypond[fragment,raggedright,verbatim]
4725 \override NoteHead #'style = #'neo_mensural
4726 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4729 When typesetting a piece in Gregorian Chant notation, a Gregorian
4730 ligature engraver will automatically select the proper note heads,
4731 such there is no need to explicitly set the note head style. Still,
4732 the note head style can be set e.g. to @code{vaticana_punctum} to
4733 produce punctum neumes. Similarly, a mensural ligature engraver is
4734 used to automatically assemble mensural ligatures. See
4735 @ref{Ligatures} for how ligature engravers work.
4740 @ref{Percussion staves} use note head styles of their own that are
4741 frequently used in contemporary music notation.
4743 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4744 overview over all available note head styles.
4747 @node Ancient accidentals
4748 @subsection Ancient accidentals
4754 Use the @code{style} property of grob @internalsref{Accidental} to
4755 select ancient accidentals. Supported styles are
4756 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4758 @lilypond[raggedright,staffsize=26]
4766 { " " \musicglyph #"accidentals-vaticana-1"
4767 " " \musicglyph #"accidentals-vaticana0" }
4771 { " " \musicglyph #"accidentals-medicaea-1" }
4775 { " " \musicglyph #"accidentals-hufnagel-1" }
4779 { " " \musicglyph #"accidentals-mensural-1"
4780 " " \musicglyph #"accidentals-mensural1" }
4789 \remove "Bar_number_engraver"
4793 \remove "Clef_engraver"
4794 \remove "Key_engraver"
4795 \remove "Time_signature_engraver"
4796 \remove "Staff_symbol_engraver"
4797 minimumVerticalExtent = ##f
4803 As shown, not all accidentals are supported by each style. When
4804 trying to access an unsupported accidental, LilyPond will switch to a
4805 different style, as demonstrated in
4806 @inputfileref{input/test,ancient-accidentals.ly}.
4808 Similarly to local accidentals, the style of the key signature can be
4809 controlled by the @code{style} property of the
4810 @internalsref{KeySignature} grob.
4814 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4815 @ref{Accidentals} give a general introduction into the use of
4816 accidentals. @ref{Key signature} gives a general introduction into
4817 the use of key signatures.
4819 Internals: @internalsref{KeySignature}.
4821 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4824 @subsection Ancient rests
4830 Use the @code{style} property of grob @internalsref{Rest} to select
4831 ancient accidentals. Supported styles are @code{classical},
4832 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4833 from the @code{default} style only in that the quarter rest looks like
4834 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4835 well for e.g. the incipit of a transcribed mensural piece of music.
4836 The @code{mensural} style finally mimicks the appearance of rests as
4837 in historic prints of the 16th century.
4839 The following example demonstrates the @code{neo_mensural} style:
4841 @lilypond[fragment,raggedright,verbatim]
4842 \override Rest #'style = #'neo_mensural
4843 r\longa r\breve r1 r2 r4 r8 r16
4846 There are no 32th and 64th rests specifically for the mensural or
4847 neo-mensural style. Instead, the rests from the default style will be
4848 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4851 There are no rests in Gregorian Chant notation; instead, it uses
4856 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4860 @subsection Ancient clefs
4866 LilyPond supports a variety of clefs, many of them ancient.
4868 The following table shows all ancient clefs that are supported via the
4869 @code{\clef} command. Some of the clefs use the same glyph, but
4870 differ only with respect to the line they are printed on. In such
4871 cases, a trailing number in the name is used to enumerate these clefs.
4872 Still, you can manually force a clef glyph to be typeset on an
4873 arbitrary line, as described in @ref{Clef}. The note printed to the
4874 right side of each clef in the example column denotes the @code{c'}
4875 with respect to that clef.
4877 @multitable @columnfractions .3 .3 .3 .1
4881 @b{Description} @tab
4882 @b{Supported Clefs} @tab
4886 @code{clefs-neo_mensural_c} @tab
4887 modern style mensural C clef @tab
4888 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4889 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4890 @lilypond[relative,notime]
4891 \override Staff.TimeSignature #'transparent = ##t
4892 \clef "neo_mensural_c2" c
4896 @code{clefs-petrucci_c1}
4897 @code{clefs-petrucci_c2}
4898 @code{clefs-petrucci_c3}
4899 @code{clefs-petrucci_c4}
4900 @code{clefs-petrucci_c5}
4903 petrucci style mensural C clefs, for use on different stafflines
4904 (the examples shows the 2nd staffline C clef).
4914 @lilypond[relative,notime]
4915 \override Staff.TimeSignature #'transparent = ##t
4916 \clef "petrucci_c2" c
4920 @code{clefs-petrucci_f} @tab
4921 petrucci style mensural F clef @tab
4922 @code{petrucci_f} @tab
4923 @lilypond[relative,notime]
4924 \override Staff.TimeSignature #'transparent = ##t
4925 \clef "petrucci_f" c
4929 @code{clefs-petrucci_g} @tab
4930 petrucci style mensural G clef @tab
4931 @code{petrucci_g} @tab
4932 @lilypond[relative,notime]
4933 \override Staff.TimeSignature #'transparent = ##t
4934 \clef "petrucci_g" c
4938 @code{clefs-mensural_c} @tab
4939 historic style mensural C clef @tab
4940 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4941 @code{mensural_c4} @tab
4942 @lilypond[relative,notime]
4943 \override Staff.TimeSignature #'transparent = ##t
4944 \clef "mensural_c2" c
4948 @code{clefs-mensural_f} @tab
4949 historic style mensural F clef @tab
4950 @code{mensural_f} @tab
4951 @lilypond[relative,notime]
4952 \override Staff.TimeSignature #'transparent = ##t
4953 \clef "mensural_f" c
4957 @code{clefs-mensural_g} @tab
4958 historic style mensural G clef @tab
4959 @code{mensural_g} @tab
4960 @lilypond[relative,notime]
4961 \override Staff.TimeSignature #'transparent = ##t
4962 \clef "mensural_g" c
4966 @code{clefs-vaticana_do} @tab
4967 Editio Vaticana style do clef @tab
4968 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4969 @lilypond[relative,notime]
4970 \override Staff.StaffSymbol #'line-count = #4
4971 \override Staff.TimeSignature #'transparent = ##t
4972 \clef "vaticana_do2" c
4976 @code{clefs-vaticana_fa} @tab
4977 Editio Vaticana style fa clef @tab
4978 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4979 @lilypond[relative,notime]
4980 \override Staff.StaffSymbol #'line-count = #4
4981 \override Staff.TimeSignature #'transparent = ##t
4982 \clef "vaticana_fa2" c
4986 @code{clefs-medicaea_do} @tab
4987 Editio Medicaea style do clef @tab
4988 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4989 @lilypond[relative,notime]
4990 \override Staff.StaffSymbol #'line-count = #4
4991 \override Staff.TimeSignature #'transparent = ##t
4992 \clef "medicaea_do2" c
4996 @code{clefs-medicaea_fa} @tab
4997 Editio Medicaea style fa clef @tab
4998 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4999 @lilypond[relative,notime]
5000 \override Staff.StaffSymbol #'line-count = #4
5001 \override Staff.TimeSignature #'transparent = ##t
5002 \clef "medicaea_fa2" c
5006 @code{clefs-hufnagel_do} @tab
5007 historic style hufnagel do clef @tab
5008 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5009 @lilypond[relative,notime]
5010 \override Staff.StaffSymbol #'line-count = #4
5011 \override Staff.TimeSignature #'transparent = ##t
5012 \clef "hufnagel_do2" c
5016 @code{clefs-hufnagel_fa} @tab
5017 historic style hufnagel fa clef @tab
5018 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5019 @lilypond[relative,notime]
5020 \override Staff.StaffSymbol #'line-count = #4
5021 \override Staff.TimeSignature #'transparent = ##t
5022 \clef "hufnagel_fa2" c
5026 @code{clefs-hufnagel_do_fa} @tab
5027 historic style hufnagel combined do/fa clef @tab
5028 @code{hufnagel_do_fa} @tab
5029 @lilypond[relative,notime]
5030 \override Staff.TimeSignature #'transparent = ##t
5031 \clef "hufnagel_do_fa" c
5036 @c --- This should go somewhere else: ---
5037 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5040 @c @code{percussion}
5042 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5044 @c @item modern style tab clef (glyph: @code{clefs-tab})
5049 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5051 @emph{Modern style} means ``as is typeset in contemporary editions of
5052 transcribed mensural music''.
5054 @emph{Petrucci style} means ``inspired by printings published by the
5055 famous engraver Petrucci (1466-1539)''.
5057 @emph{Historic style} means ``as was typeset or written in historic
5058 editions (other than those of Petrucci)''.
5060 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5062 Petrucci used C clefs with differently balanced left-side vertical
5063 beams, depending on which staffline it is printed.
5067 In this manual: for the percussion clef, see @ref{Percussion staves}.
5068 For the @code{TAB} clef, see @ref{Tablatures}.
5070 Internals: for modern clefs, see @ref{Clef}.
5074 The mensural g clef is temporarily mapped to the Petrucci g clef,
5075 until a new mensural g clef will have been implemented.
5080 @subsection Ancient flags
5086 Use the @code{flag-style} property of grob @internalsref{Stem} to
5087 select ancient flags. Besides the @code{default} flag style,
5088 only @code{mensural} style is supported:
5090 @lilypond[fragment,raggedright,verbatim]
5091 \override Stem #'flag-style = #'mensural
5092 \override Stem #'thickness = #1.0
5093 \override NoteHead #'style = #'mensural
5095 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5096 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5099 Note that the innermost flare of each mensural flag always is
5100 vertically aligned with a staff line. If you do not like this
5101 behaviour, you can set the @code{adjust-if-on-staffline} property of
5102 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5103 of the end of each flare is different between notes on staff lines and
5104 notes between staff lines:
5106 @lilypond[fragment,raggedright]
5107 \override Stem #'flag-style = #'mensural
5108 \override Stem #'thickness = #1.0
5109 \override Stem #'adjust-if-on-staffline = ##f
5110 \override NoteHead #'style = #'mensural
5112 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5113 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5116 There is no particular flag style for neo-mensural notation. Hence,
5117 when typesetting e.g. the incipit of a transcibed piece of mensural
5118 music, the default flag style should be used. There are no flags in
5119 Gregorian Chant notation.
5122 @node Ancient time signatures
5123 @subsection Ancient time signatures
5125 @cindex time signatures
5129 There is limited support for mensural time signatures. The
5130 glyphs are hard-wired to particular time fractions. In other words,
5131 to get a particular mensural signature glyph with the @code{\time n/m}
5132 command, @code{n} and @code{m} have to be chosen according to the
5138 \set Score.timing = ##f
5139 \set Score.barAlways = ##t
5140 s_\markup { "$\\backslash$time 4/4" }
5141 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5143 s_\markup { "$\\backslash$time 2/2" }
5144 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5146 s_\markup { "$\\backslash$time 6/4" }
5147 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5149 s_\markup { "$\\backslash$time 6/8" }
5150 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5152 s_\markup { "$\\backslash$time 3/2" }
5153 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5155 s_\markup { "$\\backslash$time 3/4" }
5156 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5158 s_\markup { "$\\backslash$time 9/4" }
5159 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5161 s_\markup { "$\\backslash$time 9/8" }
5162 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5164 s_\markup { "$\\backslash$time 4/8" }
5165 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5167 s_\markup { "$\\backslash$time 2/4" }
5168 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5176 \remove Staff_symbol_engraver
5177 \remove Clef_engraver
5178 \remove Time_signature_engraver
5184 Use the @code{style} property of grob @internalsref{TimeSignature} to
5185 select ancient time signatures. Supported styles are
5186 @code{neo_mensural} and @code{mensural}. The above table uses the
5187 @code{neo_mensural} style. This style is appropriate e.g. for the
5188 incipit of transcriptions of mensural pieces. The @code{mensural}
5189 style mimicks the look of historical printings of the 16th century.
5191 @inputfileref{input/test,time.ly} gives an overview over all available
5192 ancient and modern styles.
5196 Internals: @ref{Time signature} gives a general introduction into the use of time
5201 Mensural signature glyphs are mapped to time fractions in a
5202 hard-wired way. This mapping is sensible, but still arbitrary: given
5203 a mensural time signature, the time fraction represents a modern meter
5204 that usually will be a good choice when transcribing a mensural piece
5205 of music. For a particular piece of mensural music, however, the
5206 mapping may be unsatisfactory. In particular, the mapping assumes a
5207 fixed transcription of durations (e.g. brevis = half note in 2/2,
5208 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5209 are not at all accessible through the @code{\time} command.
5211 Mensural time signatures are supported typographically, but not yet
5212 musically. The internal representation of durations is
5213 based on a purely binary system; a ternary division such as 1 brevis =
5214 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5215 prolatione maiori) is not correctly handled: event times in ternary
5216 modes will be badly computed, resulting e.g. in horizontally
5217 misaligned note heads, and bar checks are likely to erroneously fail.
5219 The syntax and semantics of the @code{\time} command for mensural
5220 music is subject to change.
5223 @subsection Custodes
5228 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5229 symbol that appears at the end of a staff. It anticipates the pitch
5230 of the first note(s) of the following line and thus helps the player
5231 or singer to manage line breaks during performance, thus enhancing
5232 readability of a score.
5234 Custodes were frequently used in music notation until the 17th
5235 century. Nowadays, they have survived only in a few particular forms
5236 of musical notation such as contemporary editions of Gregorian chant
5237 like the @emph{editio vaticana}. There are different custos glyphs
5238 used in different flavours of notational style.
5242 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5243 @internalsref{Staff} context when declaring the @code{\paper} block,
5244 as shown in the following example:
5250 \consists Custos_engraver
5251 Custos \override #'style = #'mensural
5256 The result looks like this:
5262 \override Staff.Custos #'style = #'mensural
5269 \consists Custos_engraver
5276 The custos glyph is selected by the @code{style} property. The styles
5277 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5278 @code{mensural}. They are demonstrated in the following fragment:
5288 { " " \musicglyph #"custodes-vaticana-u0" }
5292 { " " \musicglyph #"custodes-medicaea-u0" }
5296 { " " \musicglyph #"custodes-hufnagel-u0" }
5300 { " " \musicglyph #"custodes-mensural-u0" }
5309 \remove "Bar_number_engraver"
5313 \remove "Clef_engraver"
5314 \remove "Key_engraver"
5315 \remove "Time_signature_engraver"
5316 \remove "Staff_symbol_engraver"
5317 minimumVerticalExtent = ##f
5323 If the boolean property @code{adjust-if-on-staffline} is set to
5324 @code{#t} (which it is by default), lily typesets slightly different
5325 variants of the custos glyph, depending on whether the custos, is
5326 typeset on or between stafflines. The glyph will
5327 optically fit well into the staff, with the appendage on the right of
5328 the custos always ending at the same vertical position between two
5329 stafflines regardless of the pitch. If you set
5330 @code{adjust-if-on-staffline} to @code{#f}, then
5331 a compromise between both forms is used.
5333 Just like stems can be attached to noteheads in two directions
5334 @emph{up} and @emph{down}, each custos glyph is available with its
5335 appendage pointing either up or down. If the pitch of a custos is
5336 above a selectable position, the appendage will point downwards; if
5337 the pitch is below this position, the appendage will point upwards.
5338 Use property @code{neutral-position} to select this position. By
5339 default, it is set to @code{0}, such that the neutral position is the
5340 center of the staff. Use property @code{neutral-direction} to control
5341 what happens if a custos is typeset on the neutral position itself.
5342 By default, this property is set to @code{-1}, such that the appendage
5343 will point downwards. If set to @code{1}, the appendage will point
5344 upwards. Other values such as @code{0} are reserved for future
5345 extensions and should not be used.
5349 Internals: @internalsref{Custos}.
5351 Examples: @inputfileref{input/regression,custos.ly}.
5355 @subsection Divisiones
5361 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5362 `division') is a staff context symbol that is used to structure
5363 Gregorian music into phrases and sections. The musical meaning of
5364 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5365 can be characterized as short, medium and long pause, somewhat like
5366 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5367 a chant, but is also frequently used within a single
5368 antiphonal/responsorial chant to mark the end of each section.
5372 To use divisiones, include the file @code{gregorian-init.ly}. It
5373 contains definitions that you can apply by just inserting
5374 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5375 and @code{\finalis} at proper places in the input. Some editions use
5376 @emph{virgula} or @emph{caesura} instead of divisio minima.
5377 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5380 @lilypondfile[]{divisiones.ly}
5384 @cindex @code{\virgula}
5386 @cindex @code{\caesura}
5388 @cindex @code{\divisioMinima}
5389 @code{\divisioMinima},
5390 @cindex @code{\divisioMaior}
5391 @code{\divisioMaior},
5392 @cindex @code{\divisioMaxima}
5393 @code{\divisioMaxima},
5394 @cindex @code{\finalis}
5399 In this manual: @ref{Breath marks}.
5401 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5403 Examples: @inputfileref{input/test,divisiones.ly}.
5406 @subsection Ligatures
5410 @c TODO: Should double check if I recalled things correctly when I wrote
5411 @c down the following paragraph by heart.
5413 In musical terminology, a ligature is a coherent graphical symbol that
5414 represents at least two distinct notes. Ligatures originally appeared
5415 in the manuscripts of Gregorian chant notation roughly since the 9th
5416 century as an allusion to the accent symbols of greek lyric poetry to
5417 denote ascending or descending sequences of notes. Both, the shape
5418 and the exact meaning of ligatures changed tremendously during the
5419 following centuries: In early notation, ligatures were used for
5420 monophonic tunes (Gregorian chant) and very soon denoted also the way
5421 of performance in the sense of articulation. With upcoming
5422 multiphony, the need for a metric system arised, since multiple voices
5423 of a piece have to be synchronized some way. New notation systems
5424 were invented that used the manifold shapes of ligatures to now denote
5425 rhythmical patterns (e.g. black mensural notation, mannered notation,
5426 ars nova). With the invention of the metric system of the white
5427 mensural notation, the need for ligatures to denote such patterns
5428 disappeared. Nevertheless, ligatures were still in use in the
5429 mensural system for a couple of decades until they finally disappeared
5430 during the late 16th / early 17th century. Still, ligatures have
5431 survived in contemporary editions of Gregorian chant such as the
5432 Editio Vaticana from 1905/08.
5436 Syntactically, ligatures are simply enclosed by @code{\[} and
5437 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5438 additional input syntax specific for this particular type of ligature.
5439 By default, the @internalsref{LigatureBracket} engraver just puts a
5440 square bracket above the ligature:
5442 @lilypond[raggedright,verbatim]
5444 \notes \transpose c c' {
5452 To select a specific style of ligatures, a proper ligature engraver
5453 has to be added to the @internalsref{Voice} context, as explained in
5454 the following subsections. Only white mensural ligatures
5455 are supported with certain limitations. Support for Editio Vaticana
5456 will be added in the future.
5459 * White mensural ligatures::
5460 * Gregorian square neumes ligatures::
5463 @node White mensural ligatures
5464 @subsubsection White mensural ligatures
5466 @cindex Mensural ligatures
5467 @cindex White mensural ligatures
5469 There is limited support for white mensural ligatures. The
5470 implementation is still experimental; it may output strange
5471 warnings or even crash in some cases or produce weird results on more
5476 To engrave white mensural ligatures, in the paper block the
5477 @internalsref{Mensural_ligature_engraver} has to be put into the
5478 @internalsref{Voice} context, and remove the
5479 @internalsref{Ligature_bracket_engraver}:
5485 \remove Ligature_bracket_engraver
5486 \consists Mensural_ligature_engraver
5491 There is no additional input language to describe the shape of a
5492 white mensural ligature. The shape is rather determined solely from
5493 the pitch and duration of the enclosed notes. While this approach may
5494 take a new user a while to get accustomed, it has the great advantage
5495 that the full musical information of the ligature is known internally.
5496 This is not only required for correct MIDI output, but also allows for
5497 automatic transcription of the ligatures.
5502 \set Score.timing = ##f
5503 \set Score.defaultBarType = "empty"
5504 \override NoteHead #'style = #'neo_mensural
5505 \override Staff.TimeSignature #'style = #'neo_mensural
5507 \[ g\longa c\breve a\breve f\breve d'\longa \]
5509 \[ e1 f1 a\breve g\longa \]
5511 @lilypond[raggedright]
5513 \notes \transpose c c' {
5514 \set Score.timing = ##f
5515 \set Score.defaultBarType = "empty"
5516 \override NoteHead #'style = #'neo_mensural
5517 \override Staff.TimeSignature #'style = #'neo_mensural
5519 \[ g\longa c\breve a\breve f\breve d'\longa \]
5521 \[ e1 f1 a\breve g\longa \]
5526 \remove Ligature_bracket_engraver
5527 \consists Mensural_ligature_engraver
5533 Without replacing @internalsref{Ligature_bracket_engraver} with
5534 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5537 @lilypond[raggedright]
5539 \notes \transpose c c' {
5540 \set Score.timing = ##f
5541 \set Score.defaultBarType = "empty"
5542 \override NoteHead #'style = #'neo_mensural
5543 \override Staff.TimeSignature #'style = #'neo_mensural
5545 \[ g\longa c\breve a\breve f\breve d'\longa \]
5547 \[ e1 f1 a\breve g\longa \]
5553 @node Gregorian square neumes ligatures
5554 @subsubsection Gregorian square neumes ligatures
5556 @cindex Square neumes ligatures
5557 @cindex Gregorian square neumes ligatures
5559 Gregorian square neumes notation (following the style of the Editio
5560 Vaticana) is under heavy development, but not yet really usable for
5561 production purposes. Core ligatures can already be typeset, but
5562 essential issues for serious typesetting are still under development,
5563 such as (among others) horizontal alignment of multiple ligatures,
5564 lyrics alignment and proper accidentals handling. Still, this section
5565 gives a sneak preview of what Gregorian chant may look like once it
5568 The following table contains the extended neumes table of the 2nd
5569 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5570 1983 by the monks of Solesmes.
5572 @multitable @columnfractions .4 .2 .2 .2
5575 @b{Neuma aut@*Neumarum Elementa} @tab
5576 @b{Figurae@*Rectae} @tab
5577 @b{Figurae@*Liquescentes Auctae} @tab
5578 @b{Figurae@*Liquescentes Deminutae}
5580 @c TODO: \paper block is identical in all of the below examples.
5581 @c Therefore, it should somehow be included rather than duplicated all
5584 @c why not make identifiers in ly/engraver-init.ly? --hwn
5586 @c Because it's just used to typeset plain notes without
5587 @c a staff for demonstration purposes rather than something
5588 @c special of Gregorian chant notation. --jr
5593 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5594 \include "gregorian-init.ly"
5596 \notes \transpose c c' {
5599 \noBreak s^\markup {"a"} \noBreak
5601 % Punctum Inclinatum
5603 \noBreak s^\markup {"b"}
5609 \remove "Bar_number_engraver"
5613 \remove "Clef_engraver"
5614 \remove "Key_engraver"
5615 StaffSymbol \set #'transparent = ##t
5616 \remove "Time_signature_engraver"
5617 \remove "Bar_engraver"
5618 minimumVerticalExtent = ##f
5622 \remove Ligature_bracket_engraver
5623 \consists Vaticana_ligature_engraver
5624 NoteHead \set #'style = #'vaticana_punctum
5625 Stem \set #'transparent = ##t
5631 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5632 \include "gregorian-init.ly"
5634 \notes \transpose c c' {
5635 % Punctum Auctum Ascendens
5636 \[ \auctum \ascendens b \]
5637 \noBreak s^\markup {"c"} \noBreak
5639 % Punctum Auctum Descendens
5640 \[ \auctum \descendens b \]
5641 \noBreak s^\markup {"d"} \noBreak
5643 % Punctum Inclinatum Auctum
5644 \[ \inclinatum \auctum b \]
5645 \noBreak s^\markup {"e"}
5651 \remove "Bar_number_engraver"
5655 \remove "Clef_engraver"
5656 \remove "Key_engraver"
5657 StaffSymbol \set #'transparent = ##t
5658 \remove "Time_signature_engraver"
5659 \remove "Bar_engraver"
5660 minimumVerticalExtent = ##f
5664 \remove Ligature_bracket_engraver
5665 \consists Vaticana_ligature_engraver
5666 NoteHead \set #'style = #'vaticana_punctum
5667 Stem \set #'transparent = ##t
5673 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5674 \include "gregorian-init.ly"
5676 \notes \transpose c c' {
5677 % Punctum Inclinatum Parvum
5678 \[ \inclinatum \deminutum b \]
5679 \noBreak s^\markup {"f"}
5685 \remove "Bar_number_engraver"
5689 \remove "Clef_engraver"
5690 \remove "Key_engraver"
5691 StaffSymbol \set #'transparent = ##t
5692 \remove "Time_signature_engraver"
5693 \remove "Bar_engraver"
5694 minimumVerticalExtent = ##f
5698 \remove Ligature_bracket_engraver
5699 \consists Vaticana_ligature_engraver
5700 NoteHead \set #'style = #'vaticana_punctum
5701 Stem \set #'transparent = ##t
5710 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5711 \include "gregorian-init.ly"
5713 \notes \transpose c c' {
5716 \noBreak s^\markup {"g"}
5722 \remove "Bar_number_engraver"
5726 \remove "Clef_engraver"
5727 \remove "Key_engraver"
5728 StaffSymbol \set #'transparent = ##t
5729 \remove "Time_signature_engraver"
5730 \remove "Bar_engraver"
5731 minimumVerticalExtent = ##f
5735 \remove Ligature_bracket_engraver
5736 \consists Vaticana_ligature_engraver
5737 NoteHead \set #'style = #'vaticana_punctum
5738 Stem \set #'transparent = ##t
5747 @code{3. Apostropha vel Stropha}
5749 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5750 \include "gregorian-init.ly"
5752 \notes \transpose c c' {
5755 \noBreak s^\markup {"h"}
5761 \remove "Bar_number_engraver"
5765 \remove "Clef_engraver"
5766 \remove "Key_engraver"
5767 StaffSymbol \set #'transparent = ##t
5768 \remove "Time_signature_engraver"
5769 \remove "Bar_engraver"
5770 minimumVerticalExtent = ##f
5774 \remove Ligature_bracket_engraver
5775 \consists Vaticana_ligature_engraver
5776 NoteHead \set #'style = #'vaticana_punctum
5777 Stem \set #'transparent = ##t
5783 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5784 \include "gregorian-init.ly"
5786 \notes \transpose c c' {
5788 \[ \stropha \auctum b \]
5789 \noBreak s^\markup {"i"}
5795 \remove "Bar_number_engraver"
5799 \remove "Clef_engraver"
5800 \remove "Key_engraver"
5801 StaffSymbol \set #'transparent = ##t
5802 \remove "Time_signature_engraver"
5803 \remove "Bar_engraver"
5804 minimumVerticalExtent = ##f
5808 \remove Ligature_bracket_engraver
5809 \consists Vaticana_ligature_engraver
5810 NoteHead \set #'style = #'vaticana_punctum
5811 Stem \set #'transparent = ##t
5821 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5822 \include "gregorian-init.ly"
5824 \notes \transpose c c' {
5827 \noBreak s^\markup {"j"}
5833 \remove "Bar_number_engraver"
5837 \remove "Clef_engraver"
5838 \remove "Key_engraver"
5839 StaffSymbol \set #'transparent = ##t
5840 \remove "Time_signature_engraver"
5841 \remove "Bar_engraver"
5842 minimumVerticalExtent = ##f
5846 \remove Ligature_bracket_engraver
5847 \consists Vaticana_ligature_engraver
5848 NoteHead \set #'style = #'vaticana_punctum
5849 Stem \set #'transparent = ##t
5858 @code{5. Clivis vel Flexa}
5860 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5861 \include "gregorian-init.ly"
5863 \notes \transpose c c' {
5872 \remove "Bar_number_engraver"
5876 \remove "Clef_engraver"
5877 \remove "Key_engraver"
5878 StaffSymbol \set #'transparent = ##t
5879 \remove "Time_signature_engraver"
5880 \remove "Bar_engraver"
5881 minimumVerticalExtent = ##f
5885 \remove Ligature_bracket_engraver
5886 \consists Vaticana_ligature_engraver
5887 NoteHead \set #'style = #'vaticana_punctum
5888 Stem \set #'transparent = ##t
5894 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5895 \include "gregorian-init.ly"
5897 \notes \transpose c c' {
5898 % Clivis Aucta Descendens
5899 \[ b \flexa \auctum \descendens g \]
5900 \noBreak s^\markup {"l"} \noBreak
5902 % Clivis Aucta Ascendens
5903 \[ b \flexa \auctum \ascendens g \]
5904 \noBreak s^\markup {"m"}
5910 \remove "Bar_number_engraver"
5914 \remove "Clef_engraver"
5915 \remove "Key_engraver"
5916 StaffSymbol \set #'transparent = ##t
5917 \remove "Time_signature_engraver"
5918 \remove "Bar_engraver"
5919 minimumVerticalExtent = ##f
5923 \remove Ligature_bracket_engraver
5924 \consists Vaticana_ligature_engraver
5925 NoteHead \set #'style = #'vaticana_punctum
5926 Stem \set #'transparent = ##t
5932 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5933 \include "gregorian-init.ly"
5935 \notes \transpose c c' {
5937 \[ b \flexa \deminutum g \]
5944 \remove "Bar_number_engraver"
5948 \remove "Clef_engraver"
5949 \remove "Key_engraver"
5950 StaffSymbol \set #'transparent = ##t
5951 \remove "Time_signature_engraver"
5952 \remove "Bar_engraver"
5953 minimumVerticalExtent = ##f
5957 \remove Ligature_bracket_engraver
5958 \consists Vaticana_ligature_engraver
5959 NoteHead \set #'style = #'vaticana_punctum
5960 Stem \set #'transparent = ##t
5967 @code{6. Podatus vel Pes}
5969 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5970 \include "gregorian-init.ly"
5972 \notes \transpose c c' {
5981 \remove "Bar_number_engraver"
5985 \remove "Clef_engraver"
5986 \remove "Key_engraver"
5987 StaffSymbol \set #'transparent = ##t
5988 \remove "Time_signature_engraver"
5989 \remove "Bar_engraver"
5990 minimumVerticalExtent = ##f
5994 \remove Ligature_bracket_engraver
5995 \consists Vaticana_ligature_engraver
5996 NoteHead \set #'style = #'vaticana_punctum
5997 Stem \set #'transparent = ##t
6003 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6004 \include "gregorian-init.ly"
6006 \notes \transpose c c' {
6007 % Pes Auctus Descendens
6008 \[ g \pes \auctum \descendens b \]
6009 \noBreak s^\markup {"p"} \noBreak
6011 % Pes Auctus Ascendens
6012 \[ g \pes \auctum \ascendens b \]
6013 \noBreak s^\markup {"q"}
6019 \remove "Bar_number_engraver"
6023 \remove "Clef_engraver"
6024 \remove "Key_engraver"
6025 StaffSymbol \set #'transparent = ##t
6026 \remove "Time_signature_engraver"
6027 \remove "Bar_engraver"
6028 minimumVerticalExtent = ##f
6032 \remove Ligature_bracket_engraver
6033 \consists Vaticana_ligature_engraver
6034 NoteHead \set #'style = #'vaticana_punctum
6035 Stem \set #'transparent = ##t
6041 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6042 \include "gregorian-init.ly"
6044 \notes \transpose c c' {
6046 \[ g \pes \deminutum b \]
6053 \remove "Bar_number_engraver"
6057 \remove "Clef_engraver"
6058 \remove "Key_engraver"
6059 StaffSymbol \set #'transparent = ##t
6060 \remove "Time_signature_engraver"
6061 \remove "Bar_engraver"
6062 minimumVerticalExtent = ##f
6066 \remove Ligature_bracket_engraver
6067 \consists Vaticana_ligature_engraver
6068 NoteHead \set #'style = #'vaticana_punctum
6069 Stem \set #'transparent = ##t
6076 @code{7. Pes Quassus}
6078 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6079 \include "gregorian-init.ly"
6081 \notes \transpose c c' {
6083 \[ \oriscus g \pes \virga b \]
6090 \remove "Bar_number_engraver"
6094 \remove "Clef_engraver"
6095 \remove "Key_engraver"
6096 StaffSymbol \set #'transparent = ##t
6097 \remove "Time_signature_engraver"
6098 \remove "Bar_engraver"
6099 minimumVerticalExtent = ##f
6103 \remove Ligature_bracket_engraver
6104 \consists Vaticana_ligature_engraver
6105 NoteHead \set #'style = #'vaticana_punctum
6106 Stem \set #'transparent = ##t
6112 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6113 \include "gregorian-init.ly"
6115 \notes \transpose c c' {
6116 % Pes Quassus Auctus Descendens
6117 \[ \oriscus g \pes \auctum \descendens b \]
6124 \remove "Bar_number_engraver"
6128 \remove "Clef_engraver"
6129 \remove "Key_engraver"
6130 StaffSymbol \set #'transparent = ##t
6131 \remove "Time_signature_engraver"
6132 \remove "Bar_engraver"
6133 minimumVerticalExtent = ##f
6137 \remove Ligature_bracket_engraver
6138 \consists Vaticana_ligature_engraver
6139 NoteHead \set #'style = #'vaticana_punctum
6140 Stem \set #'transparent = ##t
6148 @code{8. Quilisma Pes}
6150 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6151 \include "gregorian-init.ly"
6153 \notes \transpose c c' {
6155 \[ \quilisma g \pes b \]
6162 \remove "Bar_number_engraver"
6166 \remove "Clef_engraver"
6167 \remove "Key_engraver"
6168 StaffSymbol \set #'transparent = ##t
6169 \remove "Time_signature_engraver"
6170 \remove "Bar_engraver"
6171 minimumVerticalExtent = ##f
6175 \remove Ligature_bracket_engraver
6176 \consists Vaticana_ligature_engraver
6177 NoteHead \set #'style = #'vaticana_punctum
6178 Stem \set #'transparent = ##t
6184 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6185 \include "gregorian-init.ly"
6187 \notes \transpose c c' {
6188 % Quilisma Pes Auctus Descendens
6189 \[ \quilisma g \pes \auctum \descendens b \]
6196 \remove "Bar_number_engraver"
6200 \remove "Clef_engraver"
6201 \remove "Key_engraver"
6202 StaffSymbol \set #'transparent = ##t
6203 \remove "Time_signature_engraver"
6204 \remove "Bar_engraver"
6205 minimumVerticalExtent = ##f
6209 \remove Ligature_bracket_engraver
6210 \consists Vaticana_ligature_engraver
6211 NoteHead \set #'style = #'vaticana_punctum
6212 Stem \set #'transparent = ##t
6220 @code{9. Podatus Initio Debilis}
6222 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6223 \include "gregorian-init.ly"
6225 \notes \transpose c c' {
6226 % Pes Initio Debilis
6227 \[ \deminutum g \pes b \]
6234 \remove "Bar_number_engraver"
6238 \remove "Clef_engraver"
6239 \remove "Key_engraver"
6240 StaffSymbol \set #'transparent = ##t
6241 \remove "Time_signature_engraver"
6242 \remove "Bar_engraver"
6243 minimumVerticalExtent = ##f
6247 \remove Ligature_bracket_engraver
6248 \consists Vaticana_ligature_engraver
6249 NoteHead \set #'style = #'vaticana_punctum
6250 Stem \set #'transparent = ##t
6256 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6257 \include "gregorian-init.ly"
6259 \notes \transpose c c' {
6260 % Pes Auctus Descendens Initio Debilis
6261 \[ \deminutum g \pes \auctum \descendens b \]
6268 \remove "Bar_number_engraver"
6272 \remove "Clef_engraver"
6273 \remove "Key_engraver"
6274 StaffSymbol \set #'transparent = ##t
6275 \remove "Time_signature_engraver"
6276 \remove "Bar_engraver"
6277 minimumVerticalExtent = ##f
6281 \remove Ligature_bracket_engraver
6282 \consists Vaticana_ligature_engraver
6283 NoteHead \set #'style = #'vaticana_punctum
6284 Stem \set #'transparent = ##t
6294 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6295 \include "gregorian-init.ly"
6297 \notes \transpose c c' {
6299 \[ a \pes b \flexa g \]
6306 \remove "Bar_number_engraver"
6310 \remove "Clef_engraver"
6311 \remove "Key_engraver"
6312 StaffSymbol \set #'transparent = ##t
6313 \remove "Time_signature_engraver"
6314 \remove "Bar_engraver"
6315 minimumVerticalExtent = ##f
6319 \remove Ligature_bracket_engraver
6320 \consists Vaticana_ligature_engraver
6321 NoteHead \set #'style = #'vaticana_punctum
6322 Stem \set #'transparent = ##t
6328 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6329 \include "gregorian-init.ly"
6331 \notes \transpose c c' {
6332 % Torculus Auctus Descendens
6333 \[ a \pes b \flexa \auctum \descendens g \]
6340 \remove "Bar_number_engraver"
6344 \remove "Clef_engraver"
6345 \remove "Key_engraver"
6346 StaffSymbol \set #'transparent = ##t
6347 \remove "Time_signature_engraver"
6348 \remove "Bar_engraver"
6349 minimumVerticalExtent = ##f
6353 \remove Ligature_bracket_engraver
6354 \consists Vaticana_ligature_engraver
6355 NoteHead \set #'style = #'vaticana_punctum
6356 Stem \set #'transparent = ##t
6362 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6363 \include "gregorian-init.ly"
6365 \notes \transpose c c' {
6366 % Torculus Deminutus
6367 \[ a \pes b \flexa \deminutum g \]
6374 \remove "Bar_number_engraver"
6378 \remove "Clef_engraver"
6379 \remove "Key_engraver"
6380 StaffSymbol \set #'transparent = ##t
6381 \remove "Time_signature_engraver"
6382 \remove "Bar_engraver"
6383 minimumVerticalExtent = ##f
6387 \remove Ligature_bracket_engraver
6388 \consists Vaticana_ligature_engraver
6389 NoteHead \set #'style = #'vaticana_punctum
6390 Stem \set #'transparent = ##t
6397 @code{11. Torculus Initio Debilis}
6399 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6400 \include "gregorian-init.ly"
6402 \notes \transpose c c' {
6403 % Torculus Initio Debilis
6404 \[ \deminutum a \pes b \flexa g \]
6411 \remove "Bar_number_engraver"
6415 \remove "Clef_engraver"
6416 \remove "Key_engraver"
6417 StaffSymbol \set #'transparent = ##t
6418 \remove "Time_signature_engraver"
6419 \remove "Bar_engraver"
6420 minimumVerticalExtent = ##f
6424 \remove Ligature_bracket_engraver
6425 \consists Vaticana_ligature_engraver
6426 NoteHead \set #'style = #'vaticana_punctum
6427 Stem \set #'transparent = ##t
6433 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6434 \include "gregorian-init.ly"
6436 \notes \transpose c c' {
6437 % Torculus Auctus Descendens Initio Debilis
6438 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6445 \remove "Bar_number_engraver"
6449 \remove "Clef_engraver"
6450 \remove "Key_engraver"
6451 StaffSymbol \set #'transparent = ##t
6452 \remove "Time_signature_engraver"
6453 \remove "Bar_engraver"
6454 minimumVerticalExtent = ##f
6458 \remove Ligature_bracket_engraver
6459 \consists Vaticana_ligature_engraver
6460 NoteHead \set #'style = #'vaticana_punctum
6461 Stem \set #'transparent = ##t
6467 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6468 \include "gregorian-init.ly"
6470 \notes \transpose c c' {
6471 % Torculus Deminutus Initio Debilis
6472 \[ \deminutum a \pes b \flexa \deminutum g \]
6479 \remove "Bar_number_engraver"
6483 \remove "Clef_engraver"
6484 \remove "Key_engraver"
6485 StaffSymbol \set #'transparent = ##t
6486 \remove "Time_signature_engraver"
6487 \remove "Bar_engraver"
6488 minimumVerticalExtent = ##f
6492 \remove Ligature_bracket_engraver
6493 \consists Vaticana_ligature_engraver
6494 NoteHead \set #'style = #'vaticana_punctum
6495 Stem \set #'transparent = ##t
6502 @code{12. Porrectus}
6504 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6505 \include "gregorian-init.ly"
6507 \notes \transpose c c' {
6509 \[ a \flexa g \pes b \]
6516 \remove "Bar_number_engraver"
6520 \remove "Clef_engraver"
6521 \remove "Key_engraver"
6522 StaffSymbol \set #'transparent = ##t
6523 \remove "Time_signature_engraver"
6524 \remove "Bar_engraver"
6525 minimumVerticalExtent = ##f
6529 \remove Ligature_bracket_engraver
6530 \consists Vaticana_ligature_engraver
6531 NoteHead \set #'style = #'vaticana_punctum
6532 Stem \set #'transparent = ##t
6538 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6539 \include "gregorian-init.ly"
6541 \notes \transpose c c' {
6542 % Porrectus Auctus Descendens
6543 \[ a \flexa g \pes \auctum \descendens b \]
6550 \remove "Bar_number_engraver"
6554 \remove "Clef_engraver"
6555 \remove "Key_engraver"
6556 StaffSymbol \set #'transparent = ##t
6557 \remove "Time_signature_engraver"
6558 \remove "Bar_engraver"
6559 minimumVerticalExtent = ##f
6563 \remove Ligature_bracket_engraver
6564 \consists Vaticana_ligature_engraver
6565 NoteHead \set #'style = #'vaticana_punctum
6566 Stem \set #'transparent = ##t
6572 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6573 \include "gregorian-init.ly"
6575 \notes \transpose c c' {
6576 % Porrectus Deminutus
6577 \[ a \flexa g \pes \deminutum b \]
6584 \remove "Bar_number_engraver"
6588 \remove "Clef_engraver"
6589 \remove "Key_engraver"
6590 StaffSymbol \set #'transparent = ##t
6591 \remove "Time_signature_engraver"
6592 \remove "Bar_engraver"
6593 minimumVerticalExtent = ##f
6597 \remove Ligature_bracket_engraver
6598 \consists Vaticana_ligature_engraver
6599 NoteHead \set #'style = #'vaticana_punctum
6600 Stem \set #'transparent = ##t
6609 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6610 \include "gregorian-init.ly"
6612 \notes \transpose c c' {
6614 \[ \virga b \inclinatum a \inclinatum g \]
6621 \remove "Bar_number_engraver"
6625 \remove "Clef_engraver"
6626 \remove "Key_engraver"
6627 StaffSymbol \set #'transparent = ##t
6628 \remove "Time_signature_engraver"
6629 \remove "Bar_engraver"
6630 minimumVerticalExtent = ##f
6634 \remove Ligature_bracket_engraver
6635 \consists Vaticana_ligature_engraver
6636 NoteHead \set #'style = #'vaticana_punctum
6637 Stem \set #'transparent = ##t
6643 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6644 \include "gregorian-init.ly"
6646 \notes \transpose c c' {
6648 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6655 \remove "Bar_number_engraver"
6659 \remove "Clef_engraver"
6660 \remove "Key_engraver"
6661 StaffSymbol \set #'transparent = ##t
6662 \remove "Time_signature_engraver"
6663 \remove "Bar_engraver"
6664 minimumVerticalExtent = ##f
6668 \remove Ligature_bracket_engraver
6669 \consists Vaticana_ligature_engraver
6670 NoteHead \set #'style = #'vaticana_punctum
6671 Stem \set #'transparent = ##t
6677 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6678 \include "gregorian-init.ly"
6680 \notes \transpose c c' {
6681 % Climacus Deminutus
6682 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6689 \remove "Bar_number_engraver"
6693 \remove "Clef_engraver"
6694 \remove "Key_engraver"
6695 StaffSymbol \set #'transparent = ##t
6696 \remove "Time_signature_engraver"
6697 \remove "Bar_engraver"
6698 minimumVerticalExtent = ##f
6702 \remove Ligature_bracket_engraver
6703 \consists Vaticana_ligature_engraver
6704 NoteHead \set #'style = #'vaticana_punctum
6705 Stem \set #'transparent = ##t
6712 @code{14. Scandicus}
6714 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6715 \include "gregorian-init.ly"
6717 \notes \transpose c c' {
6719 \[ g \pes a \virga b \]
6726 \remove "Bar_number_engraver"
6730 \remove "Clef_engraver"
6731 \remove "Key_engraver"
6732 StaffSymbol \set #'transparent = ##t
6733 \remove "Time_signature_engraver"
6734 \remove "Bar_engraver"
6735 minimumVerticalExtent = ##f
6739 \remove Ligature_bracket_engraver
6740 \consists Vaticana_ligature_engraver
6741 NoteHead \set #'style = #'vaticana_punctum
6742 Stem \set #'transparent = ##t
6748 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6749 \include "gregorian-init.ly"
6751 \notes \transpose c c' {
6752 % Scandicus Auctus Descendens
6753 \[ g \pes a \pes \auctum \descendens b \]
6760 \remove "Bar_number_engraver"
6764 \remove "Clef_engraver"
6765 \remove "Key_engraver"
6766 StaffSymbol \set #'transparent = ##t
6767 \remove "Time_signature_engraver"
6768 \remove "Bar_engraver"
6769 minimumVerticalExtent = ##f
6773 \remove Ligature_bracket_engraver
6774 \consists Vaticana_ligature_engraver
6775 NoteHead \set #'style = #'vaticana_punctum
6776 Stem \set #'transparent = ##t
6782 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6783 \include "gregorian-init.ly"
6785 \notes \transpose c c' {
6786 % Scandicus Deminutus
6787 \[ g \pes a \pes \deminutum b \]
6794 \remove "Bar_number_engraver"
6798 \remove "Clef_engraver"
6799 \remove "Key_engraver"
6800 StaffSymbol \set #'transparent = ##t
6801 \remove "Time_signature_engraver"
6802 \remove "Bar_engraver"
6803 minimumVerticalExtent = ##f
6807 \remove Ligature_bracket_engraver
6808 \consists Vaticana_ligature_engraver
6809 NoteHead \set #'style = #'vaticana_punctum
6810 Stem \set #'transparent = ##t
6819 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6820 \include "gregorian-init.ly"
6822 \notes \transpose c c' {
6824 \[ g \oriscus a \pes \virga b \]
6831 \remove "Bar_number_engraver"
6835 \remove "Clef_engraver"
6836 \remove "Key_engraver"
6837 StaffSymbol \set #'transparent = ##t
6838 \remove "Time_signature_engraver"
6839 \remove "Bar_engraver"
6840 minimumVerticalExtent = ##f
6844 \remove Ligature_bracket_engraver
6845 \consists Vaticana_ligature_engraver
6846 NoteHead \set #'style = #'vaticana_punctum
6847 Stem \set #'transparent = ##t
6853 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6854 \include "gregorian-init.ly"
6856 \notes \transpose c c' {
6857 % Salicus Auctus Descendens
6858 \[ g \oriscus a \pes \auctum \descendens b \]
6865 \remove "Bar_number_engraver"
6869 \remove "Clef_engraver"
6870 \remove "Key_engraver"
6871 StaffSymbol \set #'transparent = ##t
6872 \remove "Time_signature_engraver"
6873 \remove "Bar_engraver"
6874 minimumVerticalExtent = ##f
6878 \remove Ligature_bracket_engraver
6879 \consists Vaticana_ligature_engraver
6880 NoteHead \set #'style = #'vaticana_punctum
6881 Stem \set #'transparent = ##t
6891 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6892 \include "gregorian-init.ly"
6894 \notes \transpose c c' {
6896 \[ \stropha b \stropha b \stropha a \]
6903 \remove "Bar_number_engraver"
6907 \remove "Clef_engraver"
6908 \remove "Key_engraver"
6909 StaffSymbol \set #'transparent = ##t
6910 \remove "Time_signature_engraver"
6911 \remove "Bar_engraver"
6912 minimumVerticalExtent = ##f
6916 \remove Ligature_bracket_engraver
6917 \consists Vaticana_ligature_engraver
6918 NoteHead \set #'style = #'vaticana_punctum
6919 Stem \set #'transparent = ##t
6931 Unlike most other neumes notation systems, the input language for
6932 neumes does not necessarily reflect directly the typographical
6933 appearance, but is designed to solely focuse on musical meaning. For
6934 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6935 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6936 a Porrectus with a curved flexa shape and only a single Punctum head.
6937 There is no command to explicitly typeset the curved flexa shape; the
6938 decision of when to typeset a curved flexa shape is purely taken from
6939 the musical input. The idea of this approach is to separate the
6940 musical aspects of the input from the notation style of the output.
6941 This way, the same input can be reused to typeset the same music in a
6942 different style of Gregorian chant notation such as Hufnagel (also
6943 known as German gothic neumes) or Medicaea (kind of a very simple
6944 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6945 engraver and Medicaea ligature engraver will have been implemented, it
6946 will be as simple as replacing the ligature engraver in the
6947 @internalsref{Voice} context to get the desired notation style from
6950 The following table shows the code fragments that produce the
6951 ligatures in the above neumes table. The letter in the first column
6952 in each line of the below table indicates to which ligature in the
6953 above table it refers. The second column gives the name of the
6954 ligature. The third column shows the code fragment that produces this
6955 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6957 @multitable @columnfractions .1 .4 .5
6971 Punctum Inclinatum @tab
6972 @code{\[ \inclinatum b \]}
6976 Punctum Auctum Ascendens @tab
6977 @code{\[ \auctum \ascendens b \]}
6981 Punctum Auctum Descendens @tab
6982 @code{\[ \auctum \descendens b \]}
6986 Punctum Inclinatum Auctum @tab
6987 @code{\[ \inclinatum \auctum b \]}
6991 Punctum Inclinatum Parvum @tab
6992 @code{\[ \inclinatum \deminutum b \]}
6997 @code{\[ \virga b \]}
7002 @code{\[ \stropha b \]}
7007 @code{\[ \stropha \auctum b \]}
7012 @code{\[ \oriscus b \]}
7016 Clivis vel Flexa @tab
7017 @code{\[ b \flexa g \]}
7021 Clivis Aucta Descendens @tab
7022 @code{\[ b \flexa \auctum \descendens g \]}
7026 Clivis Aucta Ascendens @tab
7027 @code{\[ b \flexa \auctum \ascendens g \]}
7032 @code{\[ b \flexa \deminutum g \]}
7036 Podatus vel Pes @tab
7037 @code{\[ g \pes b \]}
7041 Pes Auctus Descendens @tab
7042 @code{\[ g \pes \auctum \descendens b \]}
7046 Pes Auctus Ascendens @tab
7047 @code{\[ g \pes \auctum \ascendens b \]}
7052 @code{\[ g \pes \deminutum b \]}
7057 @code{\[ \oriscus g \pes \virga b \]}
7061 Pes Quassus Auctus Descendens @tab
7062 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7067 @code{\[ \quilisma g \pes b \]}
7071 Quilisma Pes Auctus Descendens @tab
7072 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7076 Pes Initio Debilis @tab
7077 @code{\[ \deminutum g \pes b \]}
7081 Pes Auctus Descendens Initio Debilis @tab
7082 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7087 @code{\[ a \pes b \flexa g \]}
7091 Torculus Auctus Descendens @tab
7092 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7096 Torculus Deminutus @tab
7097 @code{\[ a \pes b \flexa \deminutum g \]}
7101 Torculus Initio Debilis @tab
7102 @code{\[ \deminutum a \pes b \flexa g \]}
7106 Torculus Auctus Descendens Initio Debilis @tab
7107 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7111 Torculus Deminutus Initio Debilis @tab
7112 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7117 @code{\[ a \flexa g \pes b \]}
7121 Porrectus Auctus Descendens @tab
7122 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7126 Porrectus Deminutus @tab
7127 @code{\[ a \flexa g \pes \deminutum b \]}
7132 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7136 Climacus Auctus @tab
7137 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7141 Climacus Deminutus @tab
7142 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7147 @code{\[ g \pes a \virga b \]}
7151 Scandicus Auctus Descendens @tab
7152 @code{\[ g \pes a \pes \auctum \descendens b \]}
7156 Scandicus Deminutus @tab
7157 @code{\[ g \pes a \pes \deminutum b \]}
7162 @code{\[ g \oriscus a \pes \virga b \]}
7166 Salicus Auctus Descendens @tab
7167 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7172 @code{\[ \stropha b \stropha b \stropha a \]}
7178 The following head prefixes are supported:
7180 @cindex @code{\virga}
7182 @cindex @code{\stropha}
7184 @cindex @code{\inclinatum}
7186 @cindex @code{\auctum}
7188 @cindex @code{\descendens}
7190 @cindex @code{\ascendens}
7192 @cindex @code{\oriscus}
7194 @cindex @code{\quilisma}
7196 @cindex @code{\deminutum}
7199 Head prefixes can be accumulated, though restrictions apply. For
7200 example, either @code{\descendens} or @code{\ascendens} can be applied
7201 to a head, but not both to the same head.
7204 @cindex @code{\flexa}
7205 Two adjacent heads can be tied together with the @code{\pes} and
7206 @code{\flexa} infix commands for a rising and falling line of melody,
7211 Trigonus: apply equal spacing, regardless of pitch.
7214 @subsection Figured bass
7216 @cindex Basso continuo
7218 @c TODO: musicological blurb about FB
7222 LilyPond has limited support for figured bass:
7224 @lilypond[verbatim,fragment]
7226 \context Voice \notes { \clef bass dis4 c d ais}
7227 \context FiguredBass
7229 < 6 >4 < 7 >8 < 6+ [_!] >
7235 The support for figured bass consists of two parts: there is an input
7236 mode, introduced by @code{\figures}, where you can enter bass figures
7237 as numbers, and there is a context called @internalsref{FiguredBass} that
7238 takes care of making @internalsref{BassFigure} objects.
7240 In figures input mode, a group of bass figures is delimited by
7241 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7246 \context FiguredBass
7250 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7257 \context FiguredBass
7258 \figures { <4- 6+ 7!> }
7261 Spaces or dashes may be inserted by using @code{_}. Brackets are
7262 introduced with @code{[} and @code{]}:
7268 \context FiguredBass
7269 \figures { < [4 6] 8 [_! 12]> }
7272 Although the support for figured bass may superficially resemble chord
7273 support, it works much simpler. The @code{\figures} mode simply
7274 stores the numbers , and @internalsref{FiguredBass} context prints
7275 them as entered. There is no conversion to pitches, and no
7276 realizations of the bass are played in the MIDI file.
7278 Internally, the code produces markup texts. You can use any of the
7279 markup text properties to override formatting. For example, the
7280 vertical spacing of the figures may be set with @code{baseline-skip}.
7284 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7285 and @internalsref{FiguredBass} context.
7289 Slash notation for alterations is not supported.
7292 @node Vaticana style contexts
7293 @subsection Vaticana style contexts
7295 @cindex VaticanaVoiceContext
7296 @cindex VaticanaStaffContext
7298 The predefined @code{VaticanaVoiceContext} and
7299 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7300 Gregorian Chant in the style of the Editio Vaticana. These contexts
7301 initialize all relevant context properties and grob properties to
7302 proper values. With these contexts, you can immediately go ahead
7303 entering the chant, as the following short excerpt demonstrates:
7305 @lilypond[raggedright,verbatim,noindent]
7306 \include "gregorian-init.ly"
7309 \context VaticanaVoice = "cantus" {
7310 \override Score.BarNumber #'transparent = ##t
7312 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7313 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7314 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7317 \lyricsto "cantus" \new Lyrics \lyrics {
7318 San- ctus, San- ctus, San- ctus
7324 @node Contemporary notation
7325 @section Contemporary notation
7327 In the 20th century, composers have greatly expanded the musical
7328 vocabulary. With this expansion, many innovations in musical notation
7329 have been tried. The book by Stone (1980) gives a comprehensive
7330 overview (see @ref{Literature list}). In general, the use of new,
7331 innovative notation makes a piece harder to understand and perform and
7332 its use should therefore be avoided if possible. For this reason,
7333 support for contemporary notation in LilyPond is limited.
7342 @subsection Clusters
7346 In musical terminology, a @emph{cluster} denotes a range of
7347 simultaneously sounding pitches that may change over time. The set of
7348 available pitches to apply usually depends on the accoustic source.
7349 Thus, in piano music, a cluster typically consists of a continous range
7350 of the semitones as provided by the piano's fixed set of a chromatic
7351 scale. In choral music, each singer of the choir typically may sing an
7352 arbitrary pitch within the cluster's range that is not bound to any
7353 diatonic, chromatic or other scale. In electronic music, a cluster
7354 (theoretically) may even cover a continuous range of pitches, thus
7355 resulting in coloured noise, such as pink noise.
7357 Clusters can be denoted in the context of ordinary staff notation by
7358 engraving simple geometrical shapes that replace ordinary notation of
7359 notes. Ordinary notes as musical events specify starting time and
7360 duration of pitches; however, the duration of a note is expressed by the
7361 shape of the note head rather than by the horizontal graphical extent of
7362 the note symbol. In contrast, the shape of a cluster geometrically
7363 describes the development of a range of pitches (vertical extent) over
7364 time (horizontal extent). Still, the geometrical shape of a cluster
7365 covers the area in wich any single pitch contained in the cluster would
7366 be notated as an ordinary note. From this point of view, it is
7367 reasonable to specify a cluster as the envelope of a set of notes.
7371 A cluster is engraved as the envelope of a set of
7372 cluster-notes. Cluster notes are created by applying the function
7373 @code{notes-to-clusters} to a sequence of chords, e.g.
7375 @lilypond[relative=1,verbatim]
7376 \apply #notes-to-clusters { <c e > <b f'> }
7379 The following example (from
7380 @inputfileref{input/regression,cluster.ly}) shows what the result
7383 @lilypondfile[]{cluster.ly}
7385 By default, @internalsref{Cluster_spanner_engraver} is in the
7386 @internalsref{Voice} context. This allows putting ordinary notes and
7387 clusters together in the same staff, even simultaneously. In such a
7388 case no attempt is made to automatically avoid collisions between
7389 ordinary notes and clusters.
7393 Internals: @internalsref{ClusterSpanner},
7394 @internalsref{ClusterSpannerBeacon},
7395 @internalsref{Cluster_spanner_engraver}, and
7396 @internalsref{ClusterNoteEvent}.
7398 Examples: @inputfileref{input/regression,cluster.ly}.
7402 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7403 accurately. Use @code{<g a>8 <e a>8} instead.
7408 @subsection Fermatas
7414 Contemporary music notation frequently uses special fermata symbols to
7415 indicate fermatas of differing lengths.
7419 The following are supported
7421 @lilypond[raggedright]
7423 << \addlyrics \notes {
7443 \context Lyrics \lyrics {
7444 "shortfermata" "fermata" "longfermata" "verylongfermata"
7449 See @ref{Articulations} for general instructions how to apply scripts
7450 such as fermatas to a @code{\notes@{@}} block.
7453 @node Special notation
7454 @section Special notation
7458 * Easy Notation note heads::
7462 @subsection Balloon help
7464 Elements of notation can be marked and named with the help of a square
7465 balloon. The primary purpose of this feature is to explain notation.
7467 The following example demonstrates its use.
7469 @lilypond[verbatim,fragment,raggedright,relative=1]
7472 #(add-balloon-text 'NoteHead "heads, or tails?"
7478 The function @code{add-balloon-text} takes the name of a grob, the
7479 label to print and where to put the label relative to the object. In
7480 the above example, the text ``heads or tails?'' ends 3 spaces below
7484 @cindex notation, explaining
7488 Internals: @internalsref{text-balloon-interface}.
7490 Examples: @inputfileref{input/regression,balloon.ly}.
7492 @node Easy Notation note heads
7493 @subsection Easy Notation note heads
7495 @cindex easy notation
7498 The `easy play' note head includes a note name inside the head. It is
7499 used in music aimed at beginners:
7501 @lilypond[raggedright,verbatim,staffsize=26]
7503 \notes { c'2 e'4 f' | g'1 }
7504 \paper { \translator { \EasyNotation } }
7508 The @code{EasyNotation} variable overrides a @internalsref{Score}
7509 context. To make the letters readable, it has to be printed in a
7510 large font size. To print with a larger font, see @ref{Font Size}.
7515 If you view the result with Xdvi, then staff lines may show through
7516 the letters. Printing the PostScript file obtained does produce the
7522 @section Tuning output
7524 There are situations where default layout decisions are not
7525 sufficient. In this section we discuss ways to override these
7528 Formatting is internally done by manipulating so called objects
7529 (graphic objects). Each object carries with it a set of properties
7530 (object or layout properties) specific to that object. For example, a
7531 stem object has properties that specify its direction, length and
7534 The most direct way of tuning the output is by altering the values of
7535 these properties. There are two ways of doing that: first, you can
7536 temporarily change the definition of one type of object, thus
7537 affecting a whole set of objects. Second, you can select one specific
7538 object, and set a layout property in that object.
7540 Do not confuse layout properties with translation
7541 properties. Translation properties always use a mixed caps style
7542 naming, and are manipulated using @code{\set} and @code{\unset}:
7544 \set Context.propertyName = @var{value}
7547 Layout properties are use Scheme style variable naming, i.e. lower
7548 case words separated with dashes. They are symbols, and should always
7549 be quoted using @code{#'}. For example, this could be an imaginary
7550 layout property name:
7552 #'layout-property-name
7557 The introduction of the @ref{Technical manual} gives a more in-depth
7558 treatment of the difference between translation and layout.
7562 * Constructing a tweak::
7569 @node Tuning objects
7570 @subsection Tuning objects
7572 @cindex object description
7574 The definition of an object is a list of default object
7575 properties. For example, the definition of the Stem object (available
7576 in @file{scm/define-grobs.scm}), includes the following definitions
7577 for @internalsref{Stem}:
7581 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7582 (Y-extent-callback . ,Stem::height)
7587 Adding variables on top of this existing definition overrides the
7588 system default, and alters the resulting appearance of the layout
7594 Changing a variable for only one object is commonly achieved with
7598 \once \override @var{context}.@var{objectname}
7599 @var{symbol} = @var{value}
7601 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7602 and @var{objectname} is a string and @var{value} is a Scheme expression.
7603 This command applies a setting only during one moment in the score.
7605 In the following example, only one @internalsref{Stem} object is
7606 changed from its original setting:
7608 @lilypond[verbatim,fragment,relative=1]
7610 \once \override Voice.Stem #'thickness = #4
7614 @cindex @code{\once}
7616 For changing more objects, the same command, without @code{\once} can
7619 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7621 This command adds @code{@var{symbol} = @var{value}} to the definition
7622 of @var{objectname} in the context @var{context}, and this definition
7623 stays in place until it is removed.
7625 An existing definition may be removed by the following command:
7628 \property @var{context}.@var{objectname} \revert @var{symbol}
7633 @lilypond[verbatim,quote]
7634 c'4 \override Stem #'thickness = #4.0
7636 c'4 \revert Stem #'thickness
7640 The following example gives exactly the same result as the previous
7641 one (assuming the system default for stem thickness is 1.3):
7643 @lilypond[verbatim,quote]
7644 c'4 \override Stem #'thickness = #4.0
7646 c'4 \override Stem #'thickness = #1.3
7650 Reverting a setting which was not set in the first place has no
7656 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7657 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7658 @internalsref{All-layout-objects}.
7663 The backend is not very strict in type-checking object properties.
7664 Cyclic references in Scheme values for properties can cause hangs
7668 * Constructing a tweak::
7674 @node Constructing a tweak
7675 @subsection Constructing a tweak
7678 @cindex internal documentation
7679 @cindex finding graphical objects
7680 @cindex graphical object descriptions
7682 @cindex @code{\override}
7684 @cindex internal documentation
7688 Three pieces of information are required to use @code{\override} and
7689 @code{\set}: the name of the layout object, the context and the name
7690 of the property. We demonstrate how to glean this information from
7691 the notation manual and the generated documentation.
7693 The generated documentation is a set of HTML pages which should be
7694 included if you installed a binary distribution, typically in
7695 @file{/usr/share/doc/lilypond}. They are also available on the web:
7696 go to the @uref{http://lilypond.org,LilyPond website}, click
7697 ``Documentation'', select the correct version, and click then
7698 ``Program reference.'' It is advisable to bookmark the local HTML
7699 files. They will load faster than the ones on the web. If you use the
7700 version from the web, you must check whether the documentation matches
7701 the program version: it is generated from the definitions that the
7702 program uses, and therefore it is strongly tied to the LilyPond
7706 @c [TODO: revise for new site.]
7708 Suppose we want to move the fingering indication in the fragment below:
7710 @lilypond[relative=2,verbatim]
7716 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7717 instructions}), you will notice that there is written:
7722 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7729 In other words, the fingerings once entered, are internally stored as
7730 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7731 layout object is created for every @code{FingerEvent}.
7733 The Fingering object has a number of different functions, and each of
7734 those is captured in an interface. The interfaces are listed under
7735 @internalsref{Fingering} in the program reference.
7739 The @code{Fingering} object has a fixed size
7740 (@internalsref{item-interface}), the symbol is a piece of text
7741 (@internalsref{text-interface}), whose font can be set
7742 (@internalsref{font-interface}). It is centered horizontally
7743 (@internalsref{self-alignment-interface}), it is placed next to other
7744 objects (@internalsref{side-position-interface}) vertically, and its
7745 placement is coordinated with other scripts
7746 (@internalsref{text-script-interface}). It also has the standard
7747 @internalsref{grob-interface} (grob stands for Graphical object)
7749 @cindex graphical object
7750 @cindex layout object
7751 @cindex object, layout
7752 with all the variables that come with
7753 it. Finally, it denotes a fingering instruction, so it has
7754 @internalsref{finger-interface}.
7756 For the vertical placement, we have to look under
7757 @code{side-position-interface}:
7759 @code{side-position-interface}
7761 Position a victim object (this one) next to other objects (the
7762 support). In this case, the property @code{direction} signifies where to put the
7763 victim object relative to the support (left or right, up or down?)
7768 below this description, the variable @code{padding} is described as
7772 (dimension, in staff space)
7774 add this much extra space between objects that are next to each
7775 other. Default value: @code{0.6}
7779 By increasing the value of @code{padding}, we can move away the
7780 fingering. The following command inserts 3 staff spaces of white
7781 between the note and the fingering:
7783 \once \override Fingering #'padding = #3
7786 Inserting this command before the Fingering object is created,
7787 i.e. before @code{c2}, yields the following result:
7789 @lilypond[relative=2,fragment,verbatim]
7790 \once \override Fingering
7797 The context name @code{Voice} in the example above can be determined
7798 as follows. In the documentation for @internalsref{Fingering}, it says
7800 Fingering grobs are created by: @internalsref{Fingering_engraver}
7803 Clicking @code{Fingering_engraver} shows the documentation of
7804 the module responsible for interpreting the fingering instructions and
7805 translating them to a @code{Fingering} object. Such a module is called
7806 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7809 Fingering_engraver is part of contexts: Voice
7811 so tuning the settings for Fingering should be done with
7813 \override Fingering @dots{}
7816 Of course, the tweak may also done in a larger context than
7817 @code{Voice}, for example, @internalsref{Staff} or
7818 @internalsref{Score}.
7822 Internals: the program reference also contains alphabetical lists of
7823 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7824 @internalsref{Music-expressions}, so you can also find which objects
7825 to tweak by browsing the internals document.
7829 @subsection Applyoutput
7831 The most versatile way of tuning an object is @code{\applyoutput}. Its
7834 \applyoutput @var{proc}
7838 where @var{proc} is a Scheme function, taking three arguments.
7840 When interpreted, the function @var{proc} is called for every layout
7841 object found in the context, with the following arguments:
7843 @item the layout object itself,
7844 @item the context where the layout object was created, and
7845 @item the context where @code{\applyoutput} is processed.
7849 In addition, the cause of the layout object, i.e. the music
7850 expression or object that was responsible for creating it, is in the
7851 object property @code{cause}. For example, for a note head, this is a
7852 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7853 this is a @internalsref{NoteHead} object.
7855 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7858 (define (blanker grob grob-origin context)
7859 (if (and (memq (ly:get-grob-property grob 'interfaces)
7860 note-head-interface)
7861 (eq? (ly:get-grob-property grob 'staff-position) 0))
7863 (ly:set-grob-property! grob 'transparent #t)))
7868 @node Font selection
7869 @subsection Font selection
7871 The most common thing to change about the appearance of fonts is their
7872 size. The font size of any context can be easily changed by setting
7873 the @code{fontSize} property for that context. Its value is a number:
7874 negative numbers make the font smaller, positive numbers larger. An
7875 example is given below:
7877 @lilypond[fragment,relative=1,verbatim,quote]
7878 c4 c4 \set fontSize = #-1
7881 This command will set @code{font-size} (see below), and does
7882 not change the size of variable symbols, such as beams or slurs.
7884 One of the uses of @code{fontSize} is to get smaller symbols for cue
7885 notes. An elaborate example of those is in
7886 @inputfileref{input/test,cue-notes.ly}.
7888 @cindex magnification
7891 The font used for printing a object can be selected by setting
7892 @code{font-name}, e.g.
7894 \override Staff.TimeSignature
7895 #'font-name = #"cmr17"
7899 Any font can be used, as long as it is available to @TeX{}. Possible
7900 fonts include foreign fonts or fonts that do not belong to the
7901 Computer Modern font family. The size of fonts selected in this way
7902 can be changed with the @code{font-magnification} property. For
7903 example, @code{2.0} blows up all letters by a factor 2 in both
7907 @cindex font magnification
7909 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7910 can also be adjusted with a more fine-grained mechanism. By setting
7911 the object properties described below, you can select a different font;
7912 all three mechanisms work for every object that supports
7913 @code{font-interface}:
7918 is a symbol indicating the general class of the typeface. Supported are
7919 @code{roman} (Computer Modern), @code{braces} (for piano staff
7920 braces), @code{music} (the standard music font, including ancient
7921 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7924 is a symbol indicating the shape of the font, there are typically several
7925 font shapes available for each font family. Choices are @code{italic},
7926 @code{caps} and @code{upright}.
7929 is a symbol indicating the series of the font. There are typically several
7930 font series for each font family and shape. Choices are @code{medium}
7935 For any of these properties, the value @code{*} (i.e. the symbol
7936 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7937 to override default setting, which are always present. For example:
7939 \override Lyrics .LyricText #'font-series = #'bold
7940 \override Lyrics .LyricText #'font-family = #'typewriter
7941 \override Lyrics .LyricText #'font-shape = #'*
7944 @cindex @code{font-style}
7946 The font size is set by modifying the @code{font-size} property. Its
7947 value is a number indicating the size relative to the standard size.
7948 Each step up is an increase of approximately 12% of the font size. Six
7949 steps is exactly a factor two. The Scheme function @code{magstep}
7950 converts a @code{font-size} number to a scaling factor.
7952 LilyPond has fonts in different design sizes: the music fonts for
7953 smaller sizes are chubbier, while the text fonts are relatively wider.
7954 Font size changes are achieved by scaling the design size that is
7955 closest to the desired size.
7957 The @code{font-size} mechanism does not work for fonts selected
7958 through @code{font-name}. These may be scaled with
7959 @code{font-magnification}.
7963 The following commands set @code{fontSize} for the current voice.
7965 @cindex @code{\tiny}
7967 @cindex @code{\small}
7969 @cindex @code{\normalsize}
7974 Init files: @file{ly/declarations-init.ly} contains hints how new
7975 fonts may be added to LilyPond.
7979 There is no style sheet provided for other fonts besides the @TeX{}
7980 Computer Modern family.
7982 @cindex font selection
7983 @cindex font magnification
7984 @cindex @code{font-interface}
7988 @section Text markup
7993 @cindex typeset text
7995 LilyPond has an internal mechanism to typeset texts. You can access it
7996 with the keyword @code{\markup}. Within markup mode, you can enter texts
7997 similar to lyrics: simply enter them, surrounded by spaces:
8000 @lilypond[verbatim,fragment,relative=1]
8001 c1^\markup { hello }
8002 c1_\markup { hi there }
8003 c1^\markup { hi \bold there, is \italic anyone home? }
8006 @cindex font switching
8008 The markup in the example demonstrates font switching commands. The
8009 command @code{\bold} and @code{\italic} only apply to the first
8010 following word; enclose a set of texts with braces to apply a command
8013 \markup @{ \bold @{ hi there @} @}
8017 For clarity, you can also do this for single arguments, e.g.
8020 \markup { is \italic { anyone } home }
8023 @cindex font size, texts
8026 In markup mode you can compose expressions, similar to mathematical
8027 expressions, XML documents and music expressions. The braces group
8028 notes into horizontal lines. Other types of lists also exist: you can
8029 stack expressions grouped with @code{<}, and @code{>} vertically with
8030 the command @code{\column}. Similarly, @code{\center} aligns texts by
8033 @lilypond[verbatim,fragment,relative=1]
8034 c1^\markup { \column < a bbbb c > }
8035 c1^\markup { \center < a bbbb c > }
8036 c1^\markup { \line < a b c > }
8040 Markups can be stored in variables, and these variables
8041 may be attached to notes, like
8043 allegro = \markup { \bold \large { Allegro } }
8044 \notes { a^\allegro b c d }
8048 Some objects have alignment procedures of their own, which cancel out
8049 any effects of alignments applied to their markup arguments as a
8050 whole. For example, the @internalsref{RehearsalMark} is horizontally
8051 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8052 effect. Similarly, whole texts over notes cannot be moved vertically
8053 with @code{\raise}. For moving and aligning complete objects, grob
8054 properties should be used.
8060 Init files: @file{scm/new-markup.scm}.
8065 Text layout is ultimately done by @TeX{}, which does kerning of
8066 letters. LilyPond does not account for kerning, so texts will be
8067 spaced slightly too wide.
8069 Syntax errors for markup mode are confusing.
8071 Markup texts cannot be used in the titling of the @code{\header}
8072 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8078 * Overview of text markup commands::
8079 * Markup construction in scheme::
8080 * Markup command definition::
8083 @node Overview of text markup commands
8084 @subsection Overview of text markup commands
8086 @include markup-commands.tely
8088 @node Markup construction in scheme
8089 @subsection Markup construction in scheme
8091 @cindex defining markup commands
8093 The @code{markup} macro builds markup expressions in Scheme while
8094 providing a LilyPond-like syntax. For example,
8096 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8097 #:bigger #:line ("foo" "bar" "baz")))
8103 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8104 \bigger @{ foo bar baz @} >
8108 This example exposes the main translation rules between regular
8109 LilyPond markup syntax and scheme markup syntax, which are summed up
8111 @multitable @columnfractions .5 .5
8112 @item @b{LilyPond} @tab @b{Scheme}
8113 @item @code{\command} @tab @code{#:command}
8114 @item @code{\variable} @tab @code{variable}
8115 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8116 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8117 @item @code{string} @tab @code{"string"}
8118 @item @code{#scheme-arg} @tab @code{scheme-arg}
8121 Besides, the whole scheme language is accessible inside the
8122 @code{markup} macro: thus, one may use function calls inside
8123 @code{markup} in order to manipulate character strings for
8124 instance. This proves useful when defining new markup commands (see
8125 @ref{Markup command definition}).
8129 One can not feed the @code{#:line} (resp @code{#:center},
8130 @code{#:column}) command with a variable or the result of a function
8133 (markup #:line (fun-that-returns-markups))
8135 is illegal. One should use the @code{make-line-markup} (resp
8136 @code{make-center-markup}, @code{make-column-markup}) function
8139 (markup (make-line-markup (fun-that-returns-markups)))
8142 @node Markup command definition
8143 @subsection Markup command definition
8145 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8147 (def-markup-command (@var{command-name} @var{paper} @var{props} @var{arg1} @var{arg2} ...)
8148 (@var{arg1-type?} @var{arg2-type?} ...)
8151 @var{argi}: i@var{th} command argument
8152 @var{argi-type?}: a type predicate for the i@var{th} argument
8153 @var{paper}: the `paper' definition
8154 @var{props}: a list of alists, containing all active properties.
8157 As a simple example, we show how to add a @code{\smallcaps} command,
8158 which selects @TeX{}'s small caps font. Normally, we could select the
8159 small caps font as follows:
8162 \markup { \override #'(font-shape . caps) Text-in-caps }
8165 This selects the caps font by setting the @code{font-shape} property to
8166 @code{#'caps} for interpreting @code{Text-in-caps}.
8168 To make the above available as @code{\smallcaps} command, we have to
8169 define a function using @code{def-markup-command}. The command should
8170 take a single argument, of markup type. Therefore, the start of the
8171 definition should read
8173 (def-markup-command (smallcaps paper props argument) (markup?)
8178 What follows is the content of the command: we should interpret
8179 the @code{argument} as a markup, i.e.
8182 (interpret-markup paper @dots{} argument)
8186 This interpretation should add @code{'(font-shape . caps)} to the active
8187 properties, so we substitute the the following for the @dots{} in the
8191 (cons (list '(font-shape . caps) ) props)
8195 The variable @code{props} is a list of alists, and we prepend to it by
8196 consing a list with the extra setting.
8198 However, suppose that we are using a font that does not have a
8199 small-caps variant. In that case, we have to fake the small caps font,
8200 by setting a string in upcase, with the first letter a little larger:
8203 #(def-markup-command (smallcaps paper props str) (string?)
8204 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8205 (interpret-markup paper props
8208 (if (= (string-length s) 0)
8210 (markup #:large (string-upcase (substring s 0 1))
8211 #:translate (cons -0.6 0)
8212 #:tiny (string-upcase (substring s 1)))))
8213 (string-split str #\Space)))))
8216 The @code{smallcaps} command first splits its string argument into
8217 tokens separated by spaces (@code{(string-split str #\Space)}); for
8218 each token, a markup is built with the first letter made large and
8219 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8220 second markup built with the following letters made tiny and upcased
8221 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8222 introduces a space between markups on a line, the second markup is
8223 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8224 the markups built for each token are put in a line
8225 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8226 passed to the @code{interpret-markup} function, with the @code{paper}
8227 and @code{props} arguments.
8229 Finally, suppose that we are typesetting a recitative in an opera, and
8230 we would like to define a command that will show character names in a
8231 custom manner. Names should be printed with small caps and translated a
8232 bit to the left and top. We will define a @code{\character} command
8233 that takes into account the needed translation, and uses the newly
8234 defined @code{\smallcaps} command:
8237 #(def-markup-command (character paper props name) (string?)
8238 "Print the character name in small caps, translated to the left and
8239 top. Syntax: \\character #\"name\""
8240 (interpret-markup paper props
8241 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8244 There is one complication that needs explanation: texts above and below
8245 the staff are moved vertically to be at a certain distance (the
8246 @code{padding} property) from the staff and the notes. To make sure
8247 that this mechanism does not annihilate the vertical effect of our
8248 @code{#:translate}, we add an empty string (@code{""}) before the
8249 translated text. Now the @code{""} will be put above the notes, and the
8250 @code{name} is moved in relation to that empty string. The net effect is
8251 that the text is moved to the upper left.
8253 The final result is as follows:
8257 c''^\markup \character #"Cleopatra"
8258 e'^\markup \character #"Giulio Cesare"
8263 @lilypond[raggedright]
8264 #(def-markup-command (smallcaps paper props str) (string?)
8265 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8266 (interpret-markup paper props
8269 (if (= (string-length s) 0)
8271 (markup #:large (string-upcase (substring s 0 1))
8272 #:translate (cons -0.6 0)
8273 #:tiny (string-upcase (substring s 1)))))
8274 (string-split str #\Space)))))
8276 #(def-markup-command (character paper props name) (string?)
8277 "Print the character name in small caps, translated to the left and
8278 top. Syntax: \\character #\"name\""
8279 (interpret-markup paper props
8280 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8284 c''^\markup \character #"Cleopatra"
8285 e'^\markup \character #"Giulio Cesare"
8293 @section Global layout
8295 The global layout determined by three factors: the page layout, the
8296 line breaks and the spacing. These all influence each other. The
8297 choice of spacing determines how densely each system of music is set,
8298 which influences where line breaks breaks are chosen, and thus
8299 ultimately how many pages a piece of music takes. This section
8300 explains how to tune the algorithm for spacing.
8302 Globally spoken, this procedure happens in three steps: first,
8303 flexible distances (``springs'') are chosen, based on durations. All
8304 possible line breaking combination are tried, and the one with the
8305 best results---a layout that has uniform density and requires as
8306 little stretching or cramping as possible---is chosen. When the score
8307 is processed by @TeX{}, each page is filled with systems, and page breaks
8308 are chosen whenever the page gets full.
8313 * Vertical spacing::
8314 * Horizontal spacing::
8321 @node Vertical spacing
8322 @subsection Vertical spacing
8324 @cindex vertical spacing
8325 @cindex distance between staves
8326 @cindex staff distance
8327 @cindex between staves, distance
8328 @cindex staffs per page
8329 @cindex space between staves
8331 The height of each system is determined automatically by LilyPond, to
8332 keep systems from bumping into each other, some minimum distances are
8333 set. By changing these, you can put staves closer together, and thus
8334 put more systems onto one page.
8336 Normally staves are stacked vertically. To make
8337 staves maintain a distance, their vertical size is padded. This is
8338 done with the property @code{minimumVerticalExtent}. It takes a pair
8339 of numbers, so if you want to make it smaller from its, then you could
8342 \set Staff.minimumVerticalExtent = #'(-4 . 4)
8344 This sets the vertical size of the current staff to 4 staff spaces on
8345 either side of the center staff line. The argument of
8346 @code{minimumVerticalExtent} is interpreted as an interval, where the
8347 center line is the 0, so the first number is generally negative. The
8348 staff can be made larger at the bottom by setting it to @code{(-6
8351 The piano staves are handled a little differently: to make cross-staff
8352 beaming work correctly, it is necessary that the distance between staves
8353 is fixed beforehand. This is also done with a
8354 @internalsref{VerticalAlignment} object, created in
8355 @internalsref{PianoStaff}. In this object the distance between the
8356 staves is fixed by setting @code{forced-distance}. If you want to
8357 override this, use a @code{\translator} block as follows:
8361 VerticalAlignment \override #'forced-distance = #9
8364 This would bring the staves together at a distance of 9 staff spaces,
8365 measured from the center line of each staff.
8369 Internals: Vertical alignment of staves is handled by the
8370 @internalsref{VerticalAlignment} object.
8374 @node Horizontal spacing
8375 @subsection Horizontal Spacing
8377 The spacing engine translates differences in durations into
8378 stretchable distances (``springs'') of differing lengths. Longer
8379 durations get more space, shorter durations get less. The shortest
8380 durations get a fixed amount of space (which is controlled by
8381 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8382 The longer the duration, the more space it gets: doubling a
8383 duration adds a fixed amount (this amount is controlled by
8384 @code{spacing-increment}) of space to the note.
8386 For example, the following piece contains lots of half, quarter and
8387 8th notes, the eighth note is followed by 1 note head width (NHW).
8388 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8389 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8393 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8394 width of a note head, and @code{shortest-duration-space} is set to
8395 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8396 @code{shortest-duration-space}) of space. For normal notes, this space
8397 is always counted from the left edge of the symbol, so the shortest
8398 notes are generally followed by one NHW of space.
8400 If one would follow the above procedure exactly, then adding a single
8401 32th note to a score that uses 8th and 16th notes, would widen up the
8402 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8403 thus adding 1 NHW to every note. To prevent this, the
8404 shortest duration for spacing is not the shortest note in the score,
8405 but the most commonly found shortest note. Notes that are even
8406 shorter this are followed by a space that is proportional to their
8407 duration relative to the common shortest note. So if we were to add
8408 only a few 16th notes to the example above, they would be followed by
8411 @lilypond[fragment,verbatim,relative=2]
8412 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8415 The most common shortest duration is determined as follows: in every
8416 measure, the shortest duration is determined. The most common short
8417 duration, is taken as the basis for the spacing, with the stipulation
8418 that this shortest duration should always be equal to or shorter than
8419 1/8th note. The shortest duration is printed when you run lilypond
8420 with @code{--verbose}. These durations may also be customized. If you
8421 set the @code{common-shortest-duration} in
8422 @internalsref{SpacingSpanner}, then this sets the base duration for
8423 spacing. The maximum duration for this base (normally 1/8th), is set
8424 through @code{base-shortest-duration}.
8426 @cindex @code{common-shortest-duration}
8427 @cindex @code{base-shortest-duration}
8428 @cindex @code{stem-spacing-correction}
8429 @cindex @code{spacing}
8431 In the introduction it was explained that stem directions influence
8432 spacing. This is controlled with @code{stem-spacing-correction}
8433 property in @internalsref{NoteSpacing}, which are generated for every
8434 @internalsref{Voice} context. The @code{StaffSpacing} object
8435 (generated at @internalsref{Staff} context) contains the same property
8436 for controlling the stem/barline spacing. The following example
8437 shows these corrections, once with default settings, and once with
8438 exaggerated corrections:
8444 \override Staff.NoteSpacing #'stem-spacing-correction
8446 \override Staff.StaffSpacing #'stem-spacing-correction
8451 \paper { raggedright = ##t } }
8454 @cindex SpacingSpanner, overriding properties
8456 Properties of the @internalsref{SpacingSpanner} must be overridden
8457 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8458 created before any property commands are interpreted.
8460 \paper @{ \translator @{
8462 SpacingSpanner \override #'spacing-increment = #3.0
8469 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8470 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8471 @internalsref{SeparatingGroupSpanner}.
8475 Spacing is determined on a score wide basis. If you have a score that
8476 changes its character (measured in durations) halfway during the
8477 score, the part containing the longer durations will be spaced too
8480 There is no convenient mechanism to manually override spacing.
8485 @subsection Font size
8486 @cindex font size, setting
8487 @cindex staff size, setting
8488 @cindex @code{paper} file
8490 The Feta font provides musical symbols at eight seven different
8491 sizes. Each font is tuned for a different staff size: at smaller sizes
8492 the font gets heavier, to match the relatively heavier staff lines.
8493 The recommended font sizes are listed in the following table:
8495 @multitable @columnfractions .25 .25 .25 .25
8498 @tab @b{staff height (pt)}
8499 @tab @b{staff height (mm)}
8541 @c modern rental material ?
8545 These fonts are available in any sizes. The context property
8546 @code{fontSize} and the layout property @code{staff-space} (in
8547 @internalsref{StaffSymbol}) can be used to tune size for individual
8548 staffs. The size of individual staffs are relative to the global size,
8549 which can be set in the following manner:
8552 #(set-global-staff-size 14)
8555 This sets the global default size to 14pt staff height, and scales all
8561 @subsection Line breaking
8564 @cindex breaking lines
8566 Line breaks are normally computed automatically. They are chosen such
8567 that lines look neither cramped nor loose, and that consecutive lines
8568 have similar density.
8570 Occasionally you might want to override the automatic breaks; you can
8571 do this by specifying @code{\break}. This will force a line break at
8572 this point. Line breaks can only occur at places where there are bar
8573 lines. If you want to have a line break where there is no bar line,
8574 you can force an invisible bar line by entering @code{\bar
8575 ""}. Similarly, @code{\noBreak} forbids a line break at a
8579 @cindex regular line breaks
8580 @cindex four bar music.
8582 For linebreaks at regular intervals use @code{\break} separated by
8583 skips and repeated with @code{\repeat}:
8585 << \repeat unfold 7 @{
8586 s1 \noBreak s1 \noBreak
8587 s1 \noBreak s1 \break @}
8588 @emph{the real music}
8593 This makes the following 28 measures (assuming 4/4 time) be broken every
8594 4 measures, and only there.
8598 @code{\break}, @code{\noBreak}
8599 @cindex @code{\break}
8600 @cindex @code{\noBreak}
8604 Internals: @internalsref{BreakEvent}.
8608 @subsection Page layout
8611 @cindex breaking pages
8613 @cindex @code{indent}
8614 @cindex @code{linewidth}
8616 The most basic settings influencing the spacing are @code{indent} and
8617 @code{linewidth}. They are set in the @code{\paper} block. They
8618 control the indentation of the first line of music, and the lengths of
8621 If @code{raggedright} is set to true in the @code{\paper}
8622 block, then the lines are justified at their natural length. This
8623 useful for short fragments, and for checking how tight the natural
8627 @cindex vertical spacing
8629 The page layout process happens outside the LilyPond formatting
8630 engine: variables controlling page layout are passed to the output,
8631 and are further interpreted by @code{lilypond} wrapper program. It
8632 responds to the following variables in the @code{\paper} block. The
8633 variable @code{textheight} sets the total height of the music on each
8634 page. The spacing between systems is controlled with
8635 @code{interscoreline}, its default is 16pt. The distance between the
8636 score lines will stretch in order to fill the full page
8637 @code{interscorelinefill} is set to a positive number. In that case
8638 @code{interscoreline} specifies the minimum spacing.
8640 @cindex @code{textheight}
8641 @cindex @code{interscoreline}
8642 @cindex @code{interscorelinefill}
8644 If the variable @code{lastpagefill} is defined,
8645 @c fixme: this should only be done if lastpagefill= #t
8646 systems are evenly distributed vertically on the last page. This
8647 might produce ugly results in case there are not enough systems on the
8648 last page. The @command{lilypond-book} command ignores
8649 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8652 @cindex @code{lastpagefill}
8654 Page breaks are normally computed by @TeX{}, so they are not under
8655 direct control of LilyPond. However, you can insert a commands into
8656 the @file{.tex} output to instruct @TeX{} where to break pages. This
8657 is done by setting the @code{between-systems-strings} on the
8658 @internalsref{NonMusicalPaperColumn} where the system is broken.
8659 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8660 The predefined command @code{\newpage} also does this.
8664 @cindex @code{papersize}
8666 To change the paper size, use the following Scheme code:
8669 #(set-paper-size "a4")
8676 @cindex @code{\newpage}
8682 In this manual: @ref{Invoking lilypond}.
8684 Examples: @inputfileref{input/regression,between-systems.ly}.
8686 Internals: @internalsref{NonMusicalPaperColumn}.
8690 LilyPond has no concept of page layout, which makes it difficult to
8691 reliably choose page breaks in longer pieces.
8700 Entered music can also be converted to MIDI output. The performance
8701 is good enough for proof-hearing the music for errors.
8703 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8704 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8705 marks translate to a fixed fraction of the available MIDI volume
8706 range, crescendi and decrescendi make the volume vary linearly between
8707 their two extremities. The fractions can be adjusted by
8708 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8709 For each type of MIDI instrument, a volume range can be defined. This
8710 gives a basic equalizer control, which can enhance the quality of
8711 the MIDI output remarkably. The equalizer can be controlled by
8712 setting @code{instrumentEqualizer}.
8716 Many musically interesting effects, such as swing, articulation,
8717 slurring, etc., are not translated to MIDI.
8719 Since slurs are not interpreted, @code{\lyricsto} and
8720 @code{\addlyrics} sections will be interpreted wrongly.
8722 The MIDI output allocates a channel for each Staff, and one for global
8723 settings. Hence, the MIDI file should not have more than 15 staves
8724 (or 14 if you do not use drums).
8729 * MIDI instrument names::
8734 @subsection MIDI block
8738 The MIDI block is analogous to the paper block, but it is somewhat
8739 simpler. The @code{\midi} block can contain:
8743 @item a @code{\tempo} definition, and
8744 @item context definitions.
8747 Assignments in the @code{\midi} block are not allowed.
8749 A number followed by a period is interpreted as a real number, so
8750 for setting the tempo for dotted notes, an extra space should be
8751 inserted, for example:
8754 \midi @{ \tempo 4 . = 120 @}
8758 @cindex context definition
8760 Context definitions follow precisely the same syntax as within the
8761 \paper block. Translation modules for sound are called performers.
8762 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8765 @node MIDI instrument names
8766 @subsection MIDI instrument names
8768 @cindex instrument names
8769 @cindex @code{Staff.midiInstrument}
8771 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8772 property. The instrument name should be chosen from the list in
8773 @ref{MIDI instruments}.
8777 If the selected string does not exactly match, then the default is
8778 used, which is the Grand Piano.