3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
40 @c FIXME: Note entry vs Music entry at top level menu is confusing.
46 The basic elements of any piece of music are the notes. This section
47 is about basic notation elements notes, rests and related constructs,
48 such as stems, tuplets and ties.
53 * Chromatic alterations::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative=2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (i.e. an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[raggedright,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[raggedright,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[raggedright,verbatim]
253 The @code{s} syntax is only available in note mode and chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[raggedright,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
268 The @code{s} skip command does create @internalsref{Staff} and
269 @internalsref{Voice} when necessary, similar to note and rest
270 commands. For example, the following results in an empty staff.
272 @lilypond[raggedright,verbatim]
273 \score { \notes { s4 } }
276 The same fragment using @code{\skip} results in an empty page.
280 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
285 @subsection Durations
291 In Note, Chord, and Lyrics mode, durations are designated by numbers
292 and dots: durations are entered as their reciprocal values. For example,
293 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
294 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
295 longer than a whole you must use variables:
297 @c FIXME: what is an identifier? I do not think it's been introduced yet.
298 @c and if it has, I obviously skipped that part. - Graham
302 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
304 r1 r2 r4 r8 r16 r32 r64 r64
309 \notes \relative c'' {
311 a1 a2 a4 a8 a16 a32 a64 a64
313 r1 r2 r4 r8 r16 r32 r64 r64
318 \remove "Clef_engraver"
319 \remove "Staff_symbol_engraver"
320 \remove "Time_signature_engraver"
321 \consists "Pitch_squash_engraver"
328 If the duration is omitted then it is set to the previously entered
329 duration. The default for the first note is a quarter note. The duration
330 can be followed by dots (`@code{.}') in order to obtain dotted note
334 @lilypond[fragment,verbatim,center]
335 a' b' c''8 b' a'4 a'4. b'4.. c'8.
340 You can alter the length of duration by a fraction @var{N/M}
341 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
342 will not affect the appearance of the notes or rests produced.
343 In the following example, the first three notes take up exactly two
345 @lilypond[fragment,relative=2,verbatim]
347 a4*2/3 gis4*2/3 a4*2/3
354 Dots are normally moved up to avoid staff lines, except in polyphonic
355 situations. The following commands may be used to force a particular
358 @cindex @code{\dotsUp}
360 @cindex @code{\dotsDown}
362 @cindex @code{\dotsBoth}
367 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
372 Whenever a note is found, a @internalsref{Stem} object is created
373 automatically. For whole notes and rests, they are also created but
378 @cindex @code{\stemUp}
380 @cindex @code{\stemDown}
382 @cindex @code{\stemBoth}
393 A tie connects two adjacent note heads of the same pitch. The tie in
394 effect extends the length of a note. Ties should not be confused with
395 slurs, which indicate articulation, or phrasing slurs, which indicate
396 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
398 @lilypond[fragment,verbatim,center]
399 e' ~ e' <c' e' g'> ~ <c' e' g'>
402 When a tie is applied to a chord, all note heads whose pitches match
403 are connected. When no note heads match, no ties will be created.
405 In its meaning a tie is just a way of extending a note duration, similar
406 to the augmentation dot; in the following example there are two ways of
407 notating exactly the same concept:
409 @lilypond[fragment,raggedright,quote]
410 \time 3/4 c'2. c'2 ~ c'4
412 If you need to tie a lot of notes over bars, it may be easier to use automatic
413 note splitting (see @ref{Automatic note splitting}).
418 @cindex @code{\tieUp}
420 @cindex @code{\tieDown}
422 @cindex @code{\tieBoth}
424 @cindex @code{\tieDotted}
426 @cindex @code{\tieSolid}
431 In this manual: @ref{Automatic note splitting}.
433 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
436 Examples: if you want less ties created for a chord, see
437 @inputfileref{input/test,tie-sparse.ly}.
439 For tying only a subset of the note heads of a pair of chords, see
440 @inputfileref{input/regression,tie-chord-partial.ly}.
445 Switching staves when a tie is active will not produce a slanted tie.
447 Formatting of ties is a difficult subject. The results are often not
457 @cindex @code{\times}
459 Tuplets are made out of a music expression by multiplying all durations
462 @cindex @code{\times}
464 \times @var{fraction} @var{musicexpr}
468 The duration of @var{musicexpr} will be multiplied by the fraction.
469 The fraction's denominator will be printed over the notes, optionally
470 with a bracket. The most common tuplet is the triplet in which 3
471 notes have the length of 2, so the notes are 2/3 of their written
474 @lilypond[fragment,verbatim,center]
475 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
478 The property @code{tupletSpannerDuration} specifies how long each
479 bracket should last. With this, you can make lots of tuplets while
480 typing @code{\times} only once, saving lots of typing. In the next
481 example, there are two triplets shown, while @code{\times} was only
484 @lilypond[fragment,relative,raggedright,verbatim]
485 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
486 \times 2/3 { c'8 c c c c c }
489 The format of the number is determined by the property
490 @code{tupletNumberFormatFunction}. The default prints only the
491 denominator, but if it is set to the Scheme function
492 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
496 @cindex @code{tupletNumberFormatFunction}
497 @cindex tuplet formatting
502 @cindex @code{\tupletUp}
504 @cindex @code{\tupletDown}
506 @cindex @code{\tupletBoth}
511 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
513 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
517 Nested tuplets are not formatted automatically. In this case, outer
518 tuplet brackets should be moved manually, which is demonstrated in
519 @inputfileref{input/regression,tuplet-nest.ly}.
523 @node Easier music entry
524 @section Easier music entry
527 When entering music it is easy to introduce errors. This section deals
528 with tricks and features of the input language that were added solely
529 to help entering music, and find and correct mistakes.
531 It is also possible to use external programs, for example GUI
532 interfaces, or MIDI transcription programs, to enter or edit
533 music. Refer to the website for more information. Finally, there are
534 tools make debugging easier, by linking the input file and the output
535 shown on screen. See @ref{Point and click} for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or less
568 (; this distance is determined without regarding alterations: a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim,center]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim,center]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim,center]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the pitch as a note name, you have to be in note mode, so there must
604 be a surrounding @code{\notes} keyword (which is not
607 The relative conversion will not affect @code{\transpose},
608 @code{\chords} or @code{\relative} sections in its argument. If you
609 want to use relative within transposed music, you must place an
610 additional @code{\relative} inside the @code{\transpose}.
613 @subsection Octave check
616 Octave checks make octave errors easier to correct: a note may be
617 followed by @code{=}@var{quotes} which indicates what its absolute
618 octave should be. In the following example,
620 \relative c'' @{ c='' b=' d,='' @}
624 @c take care with @code, adds confusing quotes.
625 the d will generate a warning, because a d'' is expected, but a d' is
626 found. In the output, the octave is corrected this and the following
631 There is also a syntax that is separate from the notes.
636 This checks that @var{pitch} (without octave) yields @var{pitch} (with
637 octave) in \relative mode. If not, a warning is printed, and the
638 octave is corrected, for example, the first check is passed
639 successfully. The second check fails with an error message. The
640 octave is adjusted so the following notes are in the correct octave
651 The octave of a note following an octave check is determined with
652 respect to the note preceding it. In the next fragment, the last note
653 is a @code{a'}, above central C. Hence, the @code{\octave} check may
654 be deleted without changing the meaning of the piece.
656 @lilypond[verbatim,fragment]
665 @subsection Bar check
669 @cindex @code{barCheckSynchronize}
672 Bar checks help detect errors in the durations. A bar check is
673 entered using the bar symbol, `@code{|}'. Whenever it is encountered
674 during interpretation, it should fall on a measure boundary. If it
675 does not, a warning is printed. Depending on the value of
676 @code{barCheckSynchronize}, the beginning of the measure will be
679 In the next example, the second bar check will signal an error:
681 \time 3/4 c2 e4 | g2 |
684 Bar checks can also be used in lyrics, for example
689 Twin -- kle | Twin -- kle
694 @cindex skipTypesetting
696 Failed bar checks are caused by entering incorrect
697 durations. Incorrect durations often completely garble up the score,
698 especially if it is polyphonic, so you should start correcting the
699 score by scanning for failed bar checks and incorrect durations. To
700 speed up this process, you can use @code{skipTypesetting}, described
703 @node Skipping corrected music
704 @subsection Skipping corrected music
706 The property @code{Score.skipTypesetting} can be used to switch on and
707 off typesetting completely during the interpretation phase. When
708 typesetting is switched off, the music is processed much more quickly.
709 This can be used to skip over the parts of a score that have already
710 been checked for errors:
712 @lilypond[fragment,raggedright,verbatim]
714 \property Score.skipTypesetting = ##t
716 \property Score.skipTypesetting = ##f
720 @node Automatic note splitting
721 @subsection Automatic note splitting
723 Long notes can be converted automatically to tied notes. This is done
724 by replacing the @internalsref{Note_heads_engraver} by the
725 @internalsref{Completion_heads_engraver}.
726 In the following examples, notes crossing the barline are split and tied.
729 @lilypond[noindent,verbatim]
731 \remove "Note_heads_engraver"
732 \consists "Completion_heads_engraver"
734 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
738 This engraver splits all running notes at the bar line, and inserts
739 ties. One of its uses is to debug complex scores: if the measures are
740 not entirely filled, then the ties exactly show how much each measure
745 Not all durations (especially those containing tuplets) can be
746 represented exactly; the engraver will not insert tuplets.
750 Examples: @inputfileref{input/regression,completion-heads.ly}
752 Internals: @internalsref{Completion_heads_engraver}
756 @section Staff notation
758 This section describes music notation that occurs on staff level,
759 such as keys, clefs and time signatures.
761 @cindex Staff notation
775 @subsection Staff symbol
777 @cindex adjusting staff symbol
778 @cindex StaffSymbol, using \property
780 Notes, dynamic signs, etc. are grouped
781 with a set of horizontal lines, into a staff (plural `staves'). In our
782 system, these lines are drawn using a separate layout object called
786 @cindex staff lines, setting number of
787 @cindex staff lines, setting thickness of
788 @cindex thickness of staff lines, setting
789 @cindex number of staff lines, setting
793 Internals: @internalsref{StaffSymbol},
795 Examples: @inputfileref{input/test,staff-lines.ly},
796 @inputfileref{input/test,staff-size.ly}
800 If a staff is ended halfway a piece, the staff symbol may not end
801 exactly on the barline.
805 @subsection Key signature
806 @cindex Key signature
810 The key signature indicates the scale in which a piece is played. It
811 is denoted by a set of alterations (flats or sharps) at the start of
816 Setting or changing the key signature is done with the @code{\key}
819 @code{\key} @var{pitch} @var{type}
822 @cindex @code{\minor}
823 @cindex @code{\major}
824 @cindex @code{\minor}
825 @cindex @code{\ionian}
826 @cindex @code{\locrian}
827 @cindex @code{\aeolian}
828 @cindex @code{\mixolydian}
829 @cindex @code{\lydian}
830 @cindex @code{\phrygian}
831 @cindex @code{\dorian}
833 Here, @var{type} should be @code{\major} or @code{\minor} to get
834 @var{pitch}-major or @var{pitch}-minor, respectively.
835 The standard mode names @code{\ionian},
836 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
837 @code{\phrygian}, and @code{\dorian} are also defined.
839 This command sets the context property
840 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
841 can be specified by setting this property directly.
843 Accidentals and key signatures often confuse new users, because
844 unaltered notes get natural signs depending on the keysignature. The
845 tutorial explains why this is so in @ref{More about pitches}.
849 The ordering of a key cancellation is wrong when it is combined with
850 repeat bar lines. The cancellation is also printed after a line break.
854 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
856 @cindex @code{keySignature}
863 The clef indicates which lines of the staff correspond to which
868 The clef can be set or changed with the @code{\clef} command:
869 @lilypond[fragment,verbatim]
870 \key f\major c''2 \clef alto g'2
873 Supported clef-names include:
874 @c Moved standard clefs to the top /MB
878 @item treble, violin, G, G2
891 G clef on 1st line, so-called French violin clef
896 @cindex mezzosoprano clef
899 @cindex baritone clef
902 @cindex varbaritone clef
911 By adding @code{_8} or @code{^8} to the clef name, the clef is
912 transposed one octave down or up, respectively, and @code{_15} and
913 @code{^15} transposes by two octaves. The argument @var{clefname}
914 must be enclosed in quotes when it contains underscores or digits. For
918 @cindex choral tenor clef
919 @lilypond[verbatim,fragment,relative]
923 This command is equivalent to setting @code{clefGlyph},
924 @code{clefPosition} (which controls the Y position of the clef),
925 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
926 when any of these properties are changed.
930 Internals: the object for this symbol is @internalsref{Clef}.
934 @node Ottava brackets
935 @subsection Ottava brackets
937 ``Ottava'' brackets introduce an extra transposition of an octave for
938 the staff. They are created by invoking the function
939 @code{set-octavation}:
945 @lilypond[verbatim,fragment]
954 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
955 (for 15ma) as arguments. Internally the function sets the properties
956 @code{ottavation} (eg. to @code{"8va"}) and
957 @code{centralCPosition}. For overriding the text of the bracket, set
958 @code{ottavation} after invoking @code{set-octavation}, i.e.,
962 \property Staff.ottavation = #"8"
967 Internals: @internalsref{OttavaBracket}.
969 Examples: @inputfileref{input/regression,ottava.ly},
970 @inputfileref{input/regression,ottava-broken.ly}.
974 @code{set-octavation} will get confused when clef changes happen
975 during an octavation bracket.
978 @subsection Time signature
979 @cindex Time signature
983 Time signature indicates the metrum of a piece: a regular pattern of
984 strong and weak beats. It is denoted by a fraction at the start of the
989 The time signature is set or changed by the @code{\time}
991 @lilypond[fragment,verbatim]
992 \time 2/4 c'2 \time 3/4 c'2.
995 The symbol that is printed can be customized with the @code{style}
996 property. Setting it to @code{#'()} uses fraction style for 4/4 and
997 2/2 time. There are many more options for its layout. See
998 @inputfileref{input/test,time.ly} for more examples.
1001 This command sets the property @code{timeSignatureFraction},
1002 @code{beatLength} and @code{measureLength} in the @code{Timing}
1003 context, which is normally aliased to @internalsref{Score}. The
1004 property @code{measureLength} determines where bar lines should be
1005 inserted, and how automatic beams should be generated. Changing the
1006 value of @code{timeSignatureFraction} also causes the symbol to be
1009 More options are available through the Scheme function
1010 @code{set-time-signature}. In combination with the
1011 @internalsref{Measure_grouping_engraver}, it will create
1012 @internalsref{MeasureGrouping} signs. Such signs ease reading
1013 rhythmically complex modern music. In the following example, the 9/8
1014 measure is subdivided in 2, 2, 2 and 3. This is passed to
1015 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1018 \score { \notes \relative c'' {
1019 #(set-time-signature 9 8 '(2 2 2 3))
1020 g8[ g] d[ d] g[ g] a8[( bes g]) |
1021 #(set-time-signature 5 8 '(3 2))
1026 \translator { \StaffContext
1027 \consists "Measure_grouping_engraver"
1033 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1038 Automatic beaming does not use measure grouping specified with
1039 @code{set-time-signature}.
1041 @node Partial measures
1042 @subsection Partial measures
1045 @cindex partial measure
1046 @cindex measure, partial
1047 @cindex shorten measures
1048 @cindex @code{\partial}
1050 Partial measures, for example in upsteps, are entered using the
1051 @code{\partial} command:
1052 @lilypond[fragment,verbatim,relative=1]
1053 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1056 The syntax for this command is
1058 \partial @var{duration}
1060 This is internally translated into
1062 \property Timing.measurePosition = -@var{length of duration}
1065 The property @code{measurePosition} contains a rational number
1066 indicating how much of the measure has passed at this point.
1068 @node Unmetered music
1069 @subsection Unmetered music
1071 Bar lines and bar numbers are calculated automatically. For unmetered
1072 music (e.g. cadenzas), this is not desirable. By setting
1073 @code{Score.timing} to false, this automatic timing can be switched
1079 @cindex @code{\cadenzaOn}
1081 @cindex @code{\cadenzaOff}
1085 @subsection Bar lines
1089 @cindex measure lines
1093 Bar lines delimit measures, but are also used to indicate repeats.
1094 Normally, they are inserted automatically. Line breaks may only
1100 of barlines can be forced with the @code{\bar} command:
1102 @lilypond[relative=1,fragment,verbatim]
1106 The following bar types are available:
1107 @lilypond[fragment,relative,raggedright,verbatim]
1120 For allowing linebreaks, there is a special command,
1124 This will insert an invisible barline, and allow linebreaks at this
1127 In scores with many staves, a @code{\bar} command in one staff is
1128 automatically applied to all staves. The resulting bar lines are
1129 connected between different staves of a @internalsref{StaffGroup}:
1131 @lilypond[fragment,verbatim]
1132 << \context StaffGroup <<
1136 \new Staff { \clef bass c4 g e g } >>
1137 \new Staff { \clef bass c2 c2 } >>
1141 The command @code{\bar @var{bartype}} is a short cut for doing
1142 @code{\property Score.whichBar = @var{bartype}} Whenever
1143 @code{whichBar} is set to a string, a bar line of that type is
1144 created. At the start of a measure it is set to
1145 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1146 to override default measure bars.
1148 Property @code{whichBar} can also be set directly, using @code{\property}
1149 or @code{\bar}. These settings take precedence over the automatic
1150 @code{whichBar} settings.
1153 @cindex repeatCommands
1154 @cindex defaultBarType
1156 You are encouraged to use @code{\repeat} for repetitions. See
1163 In this manual: @ref{Repeats}.
1166 Internals: the bar line objects that are created at
1167 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1168 lines that span staves are @internalsref{SpanBar}s.
1170 @cindex bar lines at start of system
1171 @cindex start of system
1173 The barlines at the start of each system are
1174 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1175 @internalsref{SystemStartBracket}. Only one of these types is created
1176 in every context, and that type is determined by the property
1177 @code{systemStartDelimiter}.
1179 Examples: @inputfileref{input/test,bar-lines.ly},
1185 The easiest way to enter fragments with more than one voice on a staff
1186 is to split chords using the separator @code{\\}. You can use it for
1187 small, short-lived voices or for single chords:
1189 @lilypond[verbatim,fragment]
1190 \context Staff \relative c'' {
1191 c4 << { f d e } \\ { b c2 } >>
1192 c4 << g' \\ b, \\ f' \\ d >>
1196 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1197 voices are sometimes called "layers" other notation packages}
1199 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1200 each of these contexts, vertical direction of slurs, stems, etc. is set
1203 @cindex @code{\voiceOne}
1204 @cindex @code{\voiceFour}
1206 This can also be done by instantiating @internalsref{Voice} contexts
1207 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1208 a stem directions and horizontal shift for each part:
1211 @lilypond[raggedright,verbatim]
1213 \context Staff << \new Voice { \voiceOne cis2 b }
1214 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1215 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1219 The command @code{\oneVoice} will revert back to the normal setting.
1220 @cindex @code{\oneVoice}
1223 Normally, note heads with a different number of dots are not merged, but
1224 when the object property @code{merge-differently-dotted} is set in
1225 the @internalsref{NoteCollision} object, they are merged:
1226 @lilypond[verbatim,fragment,raggedright]
1227 \relative c'' \context Voice << {
1229 \property Staff.NoteCollision \override
1230 #'merge-differently-dotted = ##t
1232 } \\ { g8.[ f16] g8.[ f16] }
1236 Similarly, you can merge half note heads with eighth notes, by setting
1237 @code{merge-differently-headed}:
1238 @lilypond[fragment,relative=2,verbatim]
1241 \property Staff.NoteCollision
1242 \override #'merge-differently-headed = ##t
1243 c8 c4. } \\ { c2 c2 } >>
1246 LilyPond also vertically shifts rests that are opposite of a stem:
1249 @lilypond[raggedright,fragment,verbatim]
1250 \context Voice << c''4 \\ r4 >>
1258 @cindex @code{\oneVoice}
1260 @cindex @code{\voiceOne}
1262 @cindex @code{\voiceTwo}
1264 @cindex @code{\voiceThree}
1266 @cindex @code{\voiceFour}
1270 The following commands specify in what chords of the current voice
1271 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1272 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1275 @cindex @code{\shiftOn}
1277 @cindex @code{\shiftOnn}
1279 @cindex @code{\shiftOnnn}
1281 @cindex @code{\shiftOff}
1288 Internals: the objects responsible for resolving collisions are
1289 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1291 Examples: See also example files
1292 @inputfileref{input/regression,collision-dots.ly},
1293 @inputfileref{input/regression,collision-head-chords.ly},
1294 @inputfileref{input/regression,collision-heads.ly},
1295 @inputfileref{input/regression,collision-mesh.ly}, and
1296 @inputfileref{input/regression,collisions.ly}.
1301 Resolving collisions is a intricate subject, and only a few situations
1302 are handled. When LilyPond cannot cope, the @code{force-hshift}
1303 property of the @internalsref{NoteColumn} object and pitched rests can
1304 be used to override typesetting decisions.
1306 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1307 note, and a downstem half note, the 8th note gets the wrong offset.
1309 There is no support for clusters where the same note occurs with
1310 different accidentals in the same chord. In this case, it is
1311 recommended to use enharmonic transcription, or to use special cluster
1312 notation (see @ref{Clusters}).
1317 Beams are used to group short notes into chunks that are aligned with
1318 the metrum. They are inserted automatically in most cases:
1320 @lilypond[fragment,verbatim,relative=2]
1321 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1324 When these automatic decisions are not good enough, beaming can be
1325 entered explicitly. It is also possible to define beaming patterns
1326 that differ from the defaults.
1330 Internals: @internalsref{Beam}.
1333 @cindex Automatic beams
1336 * Setting automatic beam behavior::
1340 @subsection Manual beams
1341 @cindex beams, manual
1345 In some cases it may be necessary to override the automatic beaming
1346 algorithm. For example, the auto beamer will not put beams over rests
1347 or bar lines. Such beams are specified by manually: the begin and end
1348 point are marked with @code{[} and @code{]}:
1350 @lilypond[fragment,relative,verbatim]
1352 r4 r8[ g' a r8] r8 g[ | a] r8
1356 @cindex @code{stemLeftBeamCount}
1358 Normally, beaming patterns within a beam are determined automatically.
1359 When this mechanism fouls up, the properties
1360 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1361 be used to control the beam subdivision on a stem. If either property
1362 is set, its value will be used only once, and then it is erased.
1364 @lilypond[fragment,relative,verbatim]
1367 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1370 @cindex @code{stemRightBeamCount}
1373 The property @code{subdivideBeams} can be set in order to subdivide
1374 all 16th or shorter beams at beat positions, as defined by the
1375 @code{beatLength} property . This accomplishes the same effect as
1376 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1377 but it take less typing:
1380 @lilypond[relative=1,verbatim,noindent]
1382 \property Voice.subdivideBeams = ##t
1384 \property Score.beatLength = #(ly:make-moment 1 8)
1387 @cindex subdivideBeams
1389 Kneed beams are inserted automatically, when a large gap is detected
1390 between the note heads. This behavior can be tuned through the object
1391 property @code{auto-knee-gap}.
1393 Normally, line breaks are forbidden when beams cross bar lines. This
1394 behavior can be changed by setting @code{allowBeamBreak}.
1396 @cindex @code{allowBeamBreak}
1397 @cindex beams and line breaks
1399 @cindex beams, kneed
1401 @cindex auto-knee-gap
1407 @cindex Frenched staves
1409 Automatically kneed beams cannot be used together with hidden staves.
1414 @node Setting automatic beam behavior
1415 @subsection Setting automatic beam behavior
1417 @cindex @code{autoBeamSettings}
1418 @cindex @code{(end * * * *)}
1419 @cindex @code{(begin * * * *)}
1420 @cindex automatic beams, tuning
1421 @cindex tuning automatic beaming
1423 @c [TODO: use \applycontext]
1425 In normal time signatures, automatic beams can start on any note but can
1426 only end in a few positions within the measure: beams can end on a beat,
1427 or at durations specified by the properties in
1428 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1429 are defined in @file{scm/auto-beam.scm}.
1431 The value of @code{autoBeamSettings} is changed using
1432 @code{\override} and restored with @code{\revert}:
1434 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1435 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1437 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1438 whether the rule applies to begin or end-points. The quantity
1439 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1440 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1441 signature (wildcards `@code{* *}' may be entered to designate all time
1444 For example, if automatic beams should end on every quarter note, use
1447 \property Voice.autoBeamSettings \override
1448 #'(end * * * *) = #(ly:make-moment 1 4)
1450 Since the duration of a quarter note is 1/4 of a whole note, it is
1451 entered as @code{(ly:make-moment 1 4)}.
1453 The same syntax can be used to specify beam starting points. In this
1454 example, automatic beams can only end on a dotted quarter note:
1456 \property Voice.autoBeamSettings \override
1457 #'(end * * * *) = #(ly:make-moment 3 8)
1459 In 4/4 time signature, this means that automatic beams could end only on
1460 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1461 3/8, has passed within the measure).
1463 Rules can also be restricted to specific time signatures. A rule that
1464 should only be applied in @var{N}/@var{M} time signature is formed by
1465 replacing the second asterisks by @var{N} and @var{M}. For example, a
1466 rule for 6/8 time exclusively looks like
1468 \property Voice.autoBeamSettings \override
1469 #'(begin * * 6 8) = ...
1472 If a rule should be to applied only to certain types of beams, use the
1473 first pair of asterisks. Beams are classified according to the
1474 shortest note they contain. For a beam ending rule that only applies
1475 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1478 If a score ends while an automatic beam has not been ended and is still
1479 accepting notes, this last beam will not be typeset at all.
1481 @cindex automatic beam generation
1483 @cindex @code{Voice.autoBeaming}
1486 For melodies that have lyrics, you may want to switch off
1487 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1492 @cindex @code{\autoBeamOff}
1493 @code{\autoBeamOff},
1494 @cindex @code{\autoBeamOn}
1500 The rules for ending a beam depend on the shortest note in a beam.
1501 So, while it is possible to have different ending rules for eight
1502 beams and sixteenth beams, a beam that contains both eight and
1503 sixteenth notes will use the rules for the sixteenth beam.
1505 In the example below, the autobeamer makes eight beams and sixteenth
1506 end at 3 eights; the third beam can only be corrected by specifying
1509 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1510 \property Voice.autoBeamSettings
1511 \override #'(end * * * *) = #(ly:make-moment 3 8)
1512 % rather show case where it goes wrong
1513 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1514 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1516 It is not possible to specify beaming parameters that act differently in
1517 different parts of a measure. This means that it is not possible to use
1518 automatic beaming in irregular meters such as @code{5/8}.
1521 @section Accidentals
1524 This section describes how to change the way that accidentals are
1525 inserted automatically before the running notes.
1529 * Using the predefined accidental variables::
1530 * Customized accidental rules::
1533 @node Using the predefined accidental variables
1534 @subsection Using the predefined accidental variables
1536 The constructs for describing the accidental typesetting rules are
1537 quite hairy, so non-experts should stick to the variables
1538 defined in @file{ly/property-init.ly}.
1539 @cindex @file{property-init.ly}
1541 The variables set properties in the ``@code{Current}'' context (see
1542 @ref{Context properties}). This means that the variables should
1543 normally be added right after the creation of the context in which the
1544 accidental typesetting described by the variable is to take
1545 effect. For example, if you want to use piano-accidentals in a piano
1546 staff then issue @code{\pianoAccidentals} first thing after the
1547 creation of the piano staff:
1550 \notes \relative c'' <<
1551 \new Staff @{ cis4 d e2 @}
1552 \context GrandStaff <<
1554 \new Staff @{ cis4 d e2 @}
1555 \new Staff @{ es2 c @}
1557 \new Staff @{ es2 c @}
1561 @lilypond[raggedright]
1563 \notes \relative c'' <<
1564 \new Staff { cis4 d e2 }
1565 \context GrandStaff <<
1567 \new Staff { cis4 d e2 }
1568 \new Staff { es2 c }
1570 \new Staff { es2 c }
1575 minimumVerticalExtent = #'(-4.0 . 4.0)
1583 @item \defaultAccidentals
1584 @cindex @code{\defaultAccidentals}
1585 This is the default typesetting behaviour. It should correspond
1586 to 18th century common practice: Accidentals are
1587 remembered to the end of the measure in which they occur and
1588 only on their own octave.
1590 @item \voiceAccidentals
1591 @cindex @code{\voiceAccidentals}
1593 The normal behaviour is to
1594 remember the accidentals on Staff-level. This variable, however,
1595 typesets accidentals individually for each voice. Apart from that the
1596 rule is similar to @code{\defaultAccidentals}.
1598 This leads to some weird and often unwanted results
1599 because accidentals from one voice do not get cancelled in other
1601 @lilypond[raggedright,relative,fragment,verbatim,quote]
1609 Hence you should only use @code{\voiceAccidentals} if the voices
1610 are to be read solely by individual musicians. If the staff is to be
1611 used by one musician (e.g. a conductor) then you use
1612 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1615 @item \modernAccidentals
1616 @cindex @code{\modernAccidentals}
1617 This rule corresponds to the common practice in the 20th
1619 The rule is more complex than @code{\defaultAccidentals}.
1620 You get all the same accidentals, but temporary
1621 accidentals also get cancelled in other octaves. Furthermore,
1622 in the same octave, they also get cancelled in the following measure:
1623 @lilypond[raggedright,fragment,verbatim]
1625 cis' c'' cis'2 | c'' c'
1628 @item \modernCautionaries
1629 @cindex @code{\modernCautionaries}
1630 This rule is similar to @code{\modernAccidentals}, but the
1631 ``extra'' accidentals (the ones not typeset by
1632 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1633 They are printed in reduced size or with parentheses:
1634 @lilypond[raggedright,fragment,verbatim]
1636 cis' c'' cis'2 | c'' c'
1639 @cindex @code{\modernVoiceAccidentals}
1640 @item \modernVoiceAccidentals
1641 is used for multivoice accidentals to be read both by musicians
1642 playing one voice and musicians playing all voices. Accidentals are
1643 typeset for each voice, but they @emph{are} cancelled across voices in
1644 the same @internalsref{Staff}.
1646 @cindex @code{\modernVoiceCautionaries}
1647 @item \modernVoiceCautionaries
1648 is the same as @code{\modernVoiceAccidentals}, but with the extra
1649 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1650 as cautionaries. Even though all accidentals typeset by
1651 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1652 some of them are typeset as cautionaries.
1654 @item \pianoAccidentals
1655 @cindex @code{\pianoAccidentals}
1656 20th century practice for piano notation. Very similar to
1657 @code{\modernAccidentals} but accidentals also get cancelled
1658 across the staves in the same @internalsref{GrandStaff} or
1659 @internalsref{PianoStaff}.
1661 @item \pianoCautionaries
1662 @cindex @code{\pianoCautionaries}
1663 As @code{\pianoAccidentals} but with the extra accidentals
1664 typeset as cautionaries.
1667 @cindex @code{\noResetKey}
1668 Same as @code{\defaultAccidentals} but with accidentals lasting
1669 ``forever'' and not only until the next measure:
1670 @lilypond[raggedright,fragment,verbatim,relative]
1675 @item \forgetAccidentals
1676 @cindex @code{\forgetAccidentals}
1677 This is sort of the opposite of @code{\noResetKey}: Accidentals
1678 are not remembered at all---and hence all accidentals are
1679 typeset relative to the key signature, regardless of what was
1680 before in the music:
1681 @lilypond[raggedright,fragment,verbatim,relative]
1683 \key d\major c4 c cis cis d d dis dis
1687 @node Customized accidental rules
1688 @subsection Customized accidental rules
1690 For determining when to print an accidental, several different rules
1691 are tried. The rule that gives the highest number of accidentals is
1692 used. Each rule consists of
1695 In which context is the rule applied. For example, if
1696 @var{context} is @internalsref{Score} then all staves share
1697 accidentals, and if @var{context} is @internalsref{Staff} then all
1698 voices in the same staff share accidentals, but staves do not.
1700 Whether the accidental changes all octaves or only the current
1703 Over how many barlines the accidental lasts.
1704 If @var{lazyness} is @code{-1} then the accidental is forget
1705 immediately, and if @var{lazyness} is @code{#t} then the accidental
1708 @c [TODO: should use +infinity for this case?]
1714 @cindex @code{\defaultAccidentals}
1715 @code{\defaultAccidentals},
1716 @cindex @code{\voiceAccidentals}
1717 @code{\voiceAccidentals},
1718 @cindex @code{\modernAccidentals}
1719 @code{\modernAccidentals},
1720 @cindex @code{\modernCautionaries}
1721 @code{\modernCautionaries},
1722 @cindex @code{\modernVoiceAccidentals}
1723 @code{\modernVoiceAccidentals},
1724 @cindex @code{\modernVoiceCautionaries}
1725 @code{\modernVoiceCautionaries},
1726 @cindex @code{\pianoAccidentals}
1727 @code{\pianoAccidentals},
1728 @cindex @code{\pianoCautionaries}
1729 @code{\pianoCautionaries},
1730 @cindex @code{\noResetKey}
1732 @cindex @code{\forgetAccidentals}
1733 @code{\forgetAccidentals}.
1737 Internals: @internalsref{Accidental_engraver},
1738 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1743 Currently the simultaneous notes are considered to be entered in
1744 sequential mode. This means that in a chord the accidentals are
1745 typeset as if the notes in the chord happened once at a time - in the
1746 order in which they appear in the input file.
1748 This is only a problem when there are simultaneous notes whose
1749 accidentals depend on each other. The problem only occurs when using
1750 non-default accidentals. In the default scheme, accidentals only
1751 depend on other accidentals with the same pitch on the same staff, so
1752 no conflicts possible.
1754 This example shows two examples of the same music giving different
1755 accidentals depending on the order in which the notes occur in the
1758 @lilypond[raggedright,fragment,verbatim]
1759 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1760 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1761 | <cis' c''> r | <c'' cis'> r |
1764 This problem can be solved by manually inserting @code{!} and @code{?}
1765 for the problematic notes.
1767 @node Expressive marks
1768 @section Expressive marks
1771 @c todo: should change ordering
1772 @c where to put text spanners, metronome marks,
1781 * Analysis brackets::
1783 * Fingering instructions::
1794 A slur indicates that notes are to be played bound or @emph{legato}.
1798 They are entered using parentheses:
1799 @lilypond[relative=1,fragment,verbatim,center]
1800 f( g)( a) a8 b( a4 g2 f4)
1805 @c TODO: should explain that ^( and _( set directions
1806 @c should set attachments with ^ and _ ?
1808 Slurs avoid crossing stems, and are generally attached to note heads.
1809 However, in some situations with beams, slurs may be attached to stem
1810 ends. If you want to override this layout you can do this through the
1811 object property @code{attachment} of @internalsref{Slur} in
1812 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1813 the attachment type of the left and right end points:
1815 @lilypond[fragment,relative,verbatim]
1817 \property Voice.Stem \set #'length = #5.5
1819 \property Voice.Slur \set #'attachment = #'(stem . stem)
1823 If a slur would strike through a stem or beam, the slur will be moved
1824 away upward or downward. If this happens, attaching the slur to the
1825 stems might look better:
1827 @lilypond[fragment,relative,verbatim]
1830 \property Voice.Slur \set #'attachment = #'(stem . stem)
1837 @cindex @code{\slurUp}
1839 @cindex @code{\slurDown}
1841 @cindex @code{\slurBoth}
1843 @cindex @code{\slurDotted}
1845 @cindex @code{\slurSolid}
1850 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1855 Producing nice slurs is a difficult problem, and LilyPond currently
1856 uses a simple, empiric method to produce slurs. In some cases, its
1860 @cindex Adjusting slurs
1862 @node Phrasing slurs
1863 @subsection Phrasing slurs
1865 @cindex phrasing slurs
1866 @cindex phrasing marks
1868 A phrasing slur (or phrasing mark) connects chords and is used to
1869 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1872 @lilypond[fragment,verbatim,center,relative]
1873 \time 6/4 c'\( d( e) f( e) d\)
1876 Typographically, the phrasing slur behaves almost exactly like a
1877 normal slur. However, they are treated as different objects. A
1878 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1879 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1880 @code{\phrasingSlurBoth}.
1882 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1883 will only affect normal slurs and not phrasing slurs.
1887 @cindex @code{\phrasingSlurUp}
1888 @code{\phrasingSlurUp},
1889 @cindex @code{\phrasingSlurDown}
1890 @code{\phrasingSlurDown},
1891 @cindex @code{\phrasingSlurBoth}
1892 @code{\phrasingSlurBoth},
1896 Internals: see also @internalsref{PhrasingSlur}, and
1897 @internalsref{PhrasingSlurEvent}.
1901 Phrasing slurs have the same limitations in their formatting as normal
1902 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1905 @subsection Breath marks
1907 Breath marks are entered using @code{\breathe}:
1910 @lilypond[fragment,relative,verbatim]
1914 The glyph of the breath mark can be tweaked by overriding the
1915 @code{text} property of the @code{BreathingSign} layout object with
1916 any markup text. For example,
1917 @lilypond[fragment,verbatim,relative]
1919 \property Voice.BreathingSign \override #'text
1920 = #(make-musicglyph-markup "scripts-rvarcomma")
1927 Internals: @internalsref{BreathingSign},
1928 @internalsref{BreathingSignEvent}
1930 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1933 @node Metronome marks
1934 @subsection Metronome marks
1937 @cindex beats per minute
1938 @cindex metronome marking
1940 Metronome settings can be entered as follows:
1942 \tempo @var{duration} = @var{perminute}
1945 In the MIDI output, they are interpreted as a tempo change, and in the
1946 paper output, a metronome marking is printed:
1947 @cindex @code{\tempo}
1948 @lilypond[fragment,verbatim]
1954 Internals: @internalsref{MetronomeChangeEvent}.
1959 @subsection Text spanners
1960 @cindex Text spanners
1962 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1963 are written as texts, and extended over many measures with dotted
1964 lines. You can create such texts using text spanners: attach
1965 @code{\startTextSpan} and @code{\stopTextSpan} to the
1966 start and ending note of the spanner.
1968 The string to be printed, as well as the style, is set through object
1971 @lilypond[fragment,relative,verbatim]
1973 \property Voice.TextSpanner \set #'direction = #-1
1974 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1975 c2\startTextSpan b c\stopTextSpan a }
1981 Internals @internalsref{TextSpanEvent},
1982 @internalsref{TextSpanner}.
1984 Examples: @inputfileref{input/regression,text-spanner.ly}.
1987 @node Analysis brackets
1988 @subsection Analysis brackets
1990 @cindex phrasing brackets
1991 @cindex musicological analysis
1992 @cindex note grouping bracket
1994 Brackets are used in musical analysis to indicate structure in musical
1995 pieces. LilyPond supports a simple form of nested horizontal brackets.
1996 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1997 @internalsref{Staff} context. A bracket is started with
1998 @code{\startGroup} and closed with @code{\stopGroup}:
2000 @lilypond[raggedright,verbatim]
2001 \score { \notes \relative c'' {
2002 c4\startGroup\startGroup
2005 c4\stopGroup\stopGroup
2007 \paper { \translator {
2008 \StaffContext \consists "Horizontal_bracket_engraver"
2014 Internals: @internalsref{HorizontalBracket},
2015 @internalsref{NoteGroupingEvent}
2017 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2021 @subsection Articulations
2022 @cindex Articulations
2024 @cindex articulations
2028 A variety of symbols can appear above and below notes to indicate
2029 different characteristics of the performance. They are added to a note
2030 by adding a dash and the character signifying the
2031 articulation. They are demonstrated here:
2033 @lilypondfile[]{script-abbreviations.ly}
2035 The meanings of these shorthands can be changed: see
2036 @file{ly/script-init.ly} for examples.
2039 The script is automatically placed, but if you need to force
2040 directions, you can use @code{_} to force them down, or @code{^} to
2042 @lilypond[fragment,verbatim]
2046 Other symbols can be added using the syntax
2047 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2048 can be forced up or down using @code{^} and @code{_},
2051 @lilypond[verbatim,fragment,relative=2]
2052 c\fermata c^\fermata c_\fermata
2059 @cindex staccatissimo
2068 @cindex organ pedal marks
2077 @cindex prallmordent
2081 @cindex thumb marking
2086 @lilypondfile[]{script-chart.ly}
2091 @cindex @code{\scriptUp}
2093 @cindex @code{\scriptDown}
2095 @cindex @code{\scriptBoth}
2100 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2104 These note ornaments appear in the printed output but have no
2105 effect on the MIDI rendering of the music.
2108 @node Fingering instructions
2109 @subsection Fingering instructions
2113 Fingering instructions can be entered using
2115 @var{note}-@var{digit}
2117 For finger changes, use markup texts:
2119 @lilypond[verbatim,raggedright,fragment]
2120 c'4-1 c'4-2 c'4-3 c'4-4
2121 c'^\markup { \fontsize #-3 \number "2-3" }
2124 @cindex finger change
2129 You can use the thumb-script to indicate that a note should be
2130 played with the thumb (e.g. in cello music):
2132 @lilypond[verbatim,raggedright,fragment]
2133 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2134 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2137 Fingerings for chords can also be added to individual notes
2138 of the chord by adding them after the pitches:
2139 @lilypond[verbatim,raggedright,fragment,relative=1]
2140 < c-1 e-2 g-3 b-5 > 4
2144 In this case, setting @code{fingeringOrientations} will put fingerings next
2147 @lilypond[verbatim,raggedright,fragment,relative=1]
2148 \property Voice.fingeringOrientations = #'(left down)
2149 <c-1 es-2 g-4 bes-5 > 4
2150 \property Voice.fingeringOrientations = #'(up right down)
2151 <c-1 es-2 g-4 bes-5 > 4
2154 By using single note chords, fingering instructions can be put close
2155 to note heads in monophonic music.
2159 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2161 Examples: @inputfileref{input/regression,finger-chords.ly}
2164 @subsection Text scripts
2165 @cindex Text scripts
2167 @cindex text items, non-empty
2168 @cindex non-empty texts
2170 It is possible to place arbitrary strings of text or markup text (see
2171 @ref{Text markup}) above or below notes by using a string:
2172 @code{c^"text"}. By default, these indications do not influence the
2173 note spacing, but by using the command @code{\fatText}, the widths
2174 will be taken into account:
2176 @lilypond[fragment,raggedright,verbatim] \relative c' {
2177 c4^"longtext" \fatText c4_"longlongtext" c4 }
2180 It is possible to use @TeX{} commands in the strings, but this should
2181 be avoided because the exact dimensions of the string can then no
2186 @refcommand{fatText}, @refcommand{emptyText}.
2191 In this manual: @ref{Text markup}.
2193 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2199 @subsection Grace notes
2202 @c should have blurb about accaciatura / appogiatura
2204 @cindex @code{\grace}
2208 Grace notes are ornaments that are written out. The most common ones
2209 are acciaccatura, which should be played as very short. It is denoted
2210 by a slurred small note with a slashed stem. The appoggiatura is a
2211 grace note that takes a fixed fraction of the main note, is and
2212 denoted as a slurred note in small print without a slash.
2213 They are entered with the commands @code{\acciaccatura} and
2214 @code{\appoggiatura}, as demonstrated in the following example:
2217 @cindex appoggiatura
2218 @cindex acciaccatura
2220 @lilypond[relative=2,verbatim,fragment]
2221 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2222 \acciaccatura { g16[ f] } e4
2225 Both are special forms of the @code{\grace} command. By prefixing this
2226 keyword to a music expression, a new one is formed, which will be
2227 printed in a smaller font and takes up no logical time in a measure.
2228 @lilypond[relative=2,verbatim,fragment]
2230 \grace { c16[ d16] } c2 c4
2234 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2235 @code{\grace} command does not start a slur.
2237 Internally, timing for grace notes is done using a second, `grace'
2238 time. Every point in time consists of two rational numbers: one
2239 denotes the logical time, one denotes the grace timing. The above
2240 example is shown here with timing tuples:
2242 @lilypond[raggedright]
2245 c4 \grace c16 c4 \grace {
2248 \new Lyrics \lyrics {
2251 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2252 \markup { (\fraction 1 4 , 0 ) } 4
2254 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2255 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2257 \markup { ( \fraction 2 4 , 0 ) }
2262 The placement of grace notes is synchronized between different staves.
2263 In the following example, there are two sixteenth graces notes for
2264 every eighth grace note:
2266 @lilypond[relative=2,verbatim,fragment]
2267 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2268 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2273 If you want to end a note with a grace, then the standard trick
2274 is to put the grace notes after a ``space note'', e.g.
2275 @lilypond[fragment,verbatim,relative=2]
2278 { s2 \grace { c16[ d] } } >>
2284 By adjusting the duration of the skip note (here it is a half-note),
2285 the space between the main-note and the grace is adjusted.
2288 A @code{\grace} section will introduce special typesetting settings,
2289 for example, to produce smaller type, and set directions. Hence, when
2290 introducing layout tweaks, they should be inside the grace section,
2292 @lilypond[fragment,verbatim,relative=1]
2295 \property Voice.Stem \override #'direction = #-1
2297 \property Voice.Stem \revert #'direction
2304 The overrides should also be reverted inside the grace section.
2306 If the layout of grace sections must be changed throughout the music,
2307 then this can be accomplished through the function
2308 @code{add-grace-property}. The following example
2309 undefines the Stem direction grace section, so stems do not always
2314 #(add-grace-property "Voice" Stem direction '())
2320 Another option is to change the variables @code{startGraceMusic},
2321 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2322 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2323 @code{stopAppoggiaturaMusic}. More information is in the file
2324 @file{ly/grace-init.ly}
2329 Internals: @internalsref{GraceMusic}.
2333 A score that starts with an @code{\grace} section needs an explicit
2334 @code{\context Voice} declaration, otherwise the main note and grace
2335 note end up on different staves.
2337 Grace note synchronization can also lead to surprises. Staff notation,
2338 such as key signatures, barlines, etc. are also synchronized. Take
2339 care when you mix staves with grace notes and staves without, for example,
2341 @lilypond[relative=2,verbatim,fragment]
2342 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2343 \new Staff { c4 \bar "|:" d4 } >>
2346 Grace sections should only be used within sequential music
2347 expressions. Nesting or juxtaposing grace sections is not supported,
2348 and might produce crashes or other errors.
2352 @subsection Glissando
2355 @cindex @code{\glissando}
2357 A glissando is a smooth change in pitch. It is denoted by a line or a
2358 wavy line between two notes.
2362 A glissando line can be requested by attaching a @code{\glissando} to
2365 @lilypond[fragment,relative,verbatim]
2371 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2376 Adding additional texts (such as @emph{gliss.}) is not supported.
2380 @subsection Dynamics
2393 @cindex @code{\ffff}
2403 Absolute dynamic marks are specified using an variable after a
2404 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2405 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2406 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2407 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2409 @lilypond[verbatim,raggedright,fragment,relative]
2410 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2416 @cindex @code{\decr}
2417 @cindex @code{\rced}
2424 A crescendo mark is started with @code{\<} and terminated with
2425 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2426 with @code{\!}. Because these marks are bound to notes, if you must
2427 use spacer notes if multiple marks during one note are needed:
2429 @lilypond[fragment,verbatim,center,quote]
2430 c''\< c''\! d''\decr e''\rced
2431 << f''1 { s4 s4\< s4\! \> s4\! } >>
2433 This may give rise to very short hairpins. Use @code{minimum-length}
2434 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2438 \property Staff.Hairpin \override #'minimum-length = #5
2441 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2442 is an example how to do it:
2444 @lilypond[fragment,relative=2,verbatim]
2445 c4 \cresc c4 c c c \endcresc c4
2451 You can also supply your own texts:
2452 @lilypond[fragment,relative,verbatim]
2454 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2455 \property Voice.crescendoSpanner = #'dashed-line
2465 @cindex @code{\dynamicUp}
2467 @cindex @code{\dynamicDown}
2468 @code{\dynamicDown},
2469 @cindex @code{\dynamicBoth}
2470 @code{\dynamicBoth}.
2472 @cindex direction, of dynamics
2476 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2477 @internalsref{AbsoluteDynamicEvent}.
2479 Dynamics are objects of @internalsref{DynamicText} and
2480 @internalsref{Hairpin}. Vertical positioning of these symbols is
2481 handled by the @internalsref{DynamicLineSpanner} object.
2483 If you want to adjust padding or vertical direction of the dynamics, you
2484 must set properties for the @internalsref{DynamicLineSpanner} object.
2492 @cindex @code{\repeat}
2495 Repetition is a central concept in music, and multiple notations exist
2496 for repetitions. In LilyPond, most of these notations can be captured
2497 in a uniform syntax. One of the advantages is that they can be
2498 rendered in MIDI accurately.
2500 The following types of repetition are supported:
2504 Repeated music is fully written (played) out. Useful for MIDI
2505 output, and entering repetitive music.
2508 This is the normal notation: Repeats are not written out, but
2509 alternative endings (voltas) are printed, left to right.
2513 Alternative endings are written stacked. This has limited use but may be
2514 used to typeset two lines of lyrics in songs with repeats, see
2515 @inputfileref{input,star-spangled-banner.ly}.
2523 Make beat or measure repeats. These look like percent signs.
2529 * Repeats and MIDI::
2530 * Manual repeat commands::
2532 * Tremolo subdivisions::
2537 @subsection Repeat syntax
2541 LilyPond has one syntactic construct for specifying different types of
2542 repeats. The syntax is
2545 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2548 If you have alternative endings, you may add
2549 @cindex @code{\alternative}
2551 \alternative @code{@{} @var{alternative1}
2553 @var{alternative3} @dots{} @code{@}}
2555 where each @var{alternative} is a music expression. If you do not
2556 give enough alternatives for all of the repeats, then the first
2557 alternative is assumed to be played more than once.
2559 Normal notation repeats are used like this:
2560 @lilypond[fragment,verbatim,relative=1]
2562 \repeat volta 2 { c4 d e f }
2563 \repeat volta 2 { f e d c }
2566 With alternative endings:
2567 @lilypond[fragment,verbatim,relative=1]
2569 \repeat volta 2 {c4 d e f}
2570 \alternative { {d2 d} {f f,} }
2574 @lilypond[fragment,verbatim,relative=1]
2577 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2578 \alternative { { g4 g g } { a | a a a a | b2. } }
2584 If you do a nested repeat like
2593 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2594 belongs. This ambiguity is resolved by always having the
2595 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2596 it is advisable to use braces in such situations.
2599 @node Repeats and MIDI
2600 @subsection Repeats and MIDI
2602 @cindex expanding repeats
2604 For instructions on how to unfold repeats for MIDI output, see the
2605 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2610 Timing information is not remembered at the start of an alternative,
2611 so after a repeat timing information must be reset by hand, for
2612 example by setting @code{Score.measurePosition} or entering
2613 @code{\partial}. Similarly, slurs or ties are also not repeated.
2616 @node Manual repeat commands
2617 @subsection Manual repeat commands
2619 @cindex @code{repeatCommands}
2621 The property @code{repeatCommands} can be used to control the layout of
2622 repeats. Its value is a Scheme list of repeat commands, where each repeat
2626 @item the symbol @code{start-repeat},
2627 which prints a @code{|:} bar line,
2628 @item the symbol @code{end-repeat},
2629 which prints a @code{:|} bar line,
2630 @item the list @code{(volta @var{text})},
2631 which prints a volta bracket saying @var{text}: The text can be specified as
2632 a text string or as a markup text, see @ref{Text markup}. Do not
2633 forget to change the font, as the default number font does not contain
2634 alphabetic characters. Or,
2635 @item the list @code{(volta #f)}, which
2636 stops a running volta bracket:
2639 @lilypond[verbatim,fragment,relative=2]
2641 \property Score.repeatCommands = #'((volta "93") end-repeat)
2643 \property Score.repeatCommands = #'((volta #f))
2650 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2651 @internalsref{VoltaRepeatedMusic},
2652 @internalsref{UnfoldedRepeatedMusic}, and
2653 @internalsref{FoldedRepeatedMusic}.
2655 @node Tremolo repeats
2656 @subsection Tremolo repeats
2657 @cindex tremolo beams
2659 To place tremolo marks between notes, use @code{\repeat} with tremolo
2661 @lilypond[verbatim,raggedright]
2663 \context Voice \notes\relative c' {
2664 \repeat "tremolo" 8 { c16 d16 }
2665 \repeat "tremolo" 4 { c16 d16 }
2666 \repeat "tremolo" 2 { c16 d16 }
2671 Tremolo marks can also be put on a single note. In this case, the
2672 note should not be surrounded by braces.
2673 @lilypond[verbatim,raggedright]
2674 \repeat "tremolo" 4 c16
2677 A similar mechanism is the tremolo subdivision, described in
2678 @ref{Tremolo subdivisions}.
2682 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2684 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2685 tremolos are @internalsref{StemTremolo}s. The music expression is
2686 @internalsref{TremoloEvent},
2688 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2689 @inputfileref{input/regression,stem-tremolo.ly}.
2691 @node Tremolo subdivisions
2692 @subsection Tremolo subdivisions
2693 @cindex tremolo marks
2694 @cindex @code{tremoloFlags}
2696 Tremolo marks can be printed on a single note by adding
2697 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2698 A @var{length} value of 8 gives one line across the note stem. If the
2699 length is omitted, then then the last value (stored in
2700 @code{Voice.tremoloFlags}) is used:
2702 @lilypond[verbatim,fragment,center]
2703 c'2:8 c':32 | c': c': |
2706 @c [TODO : stok is te kort bij 32en]
2710 Tremolos in this style do not carry over into the MIDI output.
2714 In this manual: @ref{Tremolo repeats}.
2716 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2718 @node Measure repeats
2719 @subsection Measure repeats
2721 @cindex percent repeats
2722 @cindex measure repeats
2724 In the @code{percent} style, a note pattern can be repeated. It is
2725 printed once, and then the pattern is replaced with a special sign.
2726 Patterns of a one and two measures are replaced by percent-like signs,
2727 patterns that divide the measure length are replaced by slashes:
2729 @lilypond[verbatim,raggedright]
2730 \context Voice { \repeat "percent" 4 { c'4 }
2731 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2737 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2738 @internalsref{PercentRepeatedMusic}, and
2739 @internalsref{DoublePercentRepeat}.
2743 @node Rhythmic music
2744 @section Rhythmic music
2748 * Showing melody rhythms::
2749 * Percussion staves::
2753 @node Showing melody rhythms
2754 @subsection Showing melody rhythms
2756 Sometimes you might want to show only the rhythm of a melody. This
2757 can be done with the rhythmic staff. All pitches of notes on such a
2758 staff are squashed, and the staff itself has a single line:
2760 @lilypond[fragment,relative,verbatim]
2761 \context RhythmicStaff {
2763 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2769 Internals: @internalsref{RhythmicStaff}.
2771 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2774 @node Entering percussion
2775 @subsection Entering percussion
2782 Percussion notes may be entered in @code{\drums} mode, which is
2783 similar to @code{notes}. Each piece of percussion has a full name and
2784 an abbreviated name, and both be used in input files:
2786 @lilypond[raggedright]
2787 \drums { hihat4 hh4 }
2790 The complete list of drum names is in the init file
2791 @file{ly/drumpitch-init.ly}.
2792 @c TODO: properly document this.
2796 Internals: @internalsref{DrumNoteEvent}
2798 @node Percussion staves
2799 @subsection Percussion staves
2803 A percussion part for more than one instrument typically uses a
2804 multiline staff where each position in the staff refers to one piece
2808 To typeset the music, the notes must be interpreted in a
2809 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2812 @lilypond[raggedright,verbatim,quote]
2813 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2814 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2817 << \new DrumVoice { \voiceOne \up }
2818 \new DrumVoice { \voiceTwo \down }
2822 There are also other layout possibilities. To use these, set the
2823 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2824 The following variables have been predefined:
2828 is the default. It typesets a typical drum kit on a five-line staff
2831 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2832 bd sn ss tomh tommh tomml toml tomfh tomfl }
2833 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2834 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2836 << \new DrumStaff\with {
2837 \remove Bar_engraver
2838 \remove Time_signature_engraver
2839 Stem \set #'transparent = ##t
2840 Stem \set #'Y-extent-callback = ##f
2841 minimumVerticalExtent = #'(-4.0 . 5.0)
2843 \context LyricsVoice \nam
2846 %% need to do this, because of indented @itemize
2848 \translator { \ScoreContext
2849 BarNumber \set #'transparent =##T
2853 The drum scheme supports six different toms. When there fewer toms, simply
2854 select the toms that produce the desired result, i.e. to get toms on
2855 the three middle lines you use @code{tommh}, @code{tomml} and
2858 @item timbales-style
2859 to typeset timbales on a two line staff:
2861 @lilypond[raggedright]
2862 nam = \lyrics { timh ssh timl ssl cb }
2863 mus = \drums { timh ssh timl ssl cb s16 }
2866 \context DrumStaff \with {
2867 \remove Bar_engraver
2868 \remove Time_signature_engraver
2869 Stem \set #'transparent = ##t
2870 Stem \set #'Y-extent-callback = ##f
2871 StaffSymbol \override #'line-count = #2
2872 StaffSymbol \override #'staff-space = #2
2873 minimumVerticalExtent = #'(-3.0 . 4.0)
2874 drumStyleTable = #timbales-style
2876 \context LyricsVoice \nam
2881 to typeset congas on a two line staff:
2883 @lilypond[raggedright]
2884 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2885 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2888 \context DrumStaff\with {
2889 \remove Bar_engraver
2890 \remove Time_signature_engraver
2891 drumStyleTable = #congas-style
2892 StaffSymbol \override #'line-count = #2
2894 %% this sucks; it will lengthen stems.
2895 StaffSymbol \override #'staff-space = #2
2896 Stem \set #'transparent = ##t
2897 Stem \set #'Y-extent-callback = ##f
2899 \context LyricsVoice \nam
2904 to typeset bongos on a two line staff:
2906 @lilypond[raggedright]
2907 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2908 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2911 \context DrumStaff\with {
2912 \remove Bar_engraver
2913 \remove Time_signature_engraver
2914 StaffSymbol \override #'line-count = #2
2915 drumStyleTable = #bongos-style
2917 %% this sucks; it will lengthen stems.
2918 StaffSymbol \override #'staff-space = #2
2919 Stem \set #'transparent = ##t
2920 Stem \set #'Y-extent-callback = ##f
2922 \context LyricsVoice \nam
2927 @item percussion-style
2928 to typeset all kinds of simple percussion on one line staves:
2929 @lilypond[raggedright]
2930 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2931 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2934 \context DrumStaff\with{
2935 \remove Bar_engraver
2936 drumStyleTable = #percussion-style
2937 StaffSymbol \override #'line-count = #1
2938 \remove Time_signature_engraver
2939 Stem \set #'transparent = ##t
2940 Stem \set #'Y-extent-callback = ##f
2942 \context LyricsVoice \nam
2948 If you do not like any of the predefined lists you can define your own
2949 list at the top of your file:
2951 @lilypond[raggedright,verbatim]
2953 (bassdrum default #f -1)
2954 (snare default #f 0)
2956 (pedalhihat xcircle "stopped" 2)
2957 (lowtom diamond #f 3)
2959 up = \drums { hh8 hh hh hh hhp4 hhp }
2960 down = \drums { bd4 sn bd toml8 toml }
2963 \property DrumStaff.drumStyleTable
2964 = #(alist->hash-table mydrums)
2965 \new DrumVoice { \voiceOne \up }
2966 \new DrumVoice { \voiceTwo \down }
2974 Init files: @file{ly/drumpitch-init.ly}
2976 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}
2980 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2981 work for @internalsref{DrumVoices}.
2983 Because general MIDI does not contain rimshots the sidestick is used
2984 for this purpose instead.
2987 @section Piano music
2989 Piano staves are two normal staves coupled with a brace. The staves
2990 are largely independent, but sometimes voices can cross between the
2991 two staves. The same notation is also used for harps and other key
2992 instruments. The @internalsref{PianoStaff} is especially built to
2993 handle this cross-staffing behavior. In this section we discuss the
2994 @internalsref{PianoStaff} and some other pianistic peculiarities.
2998 * Automatic staff changes::
2999 * Manual staff switches::
3002 * Staff switch lines::
3007 There is no support for putting chords across staves. You can get
3008 this result by increasing the length of the stem in the lower stave so
3009 it reaches the stem in the upper stave, or vice versa. An example is
3010 included with the distribution as
3011 @inputfileref{input/test,stem-cross-staff.ly}.
3013 Dynamics are not centered, but kludges do exist. See
3014 @inputfileref{input/template,piano-dynamics.ly}.
3016 @cindex cross staff stem
3017 @cindex stem, cross staff
3020 @c fixme: should have hyperlinks as well.
3026 @node Automatic staff changes
3027 @subsection Automatic staff changes
3028 @cindex Automatic staff changes
3030 Voices can switch automatically between the top and the bottom
3031 staff. The syntax for this is
3033 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3035 The two staffs of the piano staff must be named @code{up} and
3038 The autochanger switches on basis of pitch (central C is the turning
3039 point), and it looks ahead skipping over rests to switch in
3040 advance. Here is a practical example:
3042 @lilypond[verbatim,raggedright,quote]
3043 \score { \notes \context PianoStaff <<
3044 \context Staff = "up" {
3045 \autochange \new Voice \relative c' {
3046 g4 a b c d r4 a g } }
3047 \context Staff = "down" {
3054 In this example, spacer rests are used to prevent the bottom staff from
3055 terminating too soon.
3060 In this manual: @ref{Manual staff switches}
3062 Internals: @internalsref{AutoChangeMusic}.
3068 The staff switches often do not end up in optimal places. For high
3069 quality output, staff switches should be specified manually.
3073 @node Manual staff switches
3074 @subsection Manual staff switches
3076 @cindex manual staff switches
3077 @cindex staff switch, manual
3079 Voices can be switched between staves manually, using the following command:
3081 \change Staff = @var{staffname} @var{music}
3085 The string @var{staffname} is the name of the staff. It switches the
3086 current voice from its current staff to the Staff called
3087 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3096 Pianos have pedals that alter the way sound are produced. Generally, a
3097 piano has three pedals, sustain, una corda, and sostenuto.
3101 Piano pedal instruction can be expressed by attaching
3102 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3103 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3106 @lilypond[fragment,verbatim]
3107 c'4\sustainDown c'4\sustainUp
3110 What is printed can be modified by setting @code{pedal@var{X}Strings},
3111 where @var{X} is one of the pedal types: @code{Sustain},
3112 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3113 documentation of @internalsref{SustainPedal} for more information.
3115 Pedals can also be indicated by a sequence of brackets, by setting the
3116 @code{pedalSustainStyle} property to @code{bracket} objects:
3118 @lilypond[fragment,verbatim]
3119 \property Staff.pedalSustainStyle = #'bracket
3120 c''4\sustainDown d''4 e''4
3121 a'4\sustainUp\sustainDown
3122 f'4 g'4 a'4\sustainUp
3125 A third style of pedal notation is a mixture of text and brackets,
3126 obtained by setting the @code{pedalSustainStyle} style property to
3129 @lilypond[fragment,verbatim]
3130 \property Staff.pedalSustainStyle = #'mixed
3131 c''4\sustainDown d''4 e''4
3132 c'4\sustainUp\sustainDown
3133 f'4 g'4 a'4\sustainUp
3136 The default `*Ped' style for sustain and damper pedals corresponds to
3137 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3140 @lilypond[fragment,verbatim]
3141 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3144 For fine-tuning of the appearance of a pedal bracket, the properties
3145 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3146 @code{PianoPedalBracket} objects (see
3147 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3148 bracket may be extended to the end of the note head:
3150 @lilypond[fragment,verbatim]
3151 \property Staff.PianoPedalBracket \override
3152 #'shorten-pair = #'(0 . -1.0)
3153 c''4\sostenutoDown d''4 e''4 c'4
3154 f'4 g'4 a'4\sostenutoUp
3158 @subsection Arpeggio
3161 @cindex broken arpeggio
3162 @cindex @code{\arpeggio}
3164 You can specify an arpeggio sign on a chord by attaching an
3165 @code{\arpeggio} to a chord:
3168 @lilypond[fragment,relative,verbatim]
3172 When an arpeggio crosses staves, you attach an arpeggio to the chords
3173 in both staves, and set
3174 @internalsref{PianoStaff}.@code{connectArpeggios}:
3176 @lilypond[fragment,relative,verbatim]
3177 \context PianoStaff <<
3178 \property PianoStaff.connectArpeggios = ##t
3179 \new Staff { <c' e g c>\arpeggio }
3180 \new Staff { \clef bass <c,, e g>\arpeggio }
3184 The direction of the arpeggio is sometimes denoted by adding an
3185 arrowhead to the wiggly line. This can be typeset by setting
3186 @code{arpeggio-direction}:
3188 @lilypond[fragment,relative,verbatim]
3190 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3192 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3197 A square bracket on the left indicates that the player should not
3198 arpeggiate the chord. To draw these brackets, set the
3199 @code{molecule-callback} property of @code{Arpeggio} or
3200 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3201 @code{\arpeggio} statements within the chords as before:
3203 @lilypond[fragment,relative,verbatim]
3204 \property PianoStaff.Arpeggio \override
3205 #'molecule-callback = \arpeggioBracket
3211 @cindex @code{\arpeggioBracket}
3212 @code{\arpeggioBracket},
3213 @cindex @code{\arpeggio}
3218 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3219 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3220 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3224 It is not possible to mix connected arpeggios and unconnected
3225 arpeggios in one @internalsref{PianoStaff} at the same time.
3227 @node Staff switch lines
3228 @subsection Staff switch lines
3231 @cindex follow voice
3232 @cindex staff switching
3235 @cindex @code{followVoice}
3237 Whenever a voice switches to another staff a line connecting the notes
3238 can be printed automatically. This is enabled if the property
3239 @code{PianoStaff.followVoice} is set to true:
3241 @lilypond[fragment,relative,verbatim]
3242 \context PianoStaff <<
3243 \property PianoStaff.followVoice = ##t
3244 \context Staff \context Voice {
3249 \context Staff=two { \clef bass \skip 1*2 }
3253 The associated object is @internalsref{VoiceFollower}.
3257 @cindex @code{\showStaffSwitch}
3258 @code{\showStaffSwitch},
3259 @cindex @code{\hideStaffSwitch}
3260 @code{\hideStaffSwitch}.
3264 @section Vocal music
3266 This section discusses how to enter and print lyrics.
3270 * The Lyrics context::
3275 @node Entering lyrics
3276 @subsection Entering lyrics
3280 @cindex @code{\lyrics}
3283 Lyrics are entered in a special input mode. This mode is is introduced
3284 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3285 punctuation and accents without any hassle. Syllables are entered like
3286 notes, but with pitches replaced by text. For example,
3288 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3291 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3292 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3293 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3294 any 8-bit character with ASCII code over 127, or a two-character
3295 combination of a backslash followed by one of @code{`}, @code{'},
3296 @code{"}, or @code{^}.
3298 Subsequent characters of a word can be any character that is not a digit
3299 and not white space. One important consequence of this is that a word
3300 can end with @code{@}}. The following example is usually a bug. The
3301 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3303 \lyrics @{ twinkle@}
3306 @cindex @code{\property}, in @code{\lyrics}
3307 Similarly, a period following a alphabetic sequence, is included in the
3308 resulting string. As a consequence, spaces must be inserted around
3309 @code{\property} commands:
3311 \property Lyrics . LyricText \set #'font-shape = #'italic
3315 @cindex spaces, in lyrics
3316 @cindex quotes, in lyrics
3318 Any @code{_} character which appears in an unquoted word is converted
3319 to a space. This provides a mechanism for introducing spaces into words
3320 without using quotes. Quoted words can also be used in Lyrics mode to
3321 specify words that cannot be written with the above rules:
3324 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3328 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3333 These will be attached to the end of the first syllable.
3335 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3336 as a separate word between syllables. The hyphen will have variable
3337 length depending on the space between the syllables and it will be
3338 centered between the syllables.
3343 When a lyric is sung over many notes (this is called a melisma), this is
3344 indicated with a horizontal line centered between a syllable and the
3345 next one. Such a line is called an extender line, and it is entered as
3350 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3351 @internalsref{ExtenderEvent}.
3353 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}
3357 The definition of lyrics mode is too complex.
3361 @node The Lyrics context
3362 @subsection The Lyrics context
3364 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3366 \context LyricsVoice \lyrics @dots{}
3369 @cindex automatic syllable durations
3370 @cindex @code{\lyricsto}
3371 @cindex lyrics and melodies
3373 This will place the lyrics according to the durations that were
3374 entered. The lyrics can also be aligned under a given melody
3375 automatically. In this case, it is no longer necessary to enter the
3376 correct duration for each syllable. This is achieved by combining the
3377 melody and the lyrics with the @code{\lyricsto} expression:
3379 \lyricsto @var{name} \new LyricsVoice @dots{}
3382 This aligns the lyrics to the
3384 notes of the @internalsref{Voice} context called @var{name}, which has
3385 to exist. Therefore, normally the @code{Voice} is specified first, and
3386 then the lyrics are specified with @code{\lyricsto}.
3388 For different or more complex orderings, the best way is to setup the
3389 hierarchy of staves and lyrics first, e.g.
3391 \context ChoirStaff \notes <<
3392 \context LyricsVoice = sopranoLyrics @{ s1 @}
3393 \context Voice = soprano @{ @emph{music} @}
3394 \context LyricsVoice = tenor @{ s1 @}
3395 \context Voice = tenorLyrics @{ @emph{music} @}
3398 and then combine the appropriate melodies and lyric lines:
3400 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3404 The final input would resemble
3407 << \context ChoirStaff \notes << @emph{setup the music} >>
3408 \lyricsto "soprano" @emph{etc}
3409 \lyricsto "alto" @emph{etc}
3415 The @code{\lyricsto} command detects melismata: it only puts one
3416 syllable under a tied or slurred group of notes. If you want to force
3417 an unslurred group of notes to be a melisma, then insert
3418 @code{\melisma} after the first note of the group, and
3419 @code{\melismaEnd} after the last one, e.g.
3421 @lilypond[relative=1,raggedright,fragment,verbatim]
3422 << \context Voice = "lala" { \time 3/4
3428 \lyricsto "lala" \new LyricsVoice \lyrics {
3433 In addition, notes are considered a melisma if they are manually
3434 beamed, and automatic beaming (see @ref{Setting automatic beam
3435 behavior}) is switched off. The criteria for deciding melismata
3436 can be tuned with the property @code{melismaBusyProperties}. See
3437 @internalsref{Melisma_engraver} for more information.
3439 When multiple stanzas are put on the same melody, it can happen that
3440 two stanzas have melismata in different locations. This can be
3441 remedied by switching off melismata for one
3442 @internalsref{LyricsVoice}. This is achieved by setting
3443 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3444 in @inputfileref{input/regression,lyric-combine-new.ly}.
3447 @cindex choral score
3449 A complete example of a SATB score setup is in the file
3450 @inputfileref{input/template,satb.ly}.
3455 @code{\melisma}, @code{\melismaEnd}
3456 @cindex @code{\melismaEnd}
3457 @cindex @code{\melisma}
3461 Internals: Music expressions: @internalsref{LyricCombineMusic},
3462 Contexts: @internalsref{LyricsVoice}, @internalsref{Melisma_engraver}.
3464 Examples: @inputfileref{input/template,satb.ly},
3465 @inputfileref{input/regression,lyric-combine-new.ly}.
3469 Melismata are not detected automatically, and extender lines must be
3473 For proper processing of extender lines, the
3474 @internalsref{LyricsVoice} and @internalsref{Voice} should be
3475 linked. This can be achieved either by using @code{\lyricsto} or by
3476 setting corresponding names for both contexts. The latter is explained
3477 in @ref{More stanzas}.
3480 @subsection More stanzas
3482 @cindex phrasing, in lyrics
3485 The lyrics should be aligned with the note heads of the melody. To
3486 achieve this, each line of lyrics should be marked to correspond with
3487 the melodic line. This is done automatically when @code{\lyricsto},
3488 but it can also be done manually.
3490 To this end, give the @internalsref{Voice} context an identity:
3492 \context Voice = duet @{
3497 Then set the @internalsref{LyricsVoice} contexts to names starting with
3498 that identity followed by a dash. In the preceding example, the
3499 @internalsref{Voice} identity is @code{duet}, so the identities of the
3500 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3502 \context LyricsVoice = "duet-1" @{
3503 Hi, my name is bert. @}
3504 \context LyricsVoice = "duet-2" @{
3505 Ooooo, ch\'e -- ri, je t'aime. @}
3508 The complete example is shown here:
3509 @lilypond[raggedright,verbatim]
3511 << \notes \relative c'' \context Voice = duet { \time 3/4
3513 \lyrics << \lyricsto "duet" \new LyricsVoice {
3514 \property LyricsVoice . stanza = "1"
3515 Hi, my name is bert. }
3516 \lyricsto "duet" \new LyricsVoice {
3517 \property LyricsVoice . stanza = "2"
3518 Ooooo, ch\'e -- ri, je t'aime. }
3523 @cindex stanza number
3524 @cindex singer's names
3525 @cindex name of singer
3527 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3530 \property LyricsVoice . stanza = "Bert"
3532 \property LyricsVoice . stanza = "Ernie"
3535 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3536 prevent @code{LyricsVoice.stanza} being interpreted as a single
3539 Names of the singers should be added using @code{LyricsVoice
3540 . vocalName} and @code{LyricsVoice . vocNam}, analogous to instrument
3541 annotations for staves.
3543 To make empty spaces in lyrics, use @code{\skip}.
3548 Internals: Layout objects @internalsref{LyricText}
3549 @internalsref{VocalName}. Music expressions:
3550 @internalsref{LyricEvent}.
3556 Input for lyrics introduces a syntactical ambiguity:
3563 is interpreted as assigning a string identifier @code{\foo} such that
3564 it contains @code{"bar"}. However, it could also be interpreted as
3565 making or a music identifier @code{\foo} containing the syllable
3566 `bar'. The force the latter interpretation, use
3576 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3577 for a given voice in a part of music. It also may denote the pitch
3578 range that a musical instrument is capable of playing. Most musical
3579 instruments have their ambitus standardized (or at least there is
3580 agreement upon the minimal ambitus of a particular type of
3581 instrument), such that a composer or arranger of a piece of music can
3582 easily meet the ambitus constraints of the targeted instrument.
3583 However, the ambitus of the human voice depends on individual
3584 physiological state, including education and training of the voice.
3585 Therefore, a singer potentially has to check for each piece of music
3586 if the ambitus of that piece meets his individual capabilities. This
3587 is why the ambitus of a piece may be of particular value to vocal
3590 The ambitus is typically notated on a per-voice basis at the very
3591 beginning of a piece, e.g. nearby the initial clef or time signature of
3592 each staff. The range is graphically specified by two noteheads, that
3593 represent the minimum and maximum pitch. Some publishers use a textual
3594 notation: they put the range in words in front of the corresponding
3595 staff. LilyPond only supports the graphical ambitus notation.
3597 To apply, add the @internalsref{Ambitus_engraver} to the
3598 @internalsref{Voice} context, i.e.
3604 \consists Ambitus_engraver
3609 This results in the following output:
3610 @lilypond[raggedright]
3611 upper = \notes \relative c {
3614 as'' c e2 bes f cis d4 e f2 g
3616 lower = \notes \relative c {
3619 e'4 b g a c es fis a cis b a g f e d2
3622 \context ChoirStaff {
3624 \new Staff { \upper }
3625 \new Staff { \lower }
3631 \consists Ambitus_engraver
3637 If you have multiple voices in a single staff, and you want a single
3638 ambitus per staff rather than per each voice, then add the
3639 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3640 rather than to the @internalsref{Voice} context.
3642 It is possible to tune individual ambituses for multiple voices on a
3643 single staff, for example by erasing or shifting them horizontally. An
3644 example is in @inputfileref{input/test,ambitus-mixed.ly}
3648 Internals: @internalsref{Ambitus}
3650 Examples: @inputfileref{input/regression,ambitus.ly},
3651 @inputfileref{input/test,ambitus-mixed.ly}.
3655 There is no collision handling in the case of multiple per-voice
3661 Tablature notation is used for notating music for plucked string
3662 instruments. It notates pitches not by using note heads, but by
3663 indicating on which string and fret a note must be played. LilyPond
3664 offers limited support for tablature.
3667 * Tablatures basic::
3668 * Non-guitar tablatures::
3671 @node Tablatures basic
3672 @subsection Tablatures basic
3673 @cindex Tablatures basic
3675 The string number associated to a note is given as a backslash
3676 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3677 string. By default, string 1 is the highest one, and the tuning
3678 defaults to the standard guitar tuning (with 6 strings). The notes
3679 are printed as tablature, by using @internalsref{TabStaff} and
3680 @internalsref{TabVoice} contexts:
3682 @lilypond[fragment,verbatim]
3683 \notes \context TabStaff {
3691 When no string is specified, the first string that does not give a
3692 fret number less than @code{minimumFret} is selected. The default
3693 value for @code{minimumFret} is 0:
3697 e8 fis gis a b cis' dis' e'
3698 \property TabStaff.minimumFret = #8
3699 e8 fis gis a b cis' dis' e'
3704 e8 fis gis a b cis' dis' e'
3705 \property TabStaff.minimumFret = #8
3706 e8 fis gis a b cis' dis' e'
3709 \context StaffGroup <<
3710 \context Staff { \clef "G_8" \frag }
3711 \context TabStaff { \frag }
3718 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3719 @internalsref{StringNumberEvent}.
3723 Chords are not handled in a special way, and hence the automatic
3724 string selector may easily select the same string to two notes in a
3728 @node Non-guitar tablatures
3729 @subsection Non-guitar tablatures
3730 @cindex Non-guitar tablatures
3732 You can change the number of strings, by setting the number of lines
3733 in the @internalsref{TabStaff}.
3735 You can change the tuning of the strings. A string tuning is given as
3736 a Scheme list with one integer number for each string, the number
3737 being the pitch (measured in semitones relative to central C) of an
3738 open string. The numbers specified for @code{stringTuning} are the
3739 numbers of semitones to subtract or add, starting the specified pitch
3740 by default middle C, in string order. Thus, the notes are e, a, d, and
3743 @lilypond[fragment,verbatim]
3744 \context TabStaff <<
3745 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3748 a,4 c' a e' e c' a e'
3753 It is possible to change the Scheme function to format the tablature
3754 note text. The default is @code{fret-number-tablature-format}, which
3755 uses the fret number. For instruments that do not use this notation,
3756 you can create a special tablature formatting function. This function
3757 takes three argument: string number, string tuning and note pitch.
3761 No guitar special effects have been implemented.
3766 @section Chord names
3769 LilyPond has support for both printing chord names. Chords may be
3770 entered in musical chord notation, i.e. @code{< .. >}, but they can
3771 also be entered by name. Internally, the chords are represented as a
3772 set of pitches, so they can be transposed:
3775 @lilypond[verbatim,raggedright]
3776 twoWays = \notes \transpose c c' {
3786 << \context ChordNames \twoWays
3787 \context Voice \twoWays >> }
3790 This example also shows that the chord printing routines do not try to
3791 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3797 * Printing chord names::
3802 @subsection Chords mode
3805 Chord mode is a mode where you can input sets of pitches using common
3806 names. It is introduced by the keyword @code{\chords}.
3807 In chords mode, a chord is entered by the root, which is entered
3808 like a common pitch:
3809 @lilypond[fragment,verbatim,quote,relative=1]
3810 \chords { es4. d8 c2 }
3815 Other chords may be entered by suffixing a colon, and introducing a
3816 modifier, and optionally, a number:
3818 @lilypond[fragment,verbatim,quote]
3819 \chords { e1:m e1:7 e1:m7 }
3821 The first number following the root is taken to be the `type' of the
3822 chord, thirds are added to the root until it reaches the specified
3824 @lilypond[fragment,verbatim]
3825 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3828 @cindex root of chord
3829 @cindex additions, in chords
3830 @cindex removals, in chords
3832 More complex chords may also be constructed adding separate steps
3833 to a chord. Additions are added after the number following
3834 the colon, and are separated by dots:
3836 @lilypond[verbatim,fragment,quote]
3837 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3839 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3841 @lilypond[verbatim,fragment,quote]
3842 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3844 Removals are specified similarly, and are introduced by a caret. They
3845 must come after the additions:
3846 @lilypond[verbatim,fragment]
3847 \chords { c^3 c:7^5 c:9^3.5 }
3850 Modifiers can be used to change pitches. The following modifiers are
3854 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3856 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3859 is the augmented chord. This modifier raises the 5th step.
3861 is the major 7th chord. This modifier raises the 7th step if present.
3863 is the suspended 4th or 2nd. This modifier removes the 3rd
3864 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3867 Modifiers can be mixed with additions:
3868 @lilypond[verbatim,fragment]
3869 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3872 @cindex modifiers, in chords.
3879 Since an unaltered 11 does not sound good when combined with an
3880 unaltered 13, the 11 is removed in this case (unless it is added
3883 @lilypond[fragment,verbatim]
3884 \chords { c:13 c:13.11 c:m13 }
3889 An inversion (putting one pitch of the chord on the bottom), as well
3890 as bass notes, can be specified by appending
3891 @code{/}@var{pitch} to the chord:
3892 @lilypond[fragment,verbatim,center]
3893 \chords { c1 c/g c/f }
3897 A bass note can be added instead of transposed out of the chord,
3898 by using @code{/+}@var{pitch}.
3900 @lilypond[fragment,verbatim,center]
3901 \chords { c1 c/+g c/+f }
3904 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3905 of the commands continue to work, for example, @code{r} and
3906 @code{\skip} can be used to insert rests and spaces, and
3907 @code{\property} may be used to change various settings.
3913 Each step can only be present in a chord once. The following
3914 simply produces the augmented chord, since @code{5+} is interpreted
3917 @lilypond[verbatim,fragment]
3918 \chords { c:5.5-.5+ }
3922 @node Printing chord names
3923 @subsection Printing chord names
3925 @cindex printing chord names
3929 For displaying printed chord names, use the @internalsref{ChordNames} context.
3930 The chords may be entered either using the notation
3931 described above, or directly using @code{<} and @code{>}:
3933 @lilypond[verbatim,raggedright]
3935 \chords {a1 b c} <d' f' a'> <e' g' b'>
3939 \context ChordNames \scheme
3940 \context Staff \scheme
3945 You can make the chord changes stand out by setting
3946 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3947 display chord names when there is a change in the chords scheme and at
3948 the start of a new line:
3950 @lilypond[verbatim,linewidth=9\cm]
3952 c1:m c:m \break c:m c:m d
3956 \context ChordNames {
3957 \property ChordNames.chordChanges = ##t
3959 \context Staff \transpose c c' \scheme
3964 The default chord name layout is a system for Jazz music, proposed by
3965 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3966 following properties:
3969 @cindex chordNameExceptions
3970 @item chordNameExceptions
3971 This is a list that contains the chords that have special formatting.
3973 @inputfileref{input/regression,chord-name-exceptions.ly}.
3974 @cindex exceptions, chord names.
3977 @cindex majorSevenSymbol
3978 @item majorSevenSymbol
3979 This property contains the markup object used for the 7th step, when
3980 it is major. Predefined options are @code{whiteTriangleMarkup} and
3981 @code{blackTriangleMarkup}. See
3982 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3984 @cindex chordNameSeparator
3985 @item chordNameSeparator
3986 Different parts of a chord name are normally separated by a
3987 slash. By setting @code{chordNameSeparator}, you can specify other
3989 @lilypond[fragment,verbatim]
3990 \context ChordNames \chords {
3992 \property ChordNames.chordNameSeparator
3993 = \markup { \typewriter "|" }
3997 @cindex chordRootNamer
3998 @item chordRootNamer
3999 The root of a chord is usually printed as a letter with an optional
4000 alteration. The transformation from pitch to letter is done by this
4001 function. Special note names (for example, the German ``H'' for a
4002 B-chord) can be produced by storing a new function in this property.
4004 The pre-defined variables @code{\germanChords},
4005 @code{\semiGermanChords} set these variables.
4008 @cindex chordNoteNamer
4009 @item chordNoteNamer
4010 The default is to print single pitch, e.g. the bass note, using the
4011 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4012 to a specialized function to change this behavior. For example, the
4013 base can be printed in lower case.
4018 There are also two other chord name schemes implemented: an alternate
4019 Jazz chord notation, and a systematic scheme called Banter chords. The
4020 alternate jazz notation is also shown on the chart in @ref{Chord name
4021 chart}. Turning on these styles is described in the input file
4022 @inputfileref{input/test,chord-names-jazz.ly}.
4026 @cindex chords, jazz
4031 @cindex @code{\germanChords}
4032 @code{\germanChords},
4033 @cindex @code{\semiGermanChords}
4034 @code{\semiGermanChords}.
4041 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4042 @inputfileref{input/regression,chord-name-exceptions.ly},
4043 @inputfileref{input/test,chord-names-jazz.ly},
4044 @inputfileref{input/test,chord-names-german.ly}.
4046 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4051 Chord names are determined solely from the list of pitches. Chord
4052 inversions are not identified, and neither are added bass notes. This
4053 may result in strange chord names when chords are entered with the
4054 @code{< .. >} syntax.
4059 @node Orchestral music
4060 @section Orchestral music
4062 @cindex Writing parts
4064 Orchestral music involves some special notation, both in the full
4065 score and the individual parts. This section explains how to tackle
4066 some common problems in orchestral music.
4071 * Multiple staff contexts::
4074 * Instrument names::
4076 * Multi measure rests::
4077 * Automatic part combining::
4079 * Different editions from one source::
4080 * Sound output for transposing instruments::
4083 @node Multiple staff contexts
4084 @subsection Multiple staff contexts
4086 Polyphonic scores consist of many staves. These staves can be
4087 constructed in three different ways:
4089 @item The group is started with a brace at the left. This is done with the
4090 @internalsref{GrandStaff} context.
4091 @item The group is started with a bracket. This is done with the
4092 @internalsref{StaffGroup} context
4093 @item The group is started with a vertical line. This is the default
4097 @cindex Staff, multiple
4098 @cindex bracket, vertical
4099 @cindex brace, vertical
4106 @node Rehearsal marks
4107 @subsection Rehearsal marks
4108 @cindex Rehearsal marks
4110 @cindex @code{\mark}
4112 To print a rehearsal mark, use the @code{\mark} command:
4113 @lilypond[fragment,verbatim]
4124 (The letter I is skipped in accordance with engraving traditions.)
4126 The mark is incremented automatically if you use @code{\mark
4127 \default}, but you can also use an integer argument to set the mark
4128 manually. The value to use is stored in the property
4129 @code{rehearsalMark}.
4131 The style is defined by the property @code{markFormatter}. It is a
4132 function taking the current mark (an integer) and the current context
4133 as argument. It should return a markup object. In the following
4134 example, @code{markFormatter} is set to a canned procedure. After a
4135 few measures, it is set to function that produces a boxed number.
4137 @lilypond[verbatim,fragment,relative=1]
4138 \property Score.markFormatter = #format-mark-numbers
4141 \property Score.markFormatter
4142 = #(lambda (mark context)
4143 (make-bold-markup (make-box-markup (number->string mark))))
4148 The file @file{scm/translation-functions.scm} contains the definitions
4149 of @code{format-mark-numbers} (the default format) and
4150 @code{format-mark-letters}. They can be used as inspiration for other
4151 formatting functions.
4154 @cindex coda on bar line
4155 @cindex segno on bar line
4156 @cindex fermata on bar line
4157 @cindex bar lines, symbols on
4159 The @code{\mark} command can also be used to put signs like coda,
4160 segno and fermatas on a barline. Use @code{\markup} to
4161 to access the appropriate symbol:
4163 @lilypond[fragment,verbatim,relative=1]
4164 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4168 In this case, during line breaks, marks must also be printed at the
4169 end of the line, and not at the beginning. Use the following to force
4172 \property Score.RehearsalMark \override
4173 #'break-visibility = #begin-of-line-invisible
4179 @cindex barlines, putting symbols on
4183 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4185 Init files: @file{scm/translation-functions.scm} contains the
4186 definition of @code{format-mark-numbers} and
4187 @code{format-mark-letters}. They can be used as inspiration for other
4188 formatting functions.
4190 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4191 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4195 @subsection Bar numbers
4199 @cindex measure numbers
4200 @cindex currentBarNumber
4202 Bar numbers are printed by default at the start of the line. The
4203 number itself is stored in the
4204 @code{currentBarNumber} property,
4205 which is normally updated automatically for every measure.
4207 Bar numbers can be typeset at regular intervals instead of at the
4208 beginning of each line. This is illustrated in the following example,
4209 whose source is available as
4210 @inputfileref{input/test,bar-number-regular-interval.ly}:
4212 @lilypondfile[]{bar-number-regular-interval.ly}
4217 Internals: @internalsref{BarNumber}.
4219 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4220 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4224 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4225 there is one at the top. To solve this, the
4226 @code{padding} property of @internalsref{BarNumber} can be
4227 used to position the number correctly.
4229 @node Instrument names
4230 @subsection Instrument names
4232 In an orchestral score, instrument names are printed left side of the
4235 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4236 and @internalsref{Staff}.@code{instr}. This will print a string before
4237 the start of the staff. For the first start, @code{instrument} is
4238 used, for the next ones @code{instr} is used:
4241 @lilypond[verbatim,raggedright]
4242 \property Staff.instrument = "ploink " { c''4 }
4246 You can also use markup texts to construct more complicated instrument
4250 @lilypond[fragment,verbatim,raggedright]
4252 \property Staff.instrument = \markup {
4253 \column < "Clarinetti"
4255 \smaller \musicglyph #"accidentals--1"
4266 Internals: @internalsref{InstrumentName}.
4270 When you put a name on a grand staff or piano staff the width of the
4271 brace is not taken into account. You must add extra spaces to the end of
4272 the name to avoid a collision.
4275 @subsection Transpose
4277 @cindex transposition of pitches
4278 @cindex @code{\transpose}
4280 A music expression can be transposed with @code{\transpose}. The syntax
4283 \transpose @var{from} @var{to} @var{musicexpr}
4286 This means that @var{musicexpr} is transposed by the interval between
4287 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4288 is changed to @code{to}.
4291 For example, consider a piece written in the key of D major. If
4292 this piece is a little too low for its performer, it can be
4293 transposed up to E major with
4295 \tranpose d e @dots{}
4298 Consider a part written for violin (a C instrument). If
4299 this part is to be played on the A clarinet, the following
4300 transposition will produce the appropriate part
4303 \transpose a c @dots{}
4306 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4307 inside a @code{\notes} section. @code{\transpose} distinguishes
4308 between enharmonic pitches: both @code{\transpose c cis} or
4309 @code{\transpose c des} will transpose up half a tone. The first
4310 version will print sharps and the second version will print flats:
4312 @lilypond[raggedright,verbatim]
4313 mus =\notes { \key d \major cis d fis g }
4314 \score { \notes \context Staff {
4317 \transpose c g' \mus
4318 \transpose c f' \mus
4325 Internals: @internalsref{TransposedMusic}, and
4326 @internalsref{UntransposableMusic}.
4330 If you want to use both @code{\transpose} and @code{\relative}, then
4331 you must put @code{\transpose} outside of @code{\relative}, since
4332 @code{\relative} will have no effect music that appears inside a
4338 @node Multi measure rests
4339 @subsection Multi measure rests
4340 @cindex multi measure rests
4341 @cindex Rests, multi measure
4345 Multi measure rests are entered using `@code{R}'. It is specifically
4346 meant for full bar rests and for entering parts: the rest can expand
4347 to fill a score with rests, or it can be printed as a single
4348 multimeasure rest. This expansion is controlled by the property
4349 @code{Score.skipBars}. If this is set to true, empty measures will not
4350 be expanded, and the appropriate number is added automatically:
4352 @lilypond[fragment,verbatim]
4353 \time 4/4 r1 | R1 | R1*2
4354 \property Score.skipBars = ##t R1*17 R1*4
4357 The @code{1} in @code{R1} is similar to the duration notation used for
4358 notes. Hence, for time signatures other than 4/4, you must enter other
4359 durations. This can be done with augmentation dots or fractions:
4361 @lilypond[fragment,verbatim]
4362 \property Score.skipBars = ##t
4370 An @code{R} spanning a single measure is printed as either a whole rest
4371 or a breve, centered in the measure regardless of the time signature.
4373 @cindex text on multi-measure rest
4374 @cindex script on multi-measure rest
4375 @cindex fermata on multi-measure rest
4377 Texts can be added to multi-measure rests by using the
4378 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4379 replaced. If you need both texts and the number, you must add the
4380 number by hand. A variable (@code{\fermataMarkup}) is provided for
4384 @lilypond[verbatim,fragment]
4386 R2._\markup { "Ad lib" }
4390 If you want to have a text on the left end of a multi-measure rest,
4391 attach the text to a zero-length skip note, i.e.
4399 @cindex whole rests for a full measure
4403 Internals: @internalsref{MultiMeasureRestEvent},
4404 @internalsref{MultiMeasureTextEvent},
4405 @internalsref{MultiMeasureRestMusicGroup}, and
4406 @internalsref{MultiMeasureRest}.
4408 The layout object @internalsref{MultiMeasureRestNumber} is for the
4409 default number, and @internalsref{MultiMeasureRestText} for user
4414 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4415 over multi-measure rests.
4417 @cindex condensing rests
4419 There is no way to automatically condense multiple rests into a single
4420 multimeasure rest. Multi measure rests do not take part in rest
4423 Be careful when entering multimeasure rests followed by whole
4424 notes. The following will enter two notes lasting four measures each:
4428 When @code{skipBars} is set, then the result will look OK, but the
4429 bar numbering will be off.
4431 @node Automatic part combining
4432 @subsection Automatic part combining
4433 @cindex automatic part combining
4434 @cindex part combiner
4437 Automatic part combining is used to merge two parts of music onto a
4438 staff. It is aimed at typesetting orchestral scores. When the two
4439 parts are identical for a period of time, only one is shown. In
4440 places where the two parts differ, they are typeset as separate
4441 voices, and stem directions are set automatically. Also, solo and
4442 @emph{a due} parts are identified and can be marked.
4446 The syntax for part combining is
4449 \partcombine @var{musicexpr1} @var{musicexpr2}
4452 The music expressions will be interpreted as @internalsref{Voice}
4455 The following example demonstrates the basic functionality of the part
4456 combiner: putting parts on one staff, and setting stem directions and
4459 @lilypond[verbatim,raggedright,fragment,relative=1]
4460 \new Staff \partcombine
4469 The first @code{g} appears only once, although it was
4470 specified twice (once in each part). Stem, slur and tie directions are
4471 set automatically, depending whether there is a solo or unisono. The
4472 first part (with context called @code{one}) always gets up stems, and
4473 `solo', while the second (called @code{two}) always gets down stems and
4476 If you just want the merging parts, and not the textual markings, you
4477 may set the property @var{soloADue} to false:
4479 @lilypond[verbatim,raggedright,fragment]
4481 \property Staff.soloADue = ##f
4493 Internals: @internalsref{PartCombineMusic},
4494 @internalsref{SoloOneEvent}, and
4495 @internalsref{SoloTwoEvent}, and
4496 @internalsref{UnisonoEvent}.
4500 In @code{soloADue} mode, when the two voices play the same notes on and
4501 off, the part combiner may typeset @code{a2} more than once in a
4504 @code{\partcombine} can not be inside @code{\times}.
4509 @subsection Hiding staves
4511 @cindex Frenched scores
4512 @cindex Hiding staves
4514 In orchestral scores, staff lines that only have rests are usually
4515 removed. This saves some space. This style is called `French Score'.
4516 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4517 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4518 switched on by default. When these line of these contexts turn out
4519 empty after the line-breaking process, they are removed.
4521 For normal staves, a specialized @internalsref{Staff} context is
4522 available, which does the same: staves containing nothing (or only
4523 multi measure rests) are removed. The context definition is stored in
4524 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4525 in this example disappears in the second line:
4530 \notes \relative c' <<
4531 \new Staff { e4 f g a \break c1 }
4532 \new Staff { c4 d e f \break R1 }
4536 \translator { \RemoveEmptyStaffContext }
4541 The first page shows all staffs in full. If they should be removed
4542 from the first page too, set @code{remove-first} to false
4543 in @internalsref{RemoveEmptyVerticalGroup}.
4545 @node Different editions from one source
4546 @subsection Different editions from one source
4548 The @code{\tag} command marks music expressions with a name. These
4549 tagged expressions can be filtered out later. With this mechanism it
4550 is possible to make different versions of the same music source.
4552 In the following example, we see two versions of a piece of music, one
4553 for the full score, and one with cue notes for the instrumental part:
4561 \property Voice.fontSize = #-1
4569 The same can be applied to articulations, texts, etc.: they are
4572 -\tag #@var{your-tag}
4574 to an articulation, for example,
4579 This defines a note with a conditional fingering indication.
4581 By applying the @code{remove-tag} function, tagged expressions can be
4582 filtered. For example,
4586 \apply #(remove-tag 'score) @var{the music}
4587 \apply #(remove-tag 'part) @var{the music}
4592 @lilypondfile[]{tag-filter.ly}
4594 The argument of the @code{\tag} command should be a symbol, or a list
4595 of symbols, for example,
4597 \tag #'(original-part transposed-part) @dots{}
4602 Examples: @inputfileref{input/regression,tag-filter.ly}
4605 @node Sound output for transposing instruments
4606 @subsection Sound output for transposing instruments
4608 When you want to make a MIDI file from a score containing transposed
4609 and untransposed instruments, you have to instruct LilyPond the pitch
4610 offset (in semitones) for the transposed instruments. This is done
4611 using the @code{transposing} property. It does not affect printed
4614 @cindex @code{transposing}
4617 \property Staff.instrument = #"Cl. in B-flat"
4618 \property Staff.transposing = #-2
4622 @node Ancient notation
4623 @section Ancient notation
4625 @cindex Vaticana, Editio
4626 @cindex Medicaea, Editio
4631 @c [TODO: write more comprehensive introduction on ancient notation]
4633 Support for ancient notation is still under heavy development.
4634 Regardless of all of the current limitations (see the bugs section
4635 below for details), it includes features for mensural
4636 notation and Gregorian Chant notation. There is also limited support
4637 for figured bass notation.
4639 Many graphical objects provide a @code{style} property, see
4640 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4641 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4642 signatures}. By manipulating such a grob property, the typographical
4643 appearance of the affected graphical objects can be accomodated for a
4644 specific notation flavour without need for introducing any new
4648 Other aspects of ancient notation can not that easily be expressed as
4649 in terms of just changing a style property of a graphical object.
4650 Therefore, some notational concepts are introduced specifically for
4651 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4652 @ref{Ligatures}, and @ref{Figured bass}.
4656 * Ancient note heads::
4657 * Ancient accidentals::
4661 * Ancient time signatures::
4666 * Vaticana style contexts::
4669 If this all is way too much of documentation for you, and you just
4670 want to dive into typesetting without worrying too much about the
4671 details on how to customize a context, then you may have a look at the
4672 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4673 set up predefined style-specific voice and staff contexts, and
4674 directly go ahead with the note entry.
4678 Ligatures need special spacing that has not yet been implemented. As
4679 a result, there is too much space between ligatures most of the time,
4680 and line breaking often is unsatisfactory. Also, lyrics do not
4681 correctly align with ligatures.
4683 Accidentals must not be printed within a ligature, but instead need to
4684 be collected and printed in front of it.
4686 Augmentum dots within ligatures are not handled correctly.
4689 @node Ancient note heads
4690 @subsection Ancient note heads
4696 For ancient notation, a note head style other than the @code{default}
4697 style may be chosen. This is accomplished by setting the @code{style}
4698 property of the NoteHead object to the desired value (@code{baroque},
4699 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4700 differs from the @code{default} style only in using a square shape for
4701 @code{\breve} note heads. The @code{neo_mensural} style differs from
4702 the @code{baroque} style in that it uses rhomboidal heads for whole
4703 notes and all smaller durations. Stems are centered on the note
4704 heads. This style is in particular useful when transcribing mensural
4705 music, e.g. for the incipit. The @code{mensural} style finally
4706 produces note heads that mimick the look of note heads in historic
4707 printings of the 16th century.
4709 The following example demonstrates the @code{neo_mensural} style:
4711 @lilypond[fragment,raggedright,verbatim]
4712 \property Voice.NoteHead \set #'style = #'neo_mensural
4713 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4716 When typesetting a piece in Gregorian Chant notation, a Gregorian
4717 ligature engraver will automatically select the proper note heads,
4718 such there is no need to explicitly set the note head style. Still,
4719 the note head style can be set e.g. to @code{vaticana_punctum} to
4720 produce punctum neumes. Similarly, a mensural ligature engraver is
4721 used to automatically assemble mensural ligatures. See
4722 @ref{Ligatures} for how ligature engravers work.
4727 @ref{Percussion staves} use note head styles of their own that are
4728 frequently used in contemporary music notation.
4730 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4731 overview over all available note head styles.
4734 @node Ancient accidentals
4735 @subsection Ancient accidentals
4741 Use the @code{style} property of grob @internalsref{Accidental} to
4742 select ancient accidentals. Supported styles are
4743 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4745 @lilypond[raggedright,staffsize=26]
4753 { " " \musicglyph #"accidentals-vaticana-1"
4754 " " \musicglyph #"accidentals-vaticana0" }
4758 { " " \musicglyph #"accidentals-medicaea-1" }
4762 { " " \musicglyph #"accidentals-hufnagel-1" }
4766 { " " \musicglyph #"accidentals-mensural-1"
4767 " " \musicglyph #"accidentals-mensural1" }
4776 \remove "Bar_number_engraver"
4780 \remove "Clef_engraver"
4781 \remove "Key_engraver"
4782 \remove "Time_signature_engraver"
4783 \remove "Staff_symbol_engraver"
4784 minimumVerticalExtent = ##f
4790 As shown, not all accidentals are supported by each style. When
4791 trying to access an unsupported accidental, LilyPond will switch to a
4792 different style, as demonstrated in
4793 @inputfileref{input/test,ancient-accidentals.ly}.
4795 Similarly to local accidentals, the style of the key signature can be
4796 controlled by the @code{style} property of the
4797 @internalsref{KeySignature} grob.
4801 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4802 @ref{Accidentals} give a general introduction into the use of
4803 accidentals. @ref{Key signature} gives a general introduction into
4804 the use of key signatures.
4806 Internals: @internalsref{KeySignature}
4808 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4811 @subsection Ancient rests
4817 Use the @code{style} property of grob @internalsref{Rest} to select
4818 ancient accidentals. Supported styles are @code{classical},
4819 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4820 from the @code{default} style only in that the quarter rest looks like
4821 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4822 well for e.g. the incipit of a transcribed mensural piece of music.
4823 The @code{mensural} style finally mimicks the appearance of rests as
4824 in historic prints of the 16th century.
4826 The following example demonstrates the @code{neo_mensural} style:
4828 @lilypond[fragment,raggedright,verbatim]
4829 \property Voice.Rest \set #'style = #'neo_mensural
4830 r\longa r\breve r1 r2 r4 r8 r16
4833 There are no 32th and 64th rests specifically for the mensural or
4834 neo-mensural style. Instead, the rests from the default style will be
4835 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4838 There are no rests in Gregorian Chant notation; instead, it uses
4843 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4847 @subsection Ancient clefs
4853 LilyPond supports a variety of clefs, many of them ancient.
4855 The following table shows all ancient clefs that are supported via the
4856 @code{\clef} command. Some of the clefs use the same glyph, but
4857 differ only with respect to the line they are printed on. In such
4858 cases, a trailing number in the name is used to enumerate these clefs.
4859 Still, you can manually force a clef glyph to be typeset on an
4860 arbitrary line, as described in @ref{Clef}. The note printed to the
4861 right side of each clef in the example column denotes the @code{c'}
4862 with respect to that clef.
4864 @multitable @columnfractions .3 .3 .3 .1
4868 @b{Description} @tab
4869 @b{Supported Clefs} @tab
4873 @code{clefs-neo_mensural_c} @tab
4874 modern style mensural C clef @tab
4875 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4876 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4877 @lilypond[relative,notime]
4878 \property Staff.TimeSignature \set #'transparent = ##t
4879 \clef "neo_mensural_c2" c
4883 @code{clefs-petrucci_c1}
4884 @code{clefs-petrucci_c2}
4885 @code{clefs-petrucci_c3}
4886 @code{clefs-petrucci_c4}
4887 @code{clefs-petrucci_c5}
4890 petrucci style mensural C clefs, for use on different stafflines
4891 (the examples shows the 2nd staffline C clef).
4901 @lilypond[relative,notime]
4902 \property Staff.TimeSignature \set #'transparent = ##t
4903 \clef "petrucci_c2" c
4907 @code{clefs-petrucci_f} @tab
4908 petrucci style mensural F clef @tab
4909 @code{petrucci_f} @tab
4910 @lilypond[relative,notime]
4911 \property Staff.TimeSignature \set #'transparent = ##t
4912 \clef "petrucci_f" c
4916 @code{clefs-petrucci_g} @tab
4917 petrucci style mensural G clef @tab
4918 @code{petrucci_g} @tab
4919 @lilypond[relative,notime]
4920 \property Staff.TimeSignature \set #'transparent = ##t
4921 \clef "petrucci_g" c
4925 @code{clefs-mensural_c} @tab
4926 historic style mensural C clef @tab
4927 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4928 @code{mensural_c4} @tab
4929 @lilypond[relative,notime]
4930 \property Staff.TimeSignature \set #'transparent = ##t
4931 \clef "mensural_c2" c
4935 @code{clefs-mensural_f} @tab
4936 historic style mensural F clef @tab
4937 @code{mensural_f} @tab
4938 @lilypond[relative,notime]
4939 \property Staff.TimeSignature \set #'transparent = ##t
4940 \clef "mensural_f" c
4944 @code{clefs-mensural_g} @tab
4945 historic style mensural G clef @tab
4946 @code{mensural_g} @tab
4947 @lilypond[relative,notime]
4948 \property Staff.TimeSignature \set #'transparent = ##t
4949 \clef "mensural_g" c
4953 @code{clefs-vaticana_do} @tab
4954 Editio Vaticana style do clef @tab
4955 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4956 @lilypond[relative,notime]
4957 \property Staff.StaffSymbol \set #'line-count = #4
4958 \property Staff.TimeSignature \set #'transparent = ##t
4959 \clef "vaticana_do2" c
4963 @code{clefs-vaticana_fa} @tab
4964 Editio Vaticana style fa clef @tab
4965 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4966 @lilypond[relative,notime]
4967 \property Staff.StaffSymbol \set #'line-count = #4
4968 \property Staff.TimeSignature \set #'transparent = ##t
4969 \clef "vaticana_fa2" c
4973 @code{clefs-medicaea_do} @tab
4974 Editio Medicaea style do clef @tab
4975 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4976 @lilypond[relative,notime]
4977 \property Staff.StaffSymbol \set #'line-count = #4
4978 \property Staff.TimeSignature \set #'transparent = ##t
4979 \clef "medicaea_do2" c
4983 @code{clefs-medicaea_fa} @tab
4984 Editio Medicaea style fa clef @tab
4985 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4986 @lilypond[relative,notime]
4987 \property Staff.StaffSymbol \set #'line-count = #4
4988 \property Staff.TimeSignature \set #'transparent = ##t
4989 \clef "medicaea_fa2" c
4993 @code{clefs-hufnagel_do} @tab
4994 historic style hufnagel do clef @tab
4995 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4996 @lilypond[relative,notime]
4997 \property Staff.StaffSymbol \set #'line-count = #4
4998 \property Staff.TimeSignature \set #'transparent = ##t
4999 \clef "hufnagel_do2" c
5003 @code{clefs-hufnagel_fa} @tab
5004 historic style hufnagel fa clef @tab
5005 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5006 @lilypond[relative,notime]
5007 \property Staff.StaffSymbol \set #'line-count = #4
5008 \property Staff.TimeSignature \set #'transparent = ##t
5009 \clef "hufnagel_fa2" c
5013 @code{clefs-hufnagel_do_fa} @tab
5014 historic style hufnagel combined do/fa clef @tab
5015 @code{hufnagel_do_fa} @tab
5016 @lilypond[relative,notime]
5017 \property Staff.TimeSignature \set #'transparent = ##t
5018 \clef "hufnagel_do_fa" c
5023 @c --- This should go somewhere else: ---
5024 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5027 @c @code{percussion}
5029 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5031 @c @item modern style tab clef (glyph: @code{clefs-tab})
5036 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5038 @emph{Modern style} means ``as is typeset in contemporary editions of
5039 transcribed mensural music''.
5041 @emph{Petrucci style} means ``inspired by printings published by the
5042 famous engraver Petrucci (1466-1539)''.
5044 @emph{Historic style} means ``as was typeset or written in historic
5045 editions (other than those of Petrucci)''.
5047 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5049 Petrucci used C clefs with differently balanced left-side vertical
5050 beams, depending on which staffline it is printed.
5054 In this manual: for the percussion clef, see @ref{Percussion staves}.
5055 For the @code{TAB} clef, see @ref{Tablatures}.
5057 Internals: for modern clefs, see @ref{Clef}.
5061 The mensural g clef is temporarily mapped to the Petrucci g clef,
5062 until a new mensural g clef will have been implemented.
5067 @subsection Ancient flags
5073 Use the @code{flag-style} property of grob @internalsref{Stem} to
5074 select ancient flags. Besides the @code{default} flag style,
5075 only @code{mensural} style is supported:
5077 @lilypond[fragment,raggedright,verbatim]
5078 \property Voice.Stem \set #'flag-style = #'mensural
5079 \property Voice.Stem \set #'thickness = #1.0
5080 \property Voice.NoteHead \set #'style = #'mensural
5082 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
5083 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5086 Note that the innermost flare of each mensural flag always is
5087 vertically aligned with a staff line. If you do not like this
5088 behaviour, you can set the @code{adjust-if-on-staffline} property of
5089 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5090 of the end of each flare is different between notes on staff lines and
5091 notes between staff lines:
5093 @lilypond[fragment,raggedright]
5094 \property Voice.Stem \set #'flag-style = #'mensural
5095 \property Voice.Stem \set #'thickness = #1.0
5096 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5097 \property Voice.NoteHead \set #'style = #'mensural
5099 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
5100 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5103 There is no particular flag style for neo-mensural notation. Hence,
5104 when typesetting e.g. the incipit of a transcibed piece of mensural
5105 music, the default flag style should be used. There are no flags in
5106 Gregorian Chant notation.
5109 @node Ancient time signatures
5110 @subsection Ancient time signatures
5112 @cindex time signatures
5116 There is limited support for mensural time signatures. The
5117 glyphs are hard-wired to particular time fractions. In other words,
5118 to get a particular mensural signature glyph with the @code{\time n/m}
5119 command, @code{n} and @code{m} have to be chosen according to the
5125 \property Score.timing = ##f
5126 \property Score.barAlways = ##t
5127 s_\markup { "$\\backslash$time 4/4" }
5128 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5130 s_\markup { "$\\backslash$time 2/2" }
5131 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5133 s_\markup { "$\\backslash$time 6/4" }
5134 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5136 s_\markup { "$\\backslash$time 6/8" }
5137 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5139 s_\markup { "$\\backslash$time 3/2" }
5140 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5142 s_\markup { "$\\backslash$time 3/4" }
5143 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5145 s_\markup { "$\\backslash$time 9/4" }
5146 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5148 s_\markup { "$\\backslash$time 9/8" }
5149 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5151 s_\markup { "$\\backslash$time 4/8" }
5152 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5154 s_\markup { "$\\backslash$time 2/4" }
5155 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5163 \remove Staff_symbol_engraver
5164 \remove Clef_engraver
5165 \remove Time_signature_engraver
5171 Use the @code{style} property of grob @internalsref{TimeSignature} to
5172 select ancient time signatures. Supported styles are
5173 @code{neo_mensural} and @code{mensural}. The above table uses the
5174 @code{neo_mensural} style. This style is appropriate e.g. for the
5175 incipit of transcriptions of mensural pieces. The @code{mensural}
5176 style mimicks the look of historical printings of the 16th century.
5178 @inputfileref{input/test,time.ly} gives an overview over all available
5179 ancient and modern styles.
5183 Internals: @ref{Time signature} gives a general introduction into the use of time
5188 Mensural signature glyphs are mapped to time fractions in a
5189 hard-wired way. This mapping is sensible, but still arbitrary: given
5190 a mensural time signature, the time fraction represents a modern meter
5191 that usually will be a good choice when transcribing a mensural piece
5192 of music. For a particular piece of mensural music, however, the
5193 mapping may be unsatisfactory. In particular, the mapping assumes a
5194 fixed transcription of durations (e.g. brevis = half note in 2/2,
5195 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5196 are not at all accessible through the @code{\time} command.
5198 Mensural time signatures are supported typographically, but not yet
5199 musically. The internal representation of durations is
5200 based on a purely binary system; a ternary division such as 1 brevis =
5201 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5202 prolatione maiori) is not correctly handled: event times in ternary
5203 modes will be badly computed, resulting e.g. in horizontally
5204 misaligned note heads, and bar checks are likely to erroneously fail.
5206 The syntax and semantics of the @code{\time} command for mensural
5207 music is subject to change.
5210 @subsection Custodes
5215 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5216 symbol that appears at the end of a staff. It anticipates the pitch
5217 of the first note(s) of the following line and thus helps the player
5218 or singer to manage line breaks during performance, thus enhancing
5219 readability of a score.
5221 Custodes were frequently used in music notation until the 17th
5222 century. Nowadays, they have survived only in a few particular forms
5223 of musical notation such as contemporary editions of Gregorian chant
5224 like the @emph{editio vaticana}. There are different custos glyphs
5225 used in different flavours of notational style.
5229 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5230 @internalsref{Staff} context when declaring the @code{\paper} block,
5231 as shown in the following example:
5237 \consists Custos_engraver
5238 Custos \override #'style = #'mensural
5243 The result looks like this:
5249 \property Staff.Custos \set #'style = #'mensural
5256 \consists Custos_engraver
5263 The custos glyph is selected by the @code{style} property. The styles
5264 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5265 @code{mensural}. They are demonstrated in the following fragment:
5275 { " " \musicglyph #"custodes-vaticana-u0" }
5279 { " " \musicglyph #"custodes-medicaea-u0" }
5283 { " " \musicglyph #"custodes-hufnagel-u0" }
5287 { " " \musicglyph #"custodes-mensural-u0" }
5296 \remove "Bar_number_engraver"
5300 \remove "Clef_engraver"
5301 \remove "Key_engraver"
5302 \remove "Time_signature_engraver"
5303 \remove "Staff_symbol_engraver"
5304 minimumVerticalExtent = ##f
5310 If the boolean property @code{adjust-if-on-staffline} is set to
5311 @code{#t} (which it is by default), lily typesets slightly different
5312 variants of the custos glyph, depending on whether the custos, is
5313 typeset on or between stafflines. The glyph will
5314 optically fit well into the staff, with the appendage on the right of
5315 the custos always ending at the same vertical position between two
5316 stafflines regardless of the pitch. If you set
5317 @code{adjust-if-on-staffline} to @code{#f}, then
5318 a compromise between both forms is used.
5320 Just like stems can be attached to noteheads in two directions
5321 @emph{up} and @emph{down}, each custos glyph is available with its
5322 appendage pointing either up or down. If the pitch of a custos is
5323 above a selectable position, the appendage will point downwards; if
5324 the pitch is below this position, the appendage will point upwards.
5325 Use property @code{neutral-position} to select this position. By
5326 default, it is set to @code{0}, such that the neutral position is the
5327 center of the staff. Use property @code{neutral-direction} to control
5328 what happens if a custos is typeset on the neutral position itself.
5329 By default, this property is set to @code{-1}, such that the appendage
5330 will point downwards. If set to @code{1}, the appendage will point
5331 upwards. Other values such as @code{0} are reserved for future
5332 extensions and should not be used.
5336 Internals: @internalsref{Custos}
5338 Examples: @inputfileref{input/regression,custos.ly}.
5342 @subsection Divisiones
5348 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5349 `division') is a staff context symbol that is used to structure
5350 Gregorian music into phrases and sections. The musical meaning of
5351 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5352 can be characterized as short, medium and long pause, somewhat like
5353 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5354 a chant, but is also frequently used within a single
5355 antiphonal/responsorial chant to mark the end of each section.
5359 To use divisiones, include the file @code{gregorian-init.ly}. It
5360 contains definitions that you can apply by just inserting
5361 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5362 and @code{\finalis} at proper places in the input. Some editions use
5363 @emph{virgula} or @emph{caesura} instead of divisio minima.
5364 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5367 @lilypondfile[]{divisiones.ly}
5371 @cindex @code{\virgula}
5373 @cindex @code{\caesura}
5375 @cindex @code{\divisioMinima}
5376 @code{\divisioMinima},
5377 @cindex @code{\divisioMaior}
5378 @code{\divisioMaior},
5379 @cindex @code{\divisioMaxima}
5380 @code{\divisioMaxima},
5381 @cindex @code{\finalis}
5386 In this manual: @ref{Breath marks}.
5388 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5390 Examples: @inputfileref{input/test,divisiones.ly}
5393 @subsection Ligatures
5397 @c TODO: Should double check if I recalled things correctly when I wrote
5398 @c down the following paragraph by heart.
5400 In musical terminology, a ligature is a coherent graphical symbol that
5401 represents at least two distinct notes. Ligatures originally appeared
5402 in the manuscripts of Gregorian chant notation roughly since the 9th
5403 century as an allusion to the accent symbols of greek lyric poetry to
5404 denote ascending or descending sequences of notes. Both, the shape
5405 and the exact meaning of ligatures changed tremendously during the
5406 following centuries: In early notation, ligatures were used for
5407 monophonic tunes (Gregorian chant) and very soon denoted also the way
5408 of performance in the sense of articulation. With upcoming
5409 multiphony, the need for a metric system arised, since multiple voices
5410 of a piece have to be synchronized some way. New notation systems
5411 were invented that used the manifold shapes of ligatures to now denote
5412 rhythmical patterns (e.g. black mensural notation, mannered notation,
5413 ars nova). With the invention of the metric system of the white
5414 mensural notation, the need for ligatures to denote such patterns
5415 disappeared. Nevertheless, ligatures were still in use in the
5416 mensural system for a couple of decades until they finally disappeared
5417 during the late 16th / early 17th century. Still, ligatures have
5418 survived in contemporary editions of Gregorian chant such as the
5419 Editio Vaticana from 1905/08.
5423 Syntactically, ligatures are simply enclosed by @code{\[} and
5424 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5425 additional input syntax specific for this particular type of ligature.
5426 By default, the @internalsref{LigatureBracket} engraver just puts a
5427 square bracket above the ligature:
5429 @lilypond[raggedright,verbatim]
5431 \notes \transpose c c' {
5439 To select a specific style of ligatures, a proper ligature engraver
5440 has to be added to the @internalsref{Voice} context, as explained in
5441 the following subsections. Only white mensural ligatures
5442 are supported with certain limitations. Support for Editio Vaticana
5443 will be added in the future.
5446 * White mensural ligatures::
5447 * Gregorian square neumes ligatures::
5450 @node White mensural ligatures
5451 @subsubsection White mensural ligatures
5453 @cindex Mensural ligatures
5454 @cindex White mensural ligatures
5456 There is limited support for white mensural ligatures. The
5457 implementation is still experimental; it may output strange
5458 warnings or even crash in some cases or produce weird results on more
5463 To engrave white mensural ligatures, in the paper block the
5464 @internalsref{Mensural_ligature_engraver} has to be put into the
5465 @internalsref{Voice} context, and remove the
5466 @internalsref{Ligature_bracket_engraver}:
5472 \remove Ligature_bracket_engraver
5473 \consists Mensural_ligature_engraver
5478 There is no additional input language to describe the shape of a
5479 white mensural ligature. The shape is rather determined solely from
5480 the pitch and duration of the enclosed notes. While this approach may
5481 take a new user a while to get accustomed, it has the great advantage
5482 that the full musical information of the ligature is known internally.
5483 This is not only required for correct MIDI output, but also allows for
5484 automatic transcription of the ligatures.
5489 \property Score.timing = ##f
5490 \property Score.defaultBarType = "empty"
5491 \property Voice.NoteHead \set #'style = #'neo_mensural
5492 \property Staff.TimeSignature \set #'style = #'neo_mensural
5494 \[ g\longa c\breve a\breve f\breve d'\longa \]
5496 \[ e1 f1 a\breve g\longa \]
5498 @lilypond[raggedright]
5500 \notes \transpose c c' {
5501 \property Score.timing = ##f
5502 \property Score.defaultBarType = "empty"
5503 \property Voice.NoteHead \set #'style = #'neo_mensural
5504 \property Staff.TimeSignature \set #'style = #'neo_mensural
5506 \[ g\longa c\breve a\breve f\breve d'\longa \]
5508 \[ e1 f1 a\breve g\longa \]
5513 \remove Ligature_bracket_engraver
5514 \consists Mensural_ligature_engraver
5520 Without replacing @internalsref{Ligature_bracket_engraver} with
5521 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5524 @lilypond[raggedright]
5526 \notes \transpose c c' {
5527 \property Score.timing = ##f
5528 \property Score.defaultBarType = "empty"
5529 \property Voice.NoteHead \set #'style = #'neo_mensural
5530 \property Staff.TimeSignature \set #'style = #'neo_mensural
5532 \[ g\longa c\breve a\breve f\breve d'\longa \]
5534 \[ e1 f1 a\breve g\longa \]
5540 @node Gregorian square neumes ligatures
5541 @subsubsection Gregorian square neumes ligatures
5543 @cindex Square neumes ligatures
5544 @cindex Gregorian square neumes ligatures
5546 Gregorian square neumes notation (following the style of the Editio
5547 Vaticana) is under heavy development, but not yet really usable for
5548 production purposes. Core ligatures can already be typeset, but
5549 essential issues for serious typesetting are still under development,
5550 such as (among others) horizontal alignment of multiple ligatures,
5551 lyrics alignment and proper accidentals handling. Still, this section
5552 gives a sneak preview of what Gregorian chant may look like once it
5555 The following table contains the extended neumes table of the 2nd
5556 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5557 1983 by the monks of Solesmes.
5559 @multitable @columnfractions .4 .2 .2 .2
5562 @b{Neuma aut@*Neumarum Elementa} @tab
5563 @b{Figurae@*Rectae} @tab
5564 @b{Figurae@*Liquescentes Auctae} @tab
5565 @b{Figurae@*Liquescentes Deminutae}
5567 @c TODO: \paper block is identical in all of the below examples.
5568 @c Therefore, it should somehow be included rather than duplicated all
5571 @c why not make identifiers in ly/engraver-init.ly? --hwn
5573 @c Because it's just used to typeset plain notes without
5574 @c a staff for demonstration purposes rather than something
5575 @c special of Gregorian chant notation. --jr
5580 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5581 \include "gregorian-init.ly"
5583 \notes \transpose c c' {
5586 \noBreak s^\markup {"a"} \noBreak
5588 % Punctum Inclinatum
5590 \noBreak s^\markup {"b"}
5596 \remove "Bar_number_engraver"
5600 \remove "Clef_engraver"
5601 \remove "Key_engraver"
5602 StaffSymbol \set #'transparent = ##t
5603 \remove "Time_signature_engraver"
5604 \remove "Bar_engraver"
5605 minimumVerticalExtent = ##f
5609 \remove Ligature_bracket_engraver
5610 \consists Vaticana_ligature_engraver
5611 NoteHead \set #'style = #'vaticana_punctum
5612 Stem \set #'transparent = ##t
5618 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5619 \include "gregorian-init.ly"
5621 \notes \transpose c c' {
5622 % Punctum Auctum Ascendens
5623 \[ \auctum \ascendens b \]
5624 \noBreak s^\markup {"c"} \noBreak
5626 % Punctum Auctum Descendens
5627 \[ \auctum \descendens b \]
5628 \noBreak s^\markup {"d"} \noBreak
5630 % Punctum Inclinatum Auctum
5631 \[ \inclinatum \auctum b \]
5632 \noBreak s^\markup {"e"}
5638 \remove "Bar_number_engraver"
5642 \remove "Clef_engraver"
5643 \remove "Key_engraver"
5644 StaffSymbol \set #'transparent = ##t
5645 \remove "Time_signature_engraver"
5646 \remove "Bar_engraver"
5647 minimumVerticalExtent = ##f
5651 \remove Ligature_bracket_engraver
5652 \consists Vaticana_ligature_engraver
5653 NoteHead \set #'style = #'vaticana_punctum
5654 Stem \set #'transparent = ##t
5660 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5661 \include "gregorian-init.ly"
5663 \notes \transpose c c' {
5664 % Punctum Inclinatum Parvum
5665 \[ \inclinatum \deminutum b \]
5666 \noBreak s^\markup {"f"}
5672 \remove "Bar_number_engraver"
5676 \remove "Clef_engraver"
5677 \remove "Key_engraver"
5678 StaffSymbol \set #'transparent = ##t
5679 \remove "Time_signature_engraver"
5680 \remove "Bar_engraver"
5681 minimumVerticalExtent = ##f
5685 \remove Ligature_bracket_engraver
5686 \consists Vaticana_ligature_engraver
5687 NoteHead \set #'style = #'vaticana_punctum
5688 Stem \set #'transparent = ##t
5697 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5698 \include "gregorian-init.ly"
5700 \notes \transpose c c' {
5703 \noBreak s^\markup {"g"}
5709 \remove "Bar_number_engraver"
5713 \remove "Clef_engraver"
5714 \remove "Key_engraver"
5715 StaffSymbol \set #'transparent = ##t
5716 \remove "Time_signature_engraver"
5717 \remove "Bar_engraver"
5718 minimumVerticalExtent = ##f
5722 \remove Ligature_bracket_engraver
5723 \consists Vaticana_ligature_engraver
5724 NoteHead \set #'style = #'vaticana_punctum
5725 Stem \set #'transparent = ##t
5734 @code{3. Apostropha vel Stropha}
5736 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5737 \include "gregorian-init.ly"
5739 \notes \transpose c c' {
5742 \noBreak s^\markup {"h"}
5748 \remove "Bar_number_engraver"
5752 \remove "Clef_engraver"
5753 \remove "Key_engraver"
5754 StaffSymbol \set #'transparent = ##t
5755 \remove "Time_signature_engraver"
5756 \remove "Bar_engraver"
5757 minimumVerticalExtent = ##f
5761 \remove Ligature_bracket_engraver
5762 \consists Vaticana_ligature_engraver
5763 NoteHead \set #'style = #'vaticana_punctum
5764 Stem \set #'transparent = ##t
5770 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5771 \include "gregorian-init.ly"
5773 \notes \transpose c c' {
5775 \[ \stropha \auctum b \]
5776 \noBreak s^\markup {"i"}
5782 \remove "Bar_number_engraver"
5786 \remove "Clef_engraver"
5787 \remove "Key_engraver"
5788 StaffSymbol \set #'transparent = ##t
5789 \remove "Time_signature_engraver"
5790 \remove "Bar_engraver"
5791 minimumVerticalExtent = ##f
5795 \remove Ligature_bracket_engraver
5796 \consists Vaticana_ligature_engraver
5797 NoteHead \set #'style = #'vaticana_punctum
5798 Stem \set #'transparent = ##t
5808 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5809 \include "gregorian-init.ly"
5811 \notes \transpose c c' {
5814 \noBreak s^\markup {"j"}
5820 \remove "Bar_number_engraver"
5824 \remove "Clef_engraver"
5825 \remove "Key_engraver"
5826 StaffSymbol \set #'transparent = ##t
5827 \remove "Time_signature_engraver"
5828 \remove "Bar_engraver"
5829 minimumVerticalExtent = ##f
5833 \remove Ligature_bracket_engraver
5834 \consists Vaticana_ligature_engraver
5835 NoteHead \set #'style = #'vaticana_punctum
5836 Stem \set #'transparent = ##t
5845 @code{5. Clivis vel Flexa}
5847 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5848 \include "gregorian-init.ly"
5850 \notes \transpose c c' {
5859 \remove "Bar_number_engraver"
5863 \remove "Clef_engraver"
5864 \remove "Key_engraver"
5865 StaffSymbol \set #'transparent = ##t
5866 \remove "Time_signature_engraver"
5867 \remove "Bar_engraver"
5868 minimumVerticalExtent = ##f
5872 \remove Ligature_bracket_engraver
5873 \consists Vaticana_ligature_engraver
5874 NoteHead \set #'style = #'vaticana_punctum
5875 Stem \set #'transparent = ##t
5881 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5882 \include "gregorian-init.ly"
5884 \notes \transpose c c' {
5885 % Clivis Aucta Descendens
5886 \[ b \flexa \auctum \descendens g \]
5887 \noBreak s^\markup {"l"} \noBreak
5889 % Clivis Aucta Ascendens
5890 \[ b \flexa \auctum \ascendens g \]
5891 \noBreak s^\markup {"m"}
5897 \remove "Bar_number_engraver"
5901 \remove "Clef_engraver"
5902 \remove "Key_engraver"
5903 StaffSymbol \set #'transparent = ##t
5904 \remove "Time_signature_engraver"
5905 \remove "Bar_engraver"
5906 minimumVerticalExtent = ##f
5910 \remove Ligature_bracket_engraver
5911 \consists Vaticana_ligature_engraver
5912 NoteHead \set #'style = #'vaticana_punctum
5913 Stem \set #'transparent = ##t
5919 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5920 \include "gregorian-init.ly"
5922 \notes \transpose c c' {
5924 \[ b \flexa \deminutum g \]
5931 \remove "Bar_number_engraver"
5935 \remove "Clef_engraver"
5936 \remove "Key_engraver"
5937 StaffSymbol \set #'transparent = ##t
5938 \remove "Time_signature_engraver"
5939 \remove "Bar_engraver"
5940 minimumVerticalExtent = ##f
5944 \remove Ligature_bracket_engraver
5945 \consists Vaticana_ligature_engraver
5946 NoteHead \set #'style = #'vaticana_punctum
5947 Stem \set #'transparent = ##t
5954 @code{6. Podatus vel Pes}
5956 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5957 \include "gregorian-init.ly"
5959 \notes \transpose c c' {
5968 \remove "Bar_number_engraver"
5972 \remove "Clef_engraver"
5973 \remove "Key_engraver"
5974 StaffSymbol \set #'transparent = ##t
5975 \remove "Time_signature_engraver"
5976 \remove "Bar_engraver"
5977 minimumVerticalExtent = ##f
5981 \remove Ligature_bracket_engraver
5982 \consists Vaticana_ligature_engraver
5983 NoteHead \set #'style = #'vaticana_punctum
5984 Stem \set #'transparent = ##t
5990 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5991 \include "gregorian-init.ly"
5993 \notes \transpose c c' {
5994 % Pes Auctus Descendens
5995 \[ g \pes \auctum \descendens b \]
5996 \noBreak s^\markup {"p"} \noBreak
5998 % Pes Auctus Ascendens
5999 \[ g \pes \auctum \ascendens b \]
6000 \noBreak s^\markup {"q"}
6006 \remove "Bar_number_engraver"
6010 \remove "Clef_engraver"
6011 \remove "Key_engraver"
6012 StaffSymbol \set #'transparent = ##t
6013 \remove "Time_signature_engraver"
6014 \remove "Bar_engraver"
6015 minimumVerticalExtent = ##f
6019 \remove Ligature_bracket_engraver
6020 \consists Vaticana_ligature_engraver
6021 NoteHead \set #'style = #'vaticana_punctum
6022 Stem \set #'transparent = ##t
6028 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6029 \include "gregorian-init.ly"
6031 \notes \transpose c c' {
6033 \[ g \pes \deminutum b \]
6040 \remove "Bar_number_engraver"
6044 \remove "Clef_engraver"
6045 \remove "Key_engraver"
6046 StaffSymbol \set #'transparent = ##t
6047 \remove "Time_signature_engraver"
6048 \remove "Bar_engraver"
6049 minimumVerticalExtent = ##f
6053 \remove Ligature_bracket_engraver
6054 \consists Vaticana_ligature_engraver
6055 NoteHead \set #'style = #'vaticana_punctum
6056 Stem \set #'transparent = ##t
6063 @code{7. Pes Quassus}
6065 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6066 \include "gregorian-init.ly"
6068 \notes \transpose c c' {
6070 \[ \oriscus g \pes \virga b \]
6077 \remove "Bar_number_engraver"
6081 \remove "Clef_engraver"
6082 \remove "Key_engraver"
6083 StaffSymbol \set #'transparent = ##t
6084 \remove "Time_signature_engraver"
6085 \remove "Bar_engraver"
6086 minimumVerticalExtent = ##f
6090 \remove Ligature_bracket_engraver
6091 \consists Vaticana_ligature_engraver
6092 NoteHead \set #'style = #'vaticana_punctum
6093 Stem \set #'transparent = ##t
6099 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6100 \include "gregorian-init.ly"
6102 \notes \transpose c c' {
6103 % Pes Quassus Auctus Descendens
6104 \[ \oriscus g \pes \auctum \descendens b \]
6111 \remove "Bar_number_engraver"
6115 \remove "Clef_engraver"
6116 \remove "Key_engraver"
6117 StaffSymbol \set #'transparent = ##t
6118 \remove "Time_signature_engraver"
6119 \remove "Bar_engraver"
6120 minimumVerticalExtent = ##f
6124 \remove Ligature_bracket_engraver
6125 \consists Vaticana_ligature_engraver
6126 NoteHead \set #'style = #'vaticana_punctum
6127 Stem \set #'transparent = ##t
6135 @code{8. Quilisma Pes}
6137 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6138 \include "gregorian-init.ly"
6140 \notes \transpose c c' {
6142 \[ \quilisma g \pes b \]
6149 \remove "Bar_number_engraver"
6153 \remove "Clef_engraver"
6154 \remove "Key_engraver"
6155 StaffSymbol \set #'transparent = ##t
6156 \remove "Time_signature_engraver"
6157 \remove "Bar_engraver"
6158 minimumVerticalExtent = ##f
6162 \remove Ligature_bracket_engraver
6163 \consists Vaticana_ligature_engraver
6164 NoteHead \set #'style = #'vaticana_punctum
6165 Stem \set #'transparent = ##t
6171 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6172 \include "gregorian-init.ly"
6174 \notes \transpose c c' {
6175 % Quilisma Pes Auctus Descendens
6176 \[ \quilisma g \pes \auctum \descendens b \]
6183 \remove "Bar_number_engraver"
6187 \remove "Clef_engraver"
6188 \remove "Key_engraver"
6189 StaffSymbol \set #'transparent = ##t
6190 \remove "Time_signature_engraver"
6191 \remove "Bar_engraver"
6192 minimumVerticalExtent = ##f
6196 \remove Ligature_bracket_engraver
6197 \consists Vaticana_ligature_engraver
6198 NoteHead \set #'style = #'vaticana_punctum
6199 Stem \set #'transparent = ##t
6207 @code{9. Podatus Initio Debilis}
6209 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6210 \include "gregorian-init.ly"
6212 \notes \transpose c c' {
6213 % Pes Initio Debilis
6214 \[ \deminutum g \pes b \]
6221 \remove "Bar_number_engraver"
6225 \remove "Clef_engraver"
6226 \remove "Key_engraver"
6227 StaffSymbol \set #'transparent = ##t
6228 \remove "Time_signature_engraver"
6229 \remove "Bar_engraver"
6230 minimumVerticalExtent = ##f
6234 \remove Ligature_bracket_engraver
6235 \consists Vaticana_ligature_engraver
6236 NoteHead \set #'style = #'vaticana_punctum
6237 Stem \set #'transparent = ##t
6243 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6244 \include "gregorian-init.ly"
6246 \notes \transpose c c' {
6247 % Pes Auctus Descendens Initio Debilis
6248 \[ \deminutum g \pes \auctum \descendens b \]
6255 \remove "Bar_number_engraver"
6259 \remove "Clef_engraver"
6260 \remove "Key_engraver"
6261 StaffSymbol \set #'transparent = ##t
6262 \remove "Time_signature_engraver"
6263 \remove "Bar_engraver"
6264 minimumVerticalExtent = ##f
6268 \remove Ligature_bracket_engraver
6269 \consists Vaticana_ligature_engraver
6270 NoteHead \set #'style = #'vaticana_punctum
6271 Stem \set #'transparent = ##t
6281 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6282 \include "gregorian-init.ly"
6284 \notes \transpose c c' {
6286 \[ a \pes b \flexa g \]
6293 \remove "Bar_number_engraver"
6297 \remove "Clef_engraver"
6298 \remove "Key_engraver"
6299 StaffSymbol \set #'transparent = ##t
6300 \remove "Time_signature_engraver"
6301 \remove "Bar_engraver"
6302 minimumVerticalExtent = ##f
6306 \remove Ligature_bracket_engraver
6307 \consists Vaticana_ligature_engraver
6308 NoteHead \set #'style = #'vaticana_punctum
6309 Stem \set #'transparent = ##t
6315 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6316 \include "gregorian-init.ly"
6318 \notes \transpose c c' {
6319 % Torculus Auctus Descendens
6320 \[ a \pes b \flexa \auctum \descendens g \]
6327 \remove "Bar_number_engraver"
6331 \remove "Clef_engraver"
6332 \remove "Key_engraver"
6333 StaffSymbol \set #'transparent = ##t
6334 \remove "Time_signature_engraver"
6335 \remove "Bar_engraver"
6336 minimumVerticalExtent = ##f
6340 \remove Ligature_bracket_engraver
6341 \consists Vaticana_ligature_engraver
6342 NoteHead \set #'style = #'vaticana_punctum
6343 Stem \set #'transparent = ##t
6349 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6350 \include "gregorian-init.ly"
6352 \notes \transpose c c' {
6353 % Torculus Deminutus
6354 \[ a \pes b \flexa \deminutum g \]
6361 \remove "Bar_number_engraver"
6365 \remove "Clef_engraver"
6366 \remove "Key_engraver"
6367 StaffSymbol \set #'transparent = ##t
6368 \remove "Time_signature_engraver"
6369 \remove "Bar_engraver"
6370 minimumVerticalExtent = ##f
6374 \remove Ligature_bracket_engraver
6375 \consists Vaticana_ligature_engraver
6376 NoteHead \set #'style = #'vaticana_punctum
6377 Stem \set #'transparent = ##t
6384 @code{11. Torculus Initio Debilis}
6386 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6387 \include "gregorian-init.ly"
6389 \notes \transpose c c' {
6390 % Torculus Initio Debilis
6391 \[ \deminutum a \pes b \flexa g \]
6398 \remove "Bar_number_engraver"
6402 \remove "Clef_engraver"
6403 \remove "Key_engraver"
6404 StaffSymbol \set #'transparent = ##t
6405 \remove "Time_signature_engraver"
6406 \remove "Bar_engraver"
6407 minimumVerticalExtent = ##f
6411 \remove Ligature_bracket_engraver
6412 \consists Vaticana_ligature_engraver
6413 NoteHead \set #'style = #'vaticana_punctum
6414 Stem \set #'transparent = ##t
6420 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6421 \include "gregorian-init.ly"
6423 \notes \transpose c c' {
6424 % Torculus Auctus Descendens Initio Debilis
6425 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6432 \remove "Bar_number_engraver"
6436 \remove "Clef_engraver"
6437 \remove "Key_engraver"
6438 StaffSymbol \set #'transparent = ##t
6439 \remove "Time_signature_engraver"
6440 \remove "Bar_engraver"
6441 minimumVerticalExtent = ##f
6445 \remove Ligature_bracket_engraver
6446 \consists Vaticana_ligature_engraver
6447 NoteHead \set #'style = #'vaticana_punctum
6448 Stem \set #'transparent = ##t
6454 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6455 \include "gregorian-init.ly"
6457 \notes \transpose c c' {
6458 % Torculus Deminutus Initio Debilis
6459 \[ \deminutum a \pes b \flexa \deminutum g \]
6466 \remove "Bar_number_engraver"
6470 \remove "Clef_engraver"
6471 \remove "Key_engraver"
6472 StaffSymbol \set #'transparent = ##t
6473 \remove "Time_signature_engraver"
6474 \remove "Bar_engraver"
6475 minimumVerticalExtent = ##f
6479 \remove Ligature_bracket_engraver
6480 \consists Vaticana_ligature_engraver
6481 NoteHead \set #'style = #'vaticana_punctum
6482 Stem \set #'transparent = ##t
6489 @code{12. Porrectus}
6491 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6492 \include "gregorian-init.ly"
6494 \notes \transpose c c' {
6496 \[ a \flexa g \pes b \]
6503 \remove "Bar_number_engraver"
6507 \remove "Clef_engraver"
6508 \remove "Key_engraver"
6509 StaffSymbol \set #'transparent = ##t
6510 \remove "Time_signature_engraver"
6511 \remove "Bar_engraver"
6512 minimumVerticalExtent = ##f
6516 \remove Ligature_bracket_engraver
6517 \consists Vaticana_ligature_engraver
6518 NoteHead \set #'style = #'vaticana_punctum
6519 Stem \set #'transparent = ##t
6525 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6526 \include "gregorian-init.ly"
6528 \notes \transpose c c' {
6529 % Porrectus Auctus Descendens
6530 \[ a \flexa g \pes \auctum \descendens b \]
6537 \remove "Bar_number_engraver"
6541 \remove "Clef_engraver"
6542 \remove "Key_engraver"
6543 StaffSymbol \set #'transparent = ##t
6544 \remove "Time_signature_engraver"
6545 \remove "Bar_engraver"
6546 minimumVerticalExtent = ##f
6550 \remove Ligature_bracket_engraver
6551 \consists Vaticana_ligature_engraver
6552 NoteHead \set #'style = #'vaticana_punctum
6553 Stem \set #'transparent = ##t
6559 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6560 \include "gregorian-init.ly"
6562 \notes \transpose c c' {
6563 % Porrectus Deminutus
6564 \[ a \flexa g \pes \deminutum b \]
6571 \remove "Bar_number_engraver"
6575 \remove "Clef_engraver"
6576 \remove "Key_engraver"
6577 StaffSymbol \set #'transparent = ##t
6578 \remove "Time_signature_engraver"
6579 \remove "Bar_engraver"
6580 minimumVerticalExtent = ##f
6584 \remove Ligature_bracket_engraver
6585 \consists Vaticana_ligature_engraver
6586 NoteHead \set #'style = #'vaticana_punctum
6587 Stem \set #'transparent = ##t
6596 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6597 \include "gregorian-init.ly"
6599 \notes \transpose c c' {
6601 \[ \virga b \inclinatum a \inclinatum g \]
6608 \remove "Bar_number_engraver"
6612 \remove "Clef_engraver"
6613 \remove "Key_engraver"
6614 StaffSymbol \set #'transparent = ##t
6615 \remove "Time_signature_engraver"
6616 \remove "Bar_engraver"
6617 minimumVerticalExtent = ##f
6621 \remove Ligature_bracket_engraver
6622 \consists Vaticana_ligature_engraver
6623 NoteHead \set #'style = #'vaticana_punctum
6624 Stem \set #'transparent = ##t
6630 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6631 \include "gregorian-init.ly"
6633 \notes \transpose c c' {
6635 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6642 \remove "Bar_number_engraver"
6646 \remove "Clef_engraver"
6647 \remove "Key_engraver"
6648 StaffSymbol \set #'transparent = ##t
6649 \remove "Time_signature_engraver"
6650 \remove "Bar_engraver"
6651 minimumVerticalExtent = ##f
6655 \remove Ligature_bracket_engraver
6656 \consists Vaticana_ligature_engraver
6657 NoteHead \set #'style = #'vaticana_punctum
6658 Stem \set #'transparent = ##t
6664 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6665 \include "gregorian-init.ly"
6667 \notes \transpose c c' {
6668 % Climacus Deminutus
6669 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6676 \remove "Bar_number_engraver"
6680 \remove "Clef_engraver"
6681 \remove "Key_engraver"
6682 StaffSymbol \set #'transparent = ##t
6683 \remove "Time_signature_engraver"
6684 \remove "Bar_engraver"
6685 minimumVerticalExtent = ##f
6689 \remove Ligature_bracket_engraver
6690 \consists Vaticana_ligature_engraver
6691 NoteHead \set #'style = #'vaticana_punctum
6692 Stem \set #'transparent = ##t
6699 @code{14. Scandicus}
6701 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6702 \include "gregorian-init.ly"
6704 \notes \transpose c c' {
6706 \[ g \pes a \virga b \]
6713 \remove "Bar_number_engraver"
6717 \remove "Clef_engraver"
6718 \remove "Key_engraver"
6719 StaffSymbol \set #'transparent = ##t
6720 \remove "Time_signature_engraver"
6721 \remove "Bar_engraver"
6722 minimumVerticalExtent = ##f
6726 \remove Ligature_bracket_engraver
6727 \consists Vaticana_ligature_engraver
6728 NoteHead \set #'style = #'vaticana_punctum
6729 Stem \set #'transparent = ##t
6735 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6736 \include "gregorian-init.ly"
6738 \notes \transpose c c' {
6739 % Scandicus Auctus Descendens
6740 \[ g \pes a \pes \auctum \descendens b \]
6747 \remove "Bar_number_engraver"
6751 \remove "Clef_engraver"
6752 \remove "Key_engraver"
6753 StaffSymbol \set #'transparent = ##t
6754 \remove "Time_signature_engraver"
6755 \remove "Bar_engraver"
6756 minimumVerticalExtent = ##f
6760 \remove Ligature_bracket_engraver
6761 \consists Vaticana_ligature_engraver
6762 NoteHead \set #'style = #'vaticana_punctum
6763 Stem \set #'transparent = ##t
6769 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6770 \include "gregorian-init.ly"
6772 \notes \transpose c c' {
6773 % Scandicus Deminutus
6774 \[ g \pes a \pes \deminutum b \]
6781 \remove "Bar_number_engraver"
6785 \remove "Clef_engraver"
6786 \remove "Key_engraver"
6787 StaffSymbol \set #'transparent = ##t
6788 \remove "Time_signature_engraver"
6789 \remove "Bar_engraver"
6790 minimumVerticalExtent = ##f
6794 \remove Ligature_bracket_engraver
6795 \consists Vaticana_ligature_engraver
6796 NoteHead \set #'style = #'vaticana_punctum
6797 Stem \set #'transparent = ##t
6806 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6807 \include "gregorian-init.ly"
6809 \notes \transpose c c' {
6811 \[ g \oriscus a \pes \virga b \]
6818 \remove "Bar_number_engraver"
6822 \remove "Clef_engraver"
6823 \remove "Key_engraver"
6824 StaffSymbol \set #'transparent = ##t
6825 \remove "Time_signature_engraver"
6826 \remove "Bar_engraver"
6827 minimumVerticalExtent = ##f
6831 \remove Ligature_bracket_engraver
6832 \consists Vaticana_ligature_engraver
6833 NoteHead \set #'style = #'vaticana_punctum
6834 Stem \set #'transparent = ##t
6840 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6841 \include "gregorian-init.ly"
6843 \notes \transpose c c' {
6844 % Salicus Auctus Descendens
6845 \[ g \oriscus a \pes \auctum \descendens b \]
6852 \remove "Bar_number_engraver"
6856 \remove "Clef_engraver"
6857 \remove "Key_engraver"
6858 StaffSymbol \set #'transparent = ##t
6859 \remove "Time_signature_engraver"
6860 \remove "Bar_engraver"
6861 minimumVerticalExtent = ##f
6865 \remove Ligature_bracket_engraver
6866 \consists Vaticana_ligature_engraver
6867 NoteHead \set #'style = #'vaticana_punctum
6868 Stem \set #'transparent = ##t
6878 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6879 \include "gregorian-init.ly"
6881 \notes \transpose c c' {
6883 \[ \stropha b \stropha b \stropha a \]
6890 \remove "Bar_number_engraver"
6894 \remove "Clef_engraver"
6895 \remove "Key_engraver"
6896 StaffSymbol \set #'transparent = ##t
6897 \remove "Time_signature_engraver"
6898 \remove "Bar_engraver"
6899 minimumVerticalExtent = ##f
6903 \remove Ligature_bracket_engraver
6904 \consists Vaticana_ligature_engraver
6905 NoteHead \set #'style = #'vaticana_punctum
6906 Stem \set #'transparent = ##t
6918 Unlike most other neumes notation systems, the input language for
6919 neumes does not necessarily reflect directly the typographical
6920 appearance, but is designed to solely focuse on musical meaning. For
6921 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6922 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6923 a Porrectus with a curved flexa shape and only a single Punctum head.
6924 There is no command to explicitly typeset the curved flexa shape; the
6925 decision of when to typeset a curved flexa shape is purely taken from
6926 the musical input. The idea of this approach is to separate the
6927 musical aspects of the input from the notation style of the output.
6928 This way, the same input can be reused to typeset the same music in a
6929 different style of Gregorian chant notation such as Hufnagel (also
6930 known as German gothic neumes) or Medicaea (kind of a very simple
6931 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6932 engraver and Medicaea ligature engraver will have been implemented, it
6933 will be as simple as replacing the ligature engraver in the
6934 @internalsref{Voice} context to get the desired notation style from
6937 The following table shows the code fragments that produce the
6938 ligatures in the above neumes table. The letter in the first column
6939 in each line of the below table indicates to which ligature in the
6940 above table it refers. The second column gives the name of the
6941 ligature. The third column shows the code fragment that produces this
6942 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6944 @multitable @columnfractions .1 .4 .5
6958 Punctum Inclinatum @tab
6959 @code{\[ \inclinatum b \]}
6963 Punctum Auctum Ascendens @tab
6964 @code{\[ \auctum \ascendens b \]}
6968 Punctum Auctum Descendens @tab
6969 @code{\[ \auctum \descendens b \]}
6973 Punctum Inclinatum Auctum @tab
6974 @code{\[ \inclinatum \auctum b \]}
6978 Punctum Inclinatum Parvum @tab
6979 @code{\[ \inclinatum \deminutum b \]}
6984 @code{\[ \virga b \]}
6989 @code{\[ \stropha b \]}
6994 @code{\[ \stropha \auctum b \]}
6999 @code{\[ \oriscus b \]}
7003 Clivis vel Flexa @tab
7004 @code{\[ b \flexa g \]}
7008 Clivis Aucta Descendens @tab
7009 @code{\[ b \flexa \auctum \descendens g \]}
7013 Clivis Aucta Ascendens @tab
7014 @code{\[ b \flexa \auctum \ascendens g \]}
7019 @code{\[ b \flexa \deminutum g \]}
7023 Podatus vel Pes @tab
7024 @code{\[ g \pes b \]}
7028 Pes Auctus Descendens @tab
7029 @code{\[ g \pes \auctum \descendens b \]}
7033 Pes Auctus Ascendens @tab
7034 @code{\[ g \pes \auctum \ascendens b \]}
7039 @code{\[ g \pes \deminutum b \]}
7044 @code{\[ \oriscus g \pes \virga b \]}
7048 Pes Quassus Auctus Descendens @tab
7049 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7054 @code{\[ \quilisma g \pes b \]}
7058 Quilisma Pes Auctus Descendens @tab
7059 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7063 Pes Initio Debilis @tab
7064 @code{\[ \deminutum g \pes b \]}
7068 Pes Auctus Descendens Initio Debilis @tab
7069 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7074 @code{\[ a \pes b \flexa g \]}
7078 Torculus Auctus Descendens @tab
7079 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7083 Torculus Deminutus @tab
7084 @code{\[ a \pes b \flexa \deminutum g \]}
7088 Torculus Initio Debilis @tab
7089 @code{\[ \deminutum a \pes b \flexa g \]}
7093 Torculus Auctus Descendens Initio Debilis @tab
7094 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7098 Torculus Deminutus Initio Debilis @tab
7099 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7104 @code{\[ a \flexa g \pes b \]}
7108 Porrectus Auctus Descendens @tab
7109 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7113 Porrectus Deminutus @tab
7114 @code{\[ a \flexa g \pes \deminutum b \]}
7119 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7123 Climacus Auctus @tab
7124 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7128 Climacus Deminutus @tab
7129 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7134 @code{\[ g \pes a \virga b \]}
7138 Scandicus Auctus Descendens @tab
7139 @code{\[ g \pes a \pes \auctum \descendens b \]}
7143 Scandicus Deminutus @tab
7144 @code{\[ g \pes a \pes \deminutum b \]}
7149 @code{\[ g \oriscus a \pes \virga b \]}
7153 Salicus Auctus Descendens @tab
7154 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7159 @code{\[ \stropha b \stropha b \stropha a \]}
7165 The following head prefixes are supported:
7167 @cindex @code{\virga}
7169 @cindex @code{\stropha}
7171 @cindex @code{\inclinatum}
7173 @cindex @code{\auctum}
7175 @cindex @code{\descendens}
7177 @cindex @code{\ascendens}
7179 @cindex @code{\oriscus}
7181 @cindex @code{\quilisma}
7183 @cindex @code{\deminutum}
7186 Head prefixes can be accumulated, though restrictions apply. For
7187 example, either @code{\descendens} or @code{\ascendens} can be applied
7188 to a head, but not both to the same head.
7191 @cindex @code{\flexa}
7192 Two adjacent heads can be tied together with the @code{\pes} and
7193 @code{\flexa} infix commands for a rising and falling line of melody,
7198 Trigonus: apply equal spacing, regardless of pitch.
7201 @subsection Figured bass
7203 @cindex Basso continuo
7205 @c TODO: musicological blurb about FB
7209 LilyPond has limited support for figured bass:
7211 @lilypond[verbatim,fragment]
7213 \context Voice \notes { \clef bass dis4 c d ais}
7214 \context FiguredBass
7216 < 6 >4 < 7 >8 < 6+ [_!] >
7222 The support for figured bass consists of two parts: there is an input
7223 mode, introduced by @code{\figures}, where you can enter bass figures
7224 as numbers, and there is a context called @internalsref{FiguredBass} that
7225 takes care of making @internalsref{BassFigure} objects.
7227 In figures input mode, a group of bass figures is delimited by
7228 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7233 \context FiguredBass
7237 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7244 \context FiguredBass
7245 \figures { <4- 6+ 7!> }
7248 Spaces or dashes may be inserted by using @code{_}. Brackets are
7249 introduced with @code{[} and @code{]}:
7255 \context FiguredBass
7256 \figures { < [4 6] 8 [_! 12]> }
7259 Although the support for figured bass may superficially resemble chord
7260 support, it works much simpler. The @code{\figures} mode simply
7261 stores the numbers , and @internalsref{FiguredBass} context prints
7262 them as entered. There is no conversion to pitches, and no
7263 realizations of the bass are played in the MIDI file.
7265 Internally, the code produces markup texts. You can use any of the
7266 markup text properties to override formatting. For example, the
7267 vertical spacing of the figures may be set with @code{baseline-skip}.
7271 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7272 and @internalsref{FiguredBass} context.
7276 Slash notation for alterations is not supported.
7279 @node Vaticana style contexts
7280 @subsection Vaticana style contexts
7282 @cindex VaticanaVoiceContext
7283 @cindex VaticanaStaffContext
7285 The predefined @code{VaticanaVoiceContext} and
7286 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7287 Gregorian Chant in the style of the Editio Vaticana. These contexts
7288 initialize all relevant context properties and grob properties to
7289 proper values. With these contexts, you can immediately go ahead
7290 entering the chant, as the following short excerpt demonstrates:
7292 @lilypond[raggedright,verbatim,noindent]
7293 \include "gregorian-init.ly"
7296 \context VaticanaVoice = "cantus" {
7297 \property Score.BarNumber \set #'transparent = ##t
7299 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7300 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7301 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7304 \lyricsto "cantus" \new LyricsVoice \lyrics {
7305 San- ctus, San- ctus, San- ctus
7311 @node Contemporary notation
7312 @section Contemporary notation
7314 In the 20th century, composers have greatly expanded the musical
7315 vocabulary. With this expansion, many innovations in musical notation
7316 have been tried. The book by Stone (1980) gives a comprehensive
7317 overview (see @ref{Literature list}). In general, the use of new,
7318 innovative notation makes a piece harder to understand and perform and
7319 its use should therefore be avoided if possible. For this reason,
7320 support for contemporary notation in LilyPond is limited.
7329 @subsection Clusters
7333 In musical terminology, a @emph{cluster} denotes a range of
7334 simultaneously sounding pitches that may change over time. The set of
7335 available pitches to apply usually depends on the accoustic source.
7336 Thus, in piano music, a cluster typically consists of a continous range
7337 of the semitones as provided by the piano's fixed set of a chromatic
7338 scale. In choral music, each singer of the choir typically may sing an
7339 arbitrary pitch within the cluster's range that is not bound to any
7340 diatonic, chromatic or other scale. In electronic music, a cluster
7341 (theoretically) may even cover a continuous range of pitches, thus
7342 resulting in coloured noise, such as pink noise.
7344 Clusters can be denoted in the context of ordinary staff notation by
7345 engraving simple geometrical shapes that replace ordinary notation of
7346 notes. Ordinary notes as musical events specify starting time and
7347 duration of pitches; however, the duration of a note is expressed by the
7348 shape of the note head rather than by the horizontal graphical extent of
7349 the note symbol. In contrast, the shape of a cluster geometrically
7350 describes the development of a range of pitches (vertical extent) over
7351 time (horizontal extent). Still, the geometrical shape of a cluster
7352 covers the area in wich any single pitch contained in the cluster would
7353 be notated as an ordinary note. From this point of view, it is
7354 reasonable to specify a cluster as the envelope of a set of notes.
7358 A cluster is engraved as the envelope of a set of
7359 cluster-notes. Cluster notes are created by applying the function
7360 @code{notes-to-clusters} to a sequence of chords, e.g.
7362 @lilypond[relative=1,verbatim]
7363 \apply #notes-to-clusters { <c e > <b f'> }
7366 The following example (from
7367 @inputfileref{input/regression,cluster.ly}) shows what the result
7370 @lilypondfile[]{cluster.ly}
7372 By default, @internalsref{Cluster_spanner_engraver} is in the
7373 @internalsref{Voice} context. This allows putting ordinary notes and
7374 clusters together in the same staff, even simultaneously. In such a
7375 case no attempt is made to automatically avoid collisions between
7376 ordinary notes and clusters.
7380 Internals: @internalsref{ClusterSpanner},
7381 @internalsref{ClusterSpannerBeacon},
7382 @internalsref{Cluster_spanner_engraver}, and
7383 @internalsref{ClusterNoteEvent}.
7385 Examples: @inputfileref{input/regression,cluster.ly}.
7389 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7390 accurately. Use @code{<g a>8 <e a>8} instead.
7395 @subsection Fermatas
7401 Contemporary music notation frequently uses special fermata symbols to
7402 indicate fermatas of differing lengths.
7406 The following are supported
7408 @lilypond[raggedright]
7410 << \addlyrics \notes {
7430 \context LyricsVoice \lyrics {
7431 "shortfermata" "fermata" "longfermata" "verylongfermata"
7436 See @ref{Articulations} for general instructions how to apply scripts
7437 such as fermatas to a @code{\notes@{@}} block.
7440 @node Special notation
7441 @section Special notation
7445 * Easy Notation note heads::
7449 @subsection Balloon help
7451 Elements of notation can be marked and named with the help of a square
7452 balloon. The primary purpose of this feature is to explain notation.
7454 The following example demonstrates its use.
7456 @lilypond[verbatim,fragment,raggedright,relative=1]
7459 #(add-balloon-text 'NoteHead "heads, or tails?"
7465 The function @code{add-balloon-text} takes the name of a grob, the
7466 label to print and where to put the label relative to the object. In
7467 the above example, the text ``heads or tails?'' ends 3 spaces below
7471 @cindex notation, explaining
7475 Internals: @internalsref{text-balloon-interface}
7477 Examples: @inputfileref{input/regression,balloon.ly}
7479 @node Easy Notation note heads
7480 @subsection Easy Notation note heads
7482 @cindex easy notation
7485 The `easy play' note head includes a note name inside the head. It is
7486 used in music aimed at beginners:
7488 @lilypond[raggedright,verbatim,staffsize=26]
7490 \notes { c'2 e'4 f' | g'1 }
7491 \paper { \translator { \EasyNotation } }
7495 The @code{EasyNotation} variable overrides a @internalsref{Score}
7496 context. To make the letters readable, it has to be printed in a
7497 large font size. To print with a larger font, see @ref{Font Size}.
7502 If you view the result with Xdvi, then staff lines may show through
7503 the letters. Printing the PostScript file obtained does produce the
7509 @section Tuning output
7511 There are situations where default layout decisions are not
7512 sufficient. In this section we discuss ways to override these
7515 Formatting is internally done by manipulating so called objects
7516 (graphic objects). Each object carries with it a set of properties
7517 (object or layout properties) specific to that object. For example, a
7518 stem object has properties that specify its direction, length and
7521 The most direct way of tuning the output is by altering the values of
7522 these properties. There are two ways of doing that: first, you can
7523 temporarily change the definition of one type of object, thus
7524 affecting a whole set of objects. Second, you can select one specific
7525 object, and set a layout property in that object.
7527 Do not confuse layout properties with translation
7528 properties. Translation properties always use a mixed caps style
7529 naming, and are manipulated using @code{\property}:
7531 \property Context.propertyName = @var{value}
7534 Layout properties are use Scheme style variable naming, i.e. lower
7535 case words separated with dashes. They are symbols, and should always
7536 be quoted using @code{#'}. For example, this could be an imaginary
7537 layout property name:
7539 #'layout-property-name
7544 The introduction of the @ref{Technical manual} gives a more in-depth
7545 treatment of the difference between translation and layout.
7549 * Constructing a tweak::
7557 @node Tuning objects
7558 @subsection Tuning objects
7560 @cindex object description
7562 The definition of an object is a list of default object
7563 properties. For example, the definition of the Stem object (available
7564 in @file{scm/define-grobs.scm}), includes the following definitions
7565 for @internalsref{Stem}:
7569 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7570 (Y-extent-callback . ,Stem::height)
7575 Adding variables on top of this existing definition overrides the
7576 system default, and alters the resulting appearance of the layout
7582 Changing a variable for only one object is commonly achieved with
7586 \once \property @var{context}.@var{objectname}
7587 \override @var{symbol} = @var{value}
7589 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7590 and @var{objectname} is a string and @var{value} is a Scheme expression.
7591 This command applies a setting only during one moment in the score.
7593 In the following example, only one @internalsref{Stem} object is
7594 changed from its original setting:
7596 @lilypond[verbatim,fragment,relative=1]
7598 \once \property Voice.Stem \set #'thickness = #4
7602 @cindex @code{\once}
7604 For changing more objects, the same command, without @code{\once} can
7607 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7609 This command adds @code{@var{symbol} = @var{value}} to the definition
7610 of @var{objectname} in the context @var{context}, and this definition
7611 stays in place until it is removed.
7613 An existing definition may be removed by the following command:
7616 \property @var{context}.@var{objectname} \revert @var{symbol}
7619 All @code{\override} and @code{\revert} commands should be balanced.
7620 The @code{\set} shorthand performs a revert followed by an override,
7621 and is often more convenient to use
7624 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7628 @lilypond[verbatim,quote]
7629 c'4 \property Voice.Stem \override #'thickness = #4.0
7631 c'4 \property Voice.Stem \revert #'thickness
7635 The following example gives exactly the same result as the previous
7636 one (assuming the system default for stem thickness is 1.3):
7638 @lilypond[verbatim,quote]
7639 c'4 \property Voice.Stem \set #'thickness = #4.0
7641 c'4 \property Voice.Stem \set #'thickness = #1.3
7645 Reverting a setting which was not set in the first place has no
7646 effect. However, if the setting was set as a system default, this may
7647 remove the default value, and this may give surprising results,
7648 including crashes. In other words, @code{\override} and
7649 @code{\revert} must be carefully balanced. The following are examples
7650 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7654 a clumsy but correct form:
7656 \override \revert \override \revert \override \revert
7660 shorter version of the same:
7662 \override \set \set \revert
7666 a short form, using only @code{\set}. This requires you to know the
7669 \set \set \set \set @var{to default value}
7673 if there is no default (i.e. by default, the object property is unset),
7676 \set \set \set \revert
7680 The object description is an Scheme association list. Since a Scheme
7681 list is a singly linked list, we can treat it as a stack, and
7682 @code{\override} and @code{\revert} are push and pop operations. The
7683 association list is stored in a normal context property, hence
7685 \property Voice.NoteHead = #'()
7687 will effectively erase @internalsref{NoteHead}s from the current
7688 @internalsref{Voice}. Typically, this will blank the object. However,
7689 this mechanism should not be used: it may cause crashes or other
7694 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7695 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7696 @internalsref{All-layout-objects}.
7701 The backend is not very strict in type-checking object properties.
7702 Cyclic references in Scheme values for properties cause hangs and/or
7703 crashes. Reverting properties that are system defaults may also lead
7706 A property tweak of modifies a local copy of the object definition.
7707 After such a tweak, the definition is independent of the objects in
7708 enclosing contexts. For example
7710 @lilypond[verbatim,fragment]
7711 \property Voice.Stem \set #'direction = #UP
7713 \property Staff.Stem \set #'thickness = #4.0
7718 In this fragment, @code{direction} is tweaked. As a result, the
7719 current @internalsref{Voice} gets a private version of the
7720 @internalsref{Stem} object. The following tweak modifies the
7721 definition at @internalsref{Staff} level. Since it a different
7722 definition, the thickness of the first @code{d'} is unaffected. For
7723 the third note, a new Voice is created, which inherits the new
7724 definition, including the changed thickness, but excluding the new
7730 * Constructing a tweak::
7736 @node Constructing a tweak
7737 @subsection Constructing a tweak
7740 @cindex internal documentation
7741 @cindex finding graphical objects
7742 @cindex graphical object descriptions
7744 @cindex @code{\override}
7746 @cindex internal documentation
7750 Three pieces of information are required to use @code{\override} and
7751 @code{\set}: the name of the layout object, the context and the name
7752 of the property. We demonstrate how to glean this information from
7753 the notation manual and the generated documentation.
7755 The generated documentation is a set of HTML pages which should be
7756 included if you installed a binary distribution, typically in
7757 @file{/usr/share/doc/lilypond}. They are also available on the web:
7758 go to the @uref{http://lilypond.org,LilyPond website}, click
7759 ``Documentation'', select the correct version, and click then
7760 ``Program reference.'' It is advisable to bookmark the local HTML
7761 files. They will load faster than the ones on the web. If you use the
7762 version from the web, you must check whether the documentation matches
7763 the program version: it is generated from the definitions that the
7764 program uses, and therefore it is strongly tied to the LilyPond
7768 @c [TODO: revise for new site.]
7770 Suppose we want to move the fingering indication in the fragment below:
7772 @lilypond[relative=2,verbatim]
7778 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7779 instructions}), you will notice that there is written:
7784 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7791 In other words, the fingerings once entered, are internally stored as
7792 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7793 layout object is created for every @code{FingerEvent}.
7795 The Fingering object has a number of different functions, and each of
7796 those is captured in an interface. The interfaces are listed under
7797 @internalsref{Fingering} in the program reference.
7801 The @code{Fingering} object has a fixed size
7802 (@internalsref{item-interface}), the symbol is a piece of text
7803 (@internalsref{text-interface}), whose font can be set
7804 (@internalsref{font-interface}). It is centered horizontally
7805 (@internalsref{self-alignment-interface}), it is placed next to other
7806 objects (@internalsref{side-position-interface}) vertically, and its
7807 placement is coordinated with other scripts
7808 (@internalsref{text-script-interface}). It also has the standard
7809 @internalsref{grob-interface} (grob stands for Graphical object)
7811 @cindex graphical object
7812 @cindex layout object
7813 @cindex object, layout
7814 with all the variables that come with
7815 it. Finally, it denotes a fingering instruction, so it has
7816 @internalsref{finger-interface}.
7818 For the vertical placement, we have to look under
7819 @code{side-position-interface}:
7821 @code{side-position-interface}
7823 Position a victim object (this one) next to other objects (the
7824 support). In this case, the property @code{direction} signifies where to put the
7825 victim object relative to the support (left or right, up or down?)
7830 below this description, the variable @code{padding} is described as
7834 (dimension, in staff space)
7836 add this much extra space between objects that are next to each
7837 other. Default value: @code{0.6}
7841 By increasing the value of @code{padding}, we can move away the
7842 fingering. The following command inserts 3 staff spaces of white
7843 between the note and the fingering:
7845 \once \property Voice.Fingering \set #'padding = #3
7848 Inserting this command before the Fingering object is created,
7849 i.e. before @code{c2}, yields the following result:
7851 @lilypond[relative=2,fragment,verbatim]
7852 \once \property Voice.Fingering
7859 The context name @code{Voice} in the example above can be determined
7860 as follows. In the documentation for @internalsref{Fingering}, it says
7862 Fingering grobs are created by: @internalsref{Fingering_engraver}
7865 Clicking @code{Fingering_engraver} shows the documentation of
7866 the module responsible for interpreting the fingering instructions and
7867 translating them to a @code{Fingering} object. Such a module is called
7868 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7871 Fingering_engraver is part of contexts: Voice
7873 so tuning the settings for Fingering should be done with
7875 \property Voice.Fingering \set @dots{}
7878 Of course, the tweak may also done in a larger context than
7879 @code{Voice}, for example, @internalsref{Staff} or
7880 @internalsref{Score}.
7884 Internals: the program reference also contains alphabetical lists of
7885 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7886 @internalsref{Music-expressions}, so you can also find which objects
7887 to tweak by browsing the internals document.
7891 @subsection Applyoutput
7893 The most versatile way of tuning an object is @code{\applyoutput}. Its
7896 \applyoutput @var{proc}
7900 where @var{proc} is a Scheme function, taking three arguments.
7902 When interpreted, the function @var{proc} is called for every layout
7903 object found in the context, with the following arguments:
7905 @item the layout object itself,
7906 @item the context where the layout object was created, and
7907 @item the context where @code{\applyoutput} is processed.
7911 In addition, the cause of the layout object, i.e. the music
7912 expression or object that was responsible for creating it, is in the
7913 object property @code{cause}. For example, for a note head, this is a
7914 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7915 this is a @internalsref{NoteHead} object.
7917 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7920 (define (blanker grob grob-origin context)
7921 (if (and (memq (ly:get-grob-property grob 'interfaces)
7922 note-head-interface)
7923 (eq? (ly:get-grob-property grob 'staff-position) 0))
7925 (ly:set-grob-property! grob 'transparent #t)))
7930 @node Font selection
7931 @subsection Font selection
7933 The most common thing to change about the appearance of fonts is their
7934 size. The font size of any context can be easily changed by setting
7935 the @code{fontSize} property for that context. Its value is a number:
7936 negative numbers make the font smaller, positive numbers larger. An
7937 example is given below:
7939 @lilypond[fragment,relative=1,verbatim,quote]
7940 c4 c4 \property Voice.fontSize = #-1
7943 This command will set @code{font-size} (see below), and does
7944 not change the size of variable symbols, such as beams or slurs.
7946 One of the uses of @code{fontSize} is to get smaller symbols for cue
7947 notes. An elaborate example of those is in
7948 @inputfileref{input/test,cue-notes.ly}.
7950 @cindex magnification
7953 The font used for printing a object can be selected by setting
7954 @code{font-name}, e.g.
7956 \property Staff.TimeSignature
7957 \set #'font-name = #"cmr17"
7961 Any font can be used, as long as it is available to @TeX{}. Possible
7962 fonts include foreign fonts or fonts that do not belong to the
7963 Computer Modern font family. The size of fonts selected in this way
7964 can be changed with the @code{font-magnification} property. For
7965 example, @code{2.0} blows up all letters by a factor 2 in both
7969 @cindex font magnification
7971 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7972 can also be adjusted with a more fine-grained mechanism. By setting
7973 the object properties described below, you can select a different font;
7974 all three mechanisms work for every object that supports
7975 @code{font-interface}:
7980 is a symbol indicating the general class of the typeface. Supported are
7981 @code{roman} (Computer Modern), @code{braces} (for piano staff
7982 braces), @code{music} (the standard music font, including ancient
7983 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7986 is a symbol indicating the shape of the font, there are typically several
7987 font shapes available for each font family. Choices are @code{italic},
7988 @code{caps} and @code{upright}.
7991 is a symbol indicating the series of the font. There are typically several
7992 font series for each font family and shape. Choices are @code{medium}
7997 For any of these properties, the value @code{*} (i.e. the symbol
7998 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7999 to override default setting, which are always present. For example:
8001 \property Lyrics . LyricText \override #'font-series = #'bold
8002 \property Lyrics . LyricText \override #'font-family = #'typewriter
8003 \property Lyrics . LyricText \override #'font-shape = #'*
8006 @cindex @code{font-style}
8008 The font size is set by modifying the @code{font-size} property. Its
8009 value is a number indicating the size relative to the standard size.
8010 Each step up is an increase of approximately 12% of the font size. Six
8011 steps is exactly a factor two. The Scheme function @code{magstep}
8012 converts a @code{font-size} number to a scaling factor.
8014 LilyPond has fonts in different design sizes: the music fonts for
8015 smaller sizes are chubbier, while the text fonts are relatively wider.
8016 Font size changes are achieved by scaling the design size that is
8017 closest to the desired size.
8019 The @code{font-size} mechanism does not work for fonts selected
8020 through @code{font-name}. These may be scaled with
8021 @code{font-magnification}.
8025 The following commands set @code{fontSize} for the current voice.
8027 @cindex @code{\tiny}
8029 @cindex @code{\small}
8031 @cindex @code{\normalsize}
8036 Init files: @file{ly/declarations-init.ly} contains hints how new
8037 fonts may be added to LilyPond.
8041 There is no style sheet provided for other fonts besides the @TeX{}
8042 Computer Modern family.
8044 @cindex font selection
8045 @cindex font magnification
8046 @cindex @code{font-interface}
8050 @subsection Text markup
8055 @cindex typeset text
8057 LilyPond has an internal mechanism to typeset texts. You can access it
8058 with the keyword @code{\markup}. Within markup mode, you can enter texts
8059 similar to lyrics: simply enter them, surrounded by spaces:
8062 @lilypond[verbatim,fragment,relative=1]
8063 c1^\markup { hello }
8064 c1_\markup { hi there }
8065 c1^\markup { hi \bold there, is \italic anyone home? }
8068 @cindex font switching
8070 The markup in the example demonstrates font switching commands. The
8071 command @code{\bold} and @code{\italic} only apply to the first
8072 following word; enclose a set of texts with braces to apply a command
8075 \markup @{ \bold @{ hi there @} @}
8079 For clarity, you can also do this for single arguments, e.g.
8082 \markup { is \italic { anyone } home }
8085 @cindex font size, texts
8092 * Common text markup commands::
8093 * Markup construction in scheme::
8094 * Markup command definition::
8097 @node Common text markup commands
8098 @subsubsection Common text markup commands
8101 The following size commands set absolute sizes:
8103 @cindex @code{\teeny}
8104 @cindex @code{\tiny}
8105 @cindex @code{\small}
8106 @cindex @code{\large}
8107 @cindex @code{\huge}
8117 You can also make letter larger or smaller relative to their neighbors,
8118 with the commands @code{\larger} and @code{\smaller}.
8122 @cindex font style, for texts
8123 @cindex @code{\bold}
8124 @cindex @code{\dynamic}
8125 @cindex @code{\number}
8126 @cindex @code{\italic}
8128 The following font change commands are defined:
8131 changes to the font used in dynamic signs. This font does not
8132 contain all characters of the alphabet, so when producing ``piu f'',
8133 the ``piu'' should be done in a different font.
8137 changes to the font used in time signatures. It only contains
8138 numbers and a few punctuation marks.
8140 changes @code{font-shape} to @code{italic}.
8142 changes @code{font-series} to @code{bold}.
8145 @cindex raising text
8146 @cindex lowering text
8148 @cindex translating text
8151 @cindex @code{\super}
8153 Raising and lowering texts can be done with @code{\super} and
8156 @lilypond[verbatim,fragment,relative=1]
8157 c1^\markup { E "=" mc \super "2" }
8160 @cindex @code{\raise}
8162 If you want to give an explicit amount for lowering or raising, use
8163 @code{\raise}. This command takes a Scheme valued first argument, and
8164 a markup object as second argument:
8166 @lilypond[verbatim,fragment,relative=1,quote]
8167 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8169 The argument to @code{\raise} is the vertical displacement amount,
8170 measured in (global) staff spaces. @code{\raise} and @code{\super}
8171 raise objects in relation to their surrounding markups. They cannot be
8172 used to move a single text up or down, when it is above or below a
8173 note, since the mechanism that positions it next to the note cancels
8174 any vertical shift. For vertical positioning, use the @code{padding}
8175 and/or @code{extra-offset} properties.
8177 Other commands taking single arguments include
8180 @item \bracket, \hbracket
8181 Bracket the argument markup with normal and horizontal brackets
8185 @cindex @code{\musicglyph}
8186 This is converted to a musical symbol, e.g. @code{\musicglyph
8187 #"accidentals-0"} will select the natural sign from the music font.
8188 See @ref{The Feta font} for a complete listing of the possible glyphs.
8191 This produces a single character, e.g. @code{\char #65} produces the
8194 @item \note @var{duration} @var{dir}
8195 @cindex @code{\note}
8197 This produces a note with a stem pointing in @var{dir} direction, with
8198 the @var{duration} for the note head type and augmentation dots. For
8199 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8200 a shortened down stem.
8202 @item \hspace #@var{amount}
8203 @cindex @code{\hspace}
8204 This produces a invisible object taking horizontal space.
8206 \markup @{ A \hspace #2.0 B @}
8208 will put extra space between A and B, on top of the space that is
8209 normally inserted before elements on a line.
8211 @item \fontsize #@var{size}
8212 @cindex @code{\fontsize}
8213 This sets the relative font size, eg.
8215 A \fontsize #2 @{ B C @} D
8219 This will enlarge the B and the C by two steps.
8220 @item \translate #(cons @var{x} @var{y})
8222 This translates an object. Its first argument is a cons of numbers
8224 A \translate #(cons 2 -3) @{ B C @} D
8226 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8227 surroundings. This command cannot be used to move isolated scripts
8228 vertically, for the same reason that @code{\raise} cannot be used for
8231 @item \magnify #@var{mag}
8232 @cindex @code{\magnify}
8233 This sets the font magnification for the its argument. In the following
8234 example, the middle A will be 10% larger:
8236 A \magnify #1.1 @{ A @} A
8240 @item \override #(@var{key} . @var{value})
8241 @cindex @code{\override}
8242 This overrides a formatting property for its argument. The argument
8243 should be a key/value pair, e.g.
8245 m \override #'(font-family . math) m m
8249 In markup mode you can compose expressions, similar to mathematical
8250 expressions, XML documents and music expressions. The braces group
8251 notes into horizontal lines. Other types of lists also exist: you can
8252 stack expressions grouped with @code{<}, and @code{>} vertically with
8253 the command @code{\column}. Similarly, @code{\center} aligns texts by
8256 @lilypond[verbatim,fragment,relative=1]
8257 c1^\markup { \column < a bbbb c > }
8258 c1^\markup { \center < a bbbb c > }
8259 c1^\markup { \line < a b c > }
8263 Markups can be stored in variables, and these variables
8264 may be attached to notes, like
8266 allegro = \markup { \bold \large { Allegro } }
8267 \notes { a^\allegro b c d }
8271 Some objects have alignment procedures of their own, which cancel out
8272 any effects of alignments applied to their markup arguments as a
8273 whole. For example, the @internalsref{RehearsalMark} is horizontally
8274 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8275 effect. Similarly, whole texts over notes cannot be moved vertically
8276 with @code{\raise}. For moving and aligning complete objects, grob
8277 properties should be used.
8281 Internals: @internalsref{Markup-functions} contains a complete list of
8282 all markup commands.
8284 Init files: @file{scm/new-markup.scm}.
8292 Text layout is ultimately done by @TeX{}, which does kerning of
8293 letters. LilyPond does not account for kerning, so texts will be
8294 spaced slightly too wide.
8296 Syntax errors for markup mode are confusing.
8298 Markup texts cannot be used in the titling of the @code{\header}
8299 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8304 @node Markup construction in scheme
8305 @subsubsection Markup construction in scheme
8307 @cindex defining markup commands
8309 The @code{markup} macro builds markup expressions in Scheme while
8310 providing a LilyPond-like syntax. For example,
8312 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8313 #:bigger #:line ("foo" "bar" "baz")))
8319 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8320 \bigger @{ foo bar baz @} >
8324 This example exposes the main translation rules between regular
8325 LilyPond markup syntax and scheme markup syntax, which are summed up
8327 @multitable @columnfractions .5 .5
8328 @item @b{LilyPond} @tab @b{Scheme}
8329 @item @code{\command} @tab @code{#:command}
8330 @item @code{\variable} @tab @code{variable}
8331 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8332 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8333 @item @code{string} @tab @code{"string"}
8334 @item @code{#scheme-arg} @tab @code{scheme-arg}
8337 Besides, the whole scheme language is accessible inside the
8338 @code{markup} macro: thus, one may use function calls inside
8339 @code{markup} in order to manipulate character strings for
8340 instance. This proves useful when defining new markup commands (see
8341 @ref{Markup command definition}).
8345 One can not feed the @code{#:line} (resp @code{#:center},
8346 @code{#:column}) command with a variable or the result of a function
8349 (markup #:line (fun-that-returns-markups))
8351 is illegal. One should use the @code{make-line-markup} (resp
8352 @code{make-center-markup}, @code{make-column-markup}) function
8355 (markup (make-line-markup (fun-that-returns-markups)))
8358 @node Markup command definition
8359 @subsubsection Markup command definition
8361 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8363 (def-markup-command (@emph{command-name} @emph{paper} @emph{props} @emph{arg1} @emph{arg2} ...) (@emph{arg1-type?} @emph{arg2-type?} ...)
8366 @emph{argi}: i@emph{th} command argument
8367 @emph{argi-type?}: a type predicate for the i@emph{th} argument
8368 @emph{paper}: the `paper' definition
8369 @emph{props}: a list of alists, containing all active properties.
8372 As a simple example, we show how to add a @code{\smallcaps} command,
8373 which selects @TeX{}'s small caps font. Normally, we could select the
8374 small caps font as follows:
8377 \markup { \override #'(font-shape . caps) Text-in-caps }
8380 This selects the caps font by setting the @code{font-shape} property to
8381 @code{#'caps} for interpreting @code{Text-in-caps}.
8383 To make the above available as @code{\smallcaps} command, we have to
8384 define a function using @code{def-markup-command}. The command should
8385 take a single argument, of markup type. Therefore, the start of the
8386 definition should read
8388 (def-markup-command (smallcaps paper props argument) (markup?)
8393 What follows is the content of the command: we should interpret
8394 the @code{argument} as a markup, i.e.
8397 (interpret-markup paper @dots{} argument)
8401 This interpretation should add @code{'(font-shape . caps)} to the active
8402 properties, so we substitute the the following for the @dots{} in the
8406 (cons (list '(font-shape . caps) ) props)
8410 The variable @code{props} is a list of alists, and we prepend to it by
8411 consing a list with the extra setting.
8413 However, suppose that we are using a font that does not have a
8414 small-caps variant. In that case, we have to fake the small caps font,
8415 by setting a string in upcase, with the first letter a little larger:
8418 #(def-markup-command (smallcaps paper props str) (string?)
8419 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8420 (interpret-markup paper props
8423 (if (= (string-length s) 0)
8425 (markup #:large (string-upcase (substring s 0 1))
8426 #:translate (cons -0.6 0)
8427 #:tiny (string-upcase (substring s 1)))))
8428 (string-split str #\Space)))))
8431 The @code{smallcaps} command first splits its string argument into
8432 tokens separated by spaces (@code{(string-split str #\Space)}); for
8433 each token, a markup is built with the first letter made large and
8434 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8435 second markup built with the following letters made tiny and upcased
8436 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8437 introduces a space between markups on a line, the second markup is
8438 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8439 the markups built for each token are put in a line
8440 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8441 passed to the @code{interpret-markup} function, with the @code{paper}
8442 and @code{props} arguments.
8444 Finally, suppose that we are typesetting a recitative in an opera, and
8445 we would like to define a command that will show character names in a
8446 custom manner. Names should be printed with small caps and translated a
8447 bit to the left and top. We will define a @code{\character} command
8448 that takes into account the needed translation, and uses the newly
8449 defined @code{\smallcaps} command:
8452 #(def-markup-command (character paper props name) (string?)
8453 "Print the character name in small caps, translated to the left and
8454 top. Syntax: \\character #\"name\""
8455 (interpret-markup paper props
8456 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8459 There is one complication that needs explanation: texts above and below
8460 the staff are moved vertically to be at a certain distance (the
8461 @code{padding} property) from the staff and the notes. To make sure
8462 that this mechanism does not annihilate the vertical effect of our
8463 @code{#:translate}, we add an empty string (@code{""}) before the
8464 translated text. Now the @code{""} will be put above the notes, and the
8465 @code{name} is moved in relation to that empty string. The net effect is
8466 that the text is moved to the upper left.
8468 The final result is as follows:
8472 c''^\markup \character #"Cleopatra"
8473 e'^\markup \character #"Giulio Cesare"
8478 @lilypond[raggedright]
8479 #(def-markup-command (smallcaps paper props str) (string?)
8480 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8481 (interpret-markup paper props
8484 (if (= (string-length s) 0)
8486 (markup #:large (string-upcase (substring s 0 1))
8487 #:translate (cons -0.6 0)
8488 #:tiny (string-upcase (substring s 1)))))
8489 (string-split str #\Space)))))
8491 #(def-markup-command (character paper props name) (string?)
8492 "Print the character name in small caps, translated to the left and
8493 top. Syntax: \\character #\"name\""
8494 (interpret-markup paper props
8495 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8499 c''^\markup \character #"Cleopatra"
8500 e'^\markup \character #"Giulio Cesare"
8508 @section Global layout
8510 The global layout determined by three factors: the page layout, the
8511 line breaks and the spacing. These all influence each other. The
8512 choice of spacing determines how densely each system of music is set,
8513 which influences where line breaks breaks are chosen, and thus
8514 ultimately how many pages a piece of music takes. This section
8515 explains how to tune the algorithm for spacing.
8517 Globally spoken, this procedure happens in three steps: first,
8518 flexible distances (``springs'') are chosen, based on durations. All
8519 possible line breaking combination are tried, and the one with the
8520 best results---a layout that has uniform density and requires as
8521 little stretching or cramping as possible---is chosen. When the score
8522 is processed by @TeX{}, each page is filled with systems, and page breaks
8523 are chosen whenever the page gets full.
8528 * Vertical spacing::
8529 * Horizontal spacing::
8536 @node Vertical spacing
8537 @subsection Vertical spacing
8539 @cindex vertical spacing
8540 @cindex distance between staves
8541 @cindex staff distance
8542 @cindex between staves, distance
8543 @cindex staffs per page
8544 @cindex space between staves
8546 The height of each system is determined automatically by LilyPond, to
8547 keep systems from bumping into each other, some minimum distances are
8548 set. By changing these, you can put staves closer together, and thus
8549 put more systems onto one page.
8551 Normally staves are stacked vertically. To make
8552 staves maintain a distance, their vertical size is padded. This is
8553 done with the property @code{minimumVerticalExtent}. It takes a pair
8554 of numbers, so if you want to make it smaller from its, then you could
8557 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8559 This sets the vertical size of the current staff to 4 staff spaces on
8560 either side of the center staff line. The argument of
8561 @code{minimumVerticalExtent} is interpreted as an interval, where the
8562 center line is the 0, so the first number is generally negative. The
8563 staff can be made larger at the bottom by setting it to @code{(-6
8566 The piano staves are handled a little differently: to make cross-staff
8567 beaming work correctly, it is necessary that the distance between staves
8568 is fixed beforehand. This is also done with a
8569 @internalsref{VerticalAlignment} object, created in
8570 @internalsref{PianoStaff}. In this object the distance between the
8571 staves is fixed by setting @code{forced-distance}. If you want to
8572 override this, use a @code{\translator} block as follows:
8576 VerticalAlignment \override #'forced-distance = #9
8579 This would bring the staves together at a distance of 9 staff spaces,
8580 measured from the center line of each staff.
8584 Internals: Vertical alignment of staves is handled by the
8585 @internalsref{VerticalAlignment} object.
8589 @node Horizontal spacing
8590 @subsection Horizontal Spacing
8592 The spacing engine translates differences in durations into
8593 stretchable distances (``springs'') of differing lengths. Longer
8594 durations get more space, shorter durations get less. The shortest
8595 durations get a fixed amount of space (which is controlled by
8596 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8597 The longer the duration, the more space it gets: doubling a
8598 duration adds a fixed amount (this amount is controlled by
8599 @code{spacing-increment}) of space to the note.
8601 For example, the following piece contains lots of half, quarter and
8602 8th notes, the eighth note is followed by 1 note head width (NHW).
8603 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8604 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8608 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8609 width of a note head, and @code{shortest-duration-space} is set to
8610 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8611 @code{shortest-duration-space}) of space. For normal notes, this space
8612 is always counted from the left edge of the symbol, so the shortest
8613 notes are generally followed by one NHW of space.
8615 If one would follow the above procedure exactly, then adding a single
8616 32th note to a score that uses 8th and 16th notes, would widen up the
8617 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8618 thus adding 1 NHW to every note. To prevent this, the
8619 shortest duration for spacing is not the shortest note in the score,
8620 but the most commonly found shortest note. Notes that are even
8621 shorter this are followed by a space that is proportional to their
8622 duration relative to the common shortest note. So if we were to add
8623 only a few 16th notes to the example above, they would be followed by
8626 @lilypond[fragment,verbatim,relative=2]
8627 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8630 The most common shortest duration is determined as follows: in every
8631 measure, the shortest duration is determined. The most common short
8632 duration, is taken as the basis for the spacing, with the stipulation
8633 that this shortest duration should always be equal to or shorter than
8634 1/8th note. The shortest duration is printed when you run lilypond
8635 with @code{--verbose}. These durations may also be customized. If you
8636 set the @code{common-shortest-duration} in
8637 @internalsref{SpacingSpanner}, then this sets the base duration for
8638 spacing. The maximum duration for this base (normally 1/8th), is set
8639 through @code{base-shortest-duration}.
8641 @cindex @code{common-shortest-duration}
8642 @cindex @code{base-shortest-duration}
8643 @cindex @code{stem-spacing-correction}
8644 @cindex @code{spacing}
8646 In the introduction it was explained that stem directions influence
8647 spacing. This is controlled with @code{stem-spacing-correction}
8648 property in @internalsref{NoteSpacing}, which are generated for every
8649 @internalsref{Voice} context. The @code{StaffSpacing} object
8650 (generated at @internalsref{Staff} context) contains the same property
8651 for controlling the stem/barline spacing. The following example
8652 shows these corrections, once with default settings, and once with
8653 exaggerated corrections:
8659 \property Staff.NoteSpacing \override #'stem-spacing-correction
8661 \property Staff.StaffSpacing \override #'stem-spacing-correction
8666 \paper { raggedright = ##t } }
8669 @cindex SpacingSpanner, overriding properties
8671 Properties of the @internalsref{SpacingSpanner} must be overridden
8672 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8673 created before any @code{\property} statements are interpreted.
8675 \paper @{ \translator @{
8677 SpacingSpanner \override #'spacing-increment = #3.0
8684 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8685 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8686 @internalsref{SeparatingGroupSpanner}.
8690 Spacing is determined on a score wide basis. If you have a score that
8691 changes its character (measured in durations) halfway during the
8692 score, the part containing the longer durations will be spaced too
8695 There is no convenient mechanism to manually override spacing.
8700 @subsection Font size
8701 @cindex font size, setting
8702 @cindex staff size, setting
8703 @cindex @code{paper} file
8705 The Feta font provides musical symbols at eight seven different
8706 sizes. Each font is tuned for a different staff size: at smaller sizes
8707 the font gets heavier, to match the relatively heavier staff lines.
8708 The recommended font sizes are listed in the following table:
8710 @multitable @columnfractions .25 .25 .25 .25
8713 @tab @b{staff height (pt)}
8714 @tab @b{staff height (mm)}
8756 @c modern rental material ?
8760 These fonts are available in any sizes. The context property
8761 @code{fontSize} and the layout property @code{staff-space} (in
8762 @internalsref{StaffSymbol}) can be used to tune size for individual
8763 staffs. The size of individual staffs are relative to the global size,
8764 which can be set in the following manner:
8767 #(set-global-staff-size 14)
8770 This sets the global default size to 14pt staff height, and scales all
8776 @subsection Line breaking
8779 @cindex breaking lines
8781 Line breaks are normally computed automatically. They are chosen such
8782 that lines look neither cramped nor loose, and that consecutive lines
8783 have similar density.
8785 Occasionally you might want to override the automatic breaks; you can
8786 do this by specifying @code{\break}. This will force a line break at
8787 this point. Line breaks can only occur at places where there are bar
8788 lines. If you want to have a line break where there is no bar line,
8789 you can force an invisible bar line by entering @code{\bar
8790 ""}. Similarly, @code{\noBreak} forbids a line break at a
8794 @cindex regular line breaks
8795 @cindex four bar music.
8797 For linebreaks at regular intervals use @code{\break} separated by
8798 skips and repeated with @code{\repeat}:
8800 << \repeat unfold 7 @{
8801 s1 \noBreak s1 \noBreak
8802 s1 \noBreak s1 \break @}
8803 @emph{the real music}
8808 This makes the following 28 measures (assuming 4/4 time) be broken every
8809 4 measures, and only there.
8813 @code{\break}, @code{\noBreak}
8814 @cindex @code{\break}
8815 @cindex @code{\noBreak}
8819 Internals: @internalsref{BreakEvent}.
8823 @subsection Page layout
8826 @cindex breaking pages
8828 @cindex @code{indent}
8829 @cindex @code{linewidth}
8831 The most basic settings influencing the spacing are @code{indent} and
8832 @code{linewidth}. They are set in the @code{\paper} block. They
8833 control the indentation of the first line of music, and the lengths of
8836 If @code{raggedright} is set to true in the @code{\paper}
8837 block, then the lines are justified at their natural length. This
8838 useful for short fragments, and for checking how tight the natural
8842 @cindex vertical spacing
8844 The page layout process happens outside the LilyPond formatting
8845 engine: variables controlling page layout are passed to the output,
8846 and are further interpreted by @code{lilypond} wrapper program. It
8847 responds to the following variables in the @code{\paper} block. The
8848 variable @code{textheight} sets the total height of the music on each
8849 page. The spacing between systems is controlled with
8850 @code{interscoreline}, its default is 16pt. The distance between the
8851 score lines will stretch in order to fill the full page
8852 @code{interscorelinefill} is set to a positive number. In that case
8853 @code{interscoreline} specifies the minimum spacing.
8855 @cindex @code{textheight}
8856 @cindex @code{interscoreline}
8857 @cindex @code{interscorelinefill}
8859 If the variable @code{lastpagefill} is defined,
8860 @c fixme: this should only be done if lastpagefill= #t
8861 systems are evenly distributed vertically on the last page. This
8862 might produce ugly results in case there are not enough systems on the
8863 last page. The @command{lilypond-book} command ignores
8864 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8867 @cindex @code{lastpagefill}
8869 Page breaks are normally computed by @TeX{}, so they are not under
8870 direct control of LilyPond. However, you can insert a commands into
8871 the @file{.tex} output to instruct @TeX{} where to break pages. This
8872 is done by setting the @code{between-systems-strings} on the
8873 @internalsref{NonMusicalPaperColumn} where the system is broken.
8874 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8875 The predefined command @code{\newpage} also does this.
8879 @cindex @code{papersize}
8881 To change the paper size, use the following Scheme code:
8884 #(set-paper-size "a4")
8891 @cindex @code{\newpage}
8897 In this manual @ref{Invoking lilypond}
8899 Examples: @inputfileref{input/regression,between-systems.ly}
8901 Internals: @internalsref{NonMusicalPaperColumn}.
8905 LilyPond has no concept of page layout, which makes it difficult to
8906 reliably choose page breaks in longer pieces.
8915 Entered music can also be converted to MIDI output. The performance
8916 is good enough for proof-hearing the music for errors.
8918 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8919 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8920 marks translate to a fixed fraction of the available MIDI volume
8921 range, crescendi and decrescendi make the volume vary linearly between
8922 their two extremities. The fractions can be adjusted by
8923 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8924 For each type of MIDI instrument, a volume range can be defined. This
8925 gives a basic equalizer control, which can enhance the quality of
8926 the MIDI output remarkably. The equalizer can be controlled by
8927 setting @code{instrumentEqualizer}.
8931 Many musically interesting effects, such as swing, articulation,
8932 slurring, etc., are not translated to MIDI.
8934 Since slurs are not interpreted, @code{\lyricsto} and
8935 @code{\addlyrics} sections will be interpreted wrongly.
8937 The MIDI output allocates a channel for each Staff, and one for global
8938 settings. Hence, the MIDI file should not have more than 15 staves
8939 (or 14 if you do not use drums).
8944 * MIDI instrument names::
8949 @subsection MIDI block
8953 The MIDI block is analogous to the paper block, but it is somewhat
8954 simpler. The @code{\midi} block can contain:
8958 @item a @code{\tempo} definition, and
8959 @item context definitions.
8962 Assignments in the @code{\midi} block are not allowed.
8964 A number followed by a period is interpreted as a real number, so
8965 for setting the tempo for dotted notes, an extra space should be
8966 inserted, for example:
8969 \midi @{ \tempo 4 . = 120 @}
8973 @cindex context definition
8975 Context definitions follow precisely the same syntax as within the
8976 \paper block. Translation modules for sound are called performers.
8977 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8980 @node MIDI instrument names
8981 @subsection MIDI instrument names
8983 @cindex instrument names
8984 @cindex @code{Staff.midiInstrument}
8986 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8987 property. The instrument name should be chosen from the list in
8988 @ref{MIDI instruments}.
8992 If the selected string does not exactly match, then the default is
8993 used, which is the Grand Piano.