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::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads ::
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}
179 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
181 @node Chromatic alterations
182 @subsection Chromatic alterations
184 Normally accidentals are printed automatically, but you may also
185 print them manually. A reminder accidental
186 @cindex reminder accidental
188 can be forced by adding an exclamation mark @code{!}
189 after the pitch. A cautionary accidental
190 @cindex cautionary accidental
191 @cindex parenthesized accidental
192 (an accidental within parentheses) can be obtained by adding the
193 question mark `@code{?}' after the pitch:
195 @lilypond[fragment,verbatim]
196 cis' cis' cis'! cis'?
200 The automatic production of accidentals can be tuned in many
201 ways. For more information, refer to @ref{Accidentals}.
206 A chord is formed by a enclosing a set of pitches in @code{<} and
207 @code{>}. A chord may be followed by a duration, and a set of
208 articulations, just like simple notes.
218 Rests are entered like notes, with the note name @code{r}:
220 @lilypond[singleline,verbatim]
224 Whole bar rests, centered in middle of the bar,
225 must be done with multi measure rests. They are discussed in
226 @ref{Multi measure rests}.
229 A rest's vertical position may be explicitly specified by entering a
230 note with the @code{\rest} keyword appended. This makes manual
231 formatting in polyphonic music easier. Rest collision testing will
232 leave these rests alone:
234 @lilypond[singleline,verbatim]
240 @internalsref{RestEvent}, and @internalsref{Rest}.
247 @cindex Invisible rest
250 An invisible rest (also called a `skip') can be entered like a note
251 with note name `@code{s}' or with @code{\skip @var{duration}}:
253 @lilypond[singleline,verbatim]
257 The @code{s} syntax is only available in Note mode and Chord mode. In
258 other situations, you should use the @code{\skip} command:
260 @lilypond[singleline,verbatim]
263 { \time 4/8 \skip 2 \time 4/4 }
264 \notes\relative c'' { a2 a1 }
269 The skip command is merely an empty musical placeholder. It does not
270 produce any output, not even transparent output.
274 @internalsref{SkipEvent}.
279 @subsection Durations
285 In Note, Chord, and Lyrics mode, durations are designated by numbers
286 and dots: durations are entered as their reciprocal values. For example,
287 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
288 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
289 longer than a whole you must use variables:
291 @c FIXME: what is an identifier? I do not think it's been introduced yet.
292 @c and if it has, I obviously skipped that part. - Graham
296 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
298 r1 r2 r4 r8 r16 r32 r64 r64
303 \notes \relative c'' {
305 a1 a2 a4 a8 a16 a32 a64 a64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \remove "Clef_engraver"
313 \remove "Staff_symbol_engraver"
314 \remove "Time_signature_engraver"
315 \consists "Pitch_squash_engraver"
322 If the duration is omitted then it is set to the previously entered
323 duration. The default for the first note is a quarter note. The duration
324 can be followed by dots (`@code{.}') in order to obtain dotted note
328 @lilypond[fragment,verbatim,center]
329 a' b' c''8 b' a'4 a'4. b'4.. c'8.
334 You can alter the length of duration by a fraction @var{N/M}
335 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
336 will not affect the appearance of the notes or rests produced.
337 In the following example, the first three notes take up exactly two
339 @lilypond[fragment,relative 2,verbatim]
341 a4*2/3 gis4*2/3 a4*2/3
348 Dots are normally moved up to avoid staff lines, except in polyphonic
349 situations. The following commands may be used to force a particular
352 @cindex @code{\dotsUp}
354 @cindex @code{\dotsDown}
356 @cindex @code{\dotsBoth}
361 @internalsref{Dots}, and @internalsref{DotColumn}.
365 In dense chords, dots can overlap.
370 Whenever a note is found, a @internalsref{Stem} object is created
371 automatically. For whole notes and rests, they are also created but
376 @cindex @code{\stemUp}
378 @cindex @code{\stemDown}
380 @cindex @code{\stemBoth}
391 A tie connects two adjacent note heads of the same pitch. The tie in
392 effect extends the length of a note. Ties should not be confused with
393 slurs, which indicate articulation, or phrasing slurs, which indicate
394 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
396 @lilypond[fragment,verbatim,center]
397 e' ~ e' <c' e' g'> ~ <c' e' g'>
400 When a tie is applied to a chord, all note heads whose pitches match
401 are connected. When no note heads match, no ties will be created.
403 In its meaning a tie is just a way of extending a note duration, similar
404 to the augmentation dot; in the following example there are two ways of
405 notating exactly the same concept:
407 @lilypond[fragment, singleline,quote]
408 \time 3/4 c'2. c'2 ~ c'4
410 If you need to tie a lot of notes over bars, it may be easier to use automatic
411 note splitting (See @ref{Automatic note splitting}).
416 @cindex @code{\tieUp}
418 @cindex @code{\tieDown}
420 @cindex @code{\tieBoth}
422 @cindex @code{\tieDotted}
424 @cindex @code{\tieSolid}
429 @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 @internalsref{Tie}, and @ref{Automatic note splitting}.
433 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
436 For tying only a subset of the note heads of a pair of chords, see
437 @inputfileref{input/regression,tie-chord-partial.ly}.
442 Switching staves when a tie is active will not produce a slanted tie.
444 Formatting of ties is a difficult subject. The results are often not
454 @cindex @code{\times}
456 Tuplets are made out of a music expression by multiplying all durations
459 @cindex @code{\times}
461 \times @var{fraction} @var{musicexpr}
465 The duration of @var{musicexpr} will be multiplied by the fraction.
466 The fraction's denominator will be printed over the notes, optionally
467 with a bracket. The most common tuplet is the triplet in which 3
468 notes have the length of 2, so the notes are 2/3 of their written
471 @lilypond[fragment,verbatim,center]
472 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
475 The property @code{tupletSpannerDuration} specifies how long each
476 bracket should last. With this, you can make lots of tuplets while
477 typing @code{\times} only once, saving lots of typing. In the next
478 example, there are two triplets shown, while @code{\times} was only
481 @lilypond[fragment, relative, singleline, verbatim]
482 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
483 \times 2/3 { c'8 c c c c c }
486 The format of the number is determined by the property
487 @code{tupletNumberFormatFunction}. The default prints only the
488 denominator, but if it is set to the Scheme function
489 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
493 @cindex @code{tupletNumberFormatFunction}
494 @cindex tuplet formatting
499 @cindex @code{\tupletUp}
501 @cindex @code{\tupletDown}
503 @cindex @code{\tupletBoth}
508 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
512 Nested tuplets are not formatted automatically. In this case, outer
513 tuplet brackets should be moved manually.
515 @node Easy Notation note heads
516 @subsection Easy Notation note heads
518 @cindex easy notation
521 The `easy play' note head includes a note name inside the head. It is
522 used in music aimed at beginners:
524 @lilypond[singleline,verbatim,26pt]
526 \notes { c'2 e'4 f' | g'1 }
527 \paper { \translator { \EasyNotation } }
531 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
532 You probably will want to print it with magnification or a
533 large font size to make it more readable. To print with
534 magnification, you must create a DVI file (with @file{lilypond}) and
535 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
536 See the @code{dvips} documentation for more details. To print with a
537 larger font, see @ref{Font Size}.
543 If you view the result with Xdvi, then staff lines will show through
544 the letters. Printing the PostScript file obtained does produce the
548 @node Easier music entry
549 @section Easier music entry
552 When entering music it is easy to introduce errors. This section deals
553 with tricks and features of the input language that were added solely
554 to help entering music, and find and correct mistakes.
556 It is also possible to use external programs, for example GUI
557 interfaces, or MIDI transcription programs, to enter or edit
558 music. Refer to the website for more information. Finally, there are
559 tools make debugging easier, by linking the input file and the output
560 shown on screen. See @ref{Point and click} for more information.
567 * Skipping corrected music::
568 * Automatic note splitting ::
574 @node Relative octaves
575 @subsection Relative octaves
577 @cindex relative octave specification
579 Octaves are specified by adding @code{'} and @code{,} to pitch names.
580 When you copy existing music, it is easy to accidentally put a pitch
581 in the wrong octave and hard to find such an error. The relative
582 octave mode prevents these errors: a single error puts the rest of the
583 piece off by one octave:
585 @cindex @code{\relative}
587 \relative @var{startpitch} @var{musicexpr}
590 The octave of notes that appear in @var{musicexpr} are calculated as
591 follows: If no octave changing marks are used, the basic interval
592 between this and the last note is always taken to be a fourth or less
593 (; this distance is determined without regarding alterations: a
594 @code{fisis} following a @code{ceses} will be put above the
597 The octave changing marks @code{'} and @code{,} can be added to raise
598 or lower the pitch by an extra octave. Upon entering relative mode,
599 an absolute starting pitch must be specified that will act as the
600 predecessor of the first note of @var{musicexpr}.
602 Here is the relative mode shown in action:
603 @lilypond[fragment,singleline,verbatim,center]
609 Octave changing marks are used for intervals greater than a fourth:
610 @lilypond[fragment,verbatim,center]
615 If the preceding item is a chord, the first note of the chord is used
616 to determine the first note of the next chord:
618 @lilypond[fragment,verbatim,center]
625 @cindex @code{\notes}
627 The pitch after the @code{\relative} contains a note name. To parse
628 the pitch as a note name, you have to be in note mode, so there must
629 be a surrounding @code{\notes} keyword (which is not
632 The relative conversion will not affect @code{\transpose},
633 @code{\chords} or @code{\relative} sections in its argument. If you
634 want to use relative within transposed music, you must place an
635 additional @code{\relative} inside the @code{\transpose}.
638 @subsection Octave check
641 Octave checks make octave errors easier to correct.
647 This checks that @var{pitch} (without octave) yields @var{pitch} (with
648 octave) in \relative mode. If not, a warning is printed, and the
649 octave is corrected, for example, the first check is passed
650 successfully. The second check fails with an error message. The
651 octave is adjusted so the following notes are in the correct octave
662 The octave of a note following an octave check is determined with
663 respect to the note preceding it. In the next fragment, the last note
664 is a @code{a'}, above central C. Hence, the @code{\octave} check may
665 be deleted without changing the meaning of the piece.
667 @lilypond[verbatim,fragment]
678 @subsection Bar check
682 @cindex @code{barCheckSynchronize}
685 Bar checks help detect errors in the durations. A bar check is
686 entered using the bar symbol, `@code{|}'. Whenever it is encountered
687 during interpretation, it should fall on a measure boundary. If it
688 does not, a warning is printed. Depending on the value of
689 @code{barCheckSynchronize}, the beginning of the measure will be
692 In the next example, the second bar check will signal an error:
694 \time 3/4 c2 e4 | g2 |
699 @cindex skipTypesetting
701 Failed bar checks are caused by entering incorrect
702 durations. Incorrect durations often completely garble up the score,
703 especially if it is polyphonic, so you should start correcting the
704 score by scanning for failed bar checks and incorrect durations. To
705 speed up this process, you can use @code{skipTypesetting}, described
708 @node Skipping corrected music
709 @subsection Skipping corrected music
711 The property @code{Score.skipTypesetting} can be used to switch on and
712 off typesetting completely during the interpretation phase. When
713 typesetting is switched off, the music is processed much more quickly.
714 This can be used to skip over the parts of a score that have already
715 been checked for errors:
717 @lilypond[fragment,singleline,verbatim]
719 \property Score.skipTypesetting = ##t
721 \property Score.skipTypesetting = ##f
725 @node Automatic note splitting
726 @subsection Automatic note splitting
728 Long notes can be converted automatically to tied notes. This is done
729 by replacing the @internalsref{Note_heads_engraver} by the
730 @internalsref{Completion_heads_engraver}:
733 \paper @{ \translator @{
735 \remove "Note_heads_engraver"
736 \consists "Completion_heads_engraver"
740 which will make long notes tied in the following example:
743 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
750 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
752 \paper { \translator {
754 \remove "Note_heads_engraver"
755 \consists "Completion_heads_engraver"
760 This engraver splits all running notes at the bar line, and inserts
761 ties. One of its uses is to debug complex scores: if the measures are
762 not entirely filled, then the ties exactly show how much each measure
767 Not all durations (especially those containing tuplets) can be
768 represented exactly; the engraver will not insert tuplets.
774 @section Staff notation
776 This section describes music notation that occurs on staff level,
777 such as keys, clefs and time signatures.
779 @cindex Staff notation
793 @subsection Staff symbol
795 @cindex adjusting staff symbol
796 @cindex StaffSymbol, using \property
798 Notes, dynamic signs, etc. are grouped
799 with a set of horizontal lines, into a staff (plural `staves'). In our
800 system, these lines are drawn using a separate layout object called
804 @cindex staff lines, setting number of
805 @cindex staff lines, setting thickness of
806 @cindex thickness of staff lines, setting
807 @cindex number of staff lines, setting
809 This object is created whenever a @internalsref{Staff} context is
810 created. The appearance of the staff symbol cannot be changed by
811 using @code{\override} or @code{\set}. At the moment that
812 @code{\property Staff} is interpreted, a @internalsref{Staff} context
813 is made, and the @internalsref{StaffSymbol} is created before any
814 @code{\override} is effective. Properties can be changed in a
815 @code{\translator} definition, or by using @code{\applyoutput}.
819 If a staff is ended halfway a piece, the staff symbol may not end
820 exactly on the barline.
824 @subsection Key signature
825 @cindex Key signature
829 The key signature indicates the scale in which a piece is played. It
830 is denoted by a set of alterations (flats or sharps) at the start of
835 Setting or changing the key signature is done with the @code{\key}
838 @code{\key} @var{pitch} @var{type}
841 @cindex @code{\minor}
842 @cindex @code{\major}
843 @cindex @code{\minor}
844 @cindex @code{\ionian}
845 @cindex @code{\locrian}
846 @cindex @code{\aeolian}
847 @cindex @code{\mixolydian}
848 @cindex @code{\lydian}
849 @cindex @code{\phrygian}
850 @cindex @code{\dorian}
852 Here, @var{type} should be @code{\major} or @code{\minor} to get
853 @var{pitch}-major or @var{pitch}-minor, respectively.
854 The standard mode names @code{\ionian},
855 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
856 @code{\phrygian}, and @code{\dorian} are also defined.
858 This command sets the context property
859 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
860 can be specified by setting this property directly.
862 Accidentals and key signatures often confuse new users, because
863 unaltered notes get natural signs depending on the keysignature. The
864 tutorial explains why this is so in @ref{More about pitches}.
868 The ordering of a key cancellation is wrong when it is combined with
869 repeat bar lines. The cancellation is also printed after a line break.
873 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
875 @cindex @code{keySignature}
882 The clef indicates which lines of the staff correspond to which
887 The clef can be set or changed with the @code{\clef} command:
888 @lilypond[fragment,verbatim]
889 \key f\major c''2 \clef alto g'2
892 Supported clef-names include:
893 @c Moved standard clefs to the top /MB
897 @item treble, violin, G, G2
910 G clef on 1st line, so-called French violin clef
915 @cindex mezzosoprano clef
918 @cindex baritone clef
921 @cindex varbaritone clef
930 By adding @code{_8} or @code{^8} to the clef name, the clef is
931 transposed one octave down or up, respectively, and @code{_15} and
932 @code{^15} transposes by two octaves. The argument @var{clefname}
933 must be enclosed in quotes when it contains underscores or digits. For
937 @cindex choral tenor clef
938 @lilypond[verbatim,fragment,relative]
942 This command is equivalent to setting @code{clefGlyph},
943 @code{clefPosition} (which controls the Y position of the clef),
944 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
945 when any of these properties are changed.
949 The object for this symbol is @internalsref{Clef}.
953 @node Ottava brackets
954 @subsection Ottava brackets
956 ``Ottava'' brackets introduce an extra transposition of an octave for
957 the staff. They are created by invoking the function
958 @code{set-octavation}:
964 @lilypond[verbatim,fragment]
973 Internally the @code{set-octavation} function sets the properties
974 @code{ottavation} (eg. to @code{"8va"}) and
975 @code{centralCPosition}. The function also takes arguments -1 (for 8va
976 bassa) and 2 (for 15ma).
978 @internalsref{OttavaSpanner}.
982 @code{set-octavation} will get confused when clef changes happen
983 during an octavation bracket.
986 @subsection Time signature
987 @cindex Time signature
991 Time signature indicates the metrum of a piece: a regular pattern of
992 strong and weak beats. It is denoted by a fraction at the start of the
997 The time signature is set or changed by the @code{\time}
999 @lilypond[fragment,verbatim]
1000 \time 2/4 c'2 \time 3/4 c'2.
1003 The symbol that is printed can be customized with the @code{style}
1004 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1005 2/2 time. There are many more options for its layout. See
1006 @inputfileref{input/test,time.ly} for more examples.
1009 This command sets the property @code{timeSignatureFraction},
1010 @code{beatLength} and @code{measureLength} in the @code{Timing}
1011 context, which is normally aliased to @internalsref{Score}. The
1012 property @code{measureLength} determines where bar lines should be
1013 inserted, and how automatic beams should be generated. Changing the
1014 value of @code{timeSignatureFraction} also causes the symbol to be
1017 More options are available through the Scheme function
1018 @code{set-time-signature}. In combination with the
1019 @internalsref{Measure_grouping_engraver}, it will create
1020 @internalsref{MeasureGrouping} signs. Such signs ease reading
1021 rhythmically complex modern music. In the following example, the 9/8
1022 measure is subdivided in 2, 2, 2 and 3. This is passed to
1023 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1026 \score { \notes \relative c'' {
1027 #(set-time-signature 9 8 '(2 2 2 3))
1028 g8[ g] d[ d] g[ g] a8[( bes g]) |
1029 #(set-time-signature 5 8 '(3 2))
1034 \translator { \StaffContext
1035 \consists "Measure_grouping_engraver"
1041 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1046 Automatic beaming does not use measure grouping specified with
1047 @code{set-time-signature}.
1049 @node Partial measures
1050 @subsection Partial measures
1053 @cindex partial measure
1054 @cindex measure, partial
1055 @cindex shorten measures
1056 @cindex @code{\partial}
1058 Partial measures, for example in upsteps, are entered using the
1059 @code{\partial} command:
1060 @lilypond[fragment,verbatim,relative 1]
1061 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1064 The syntax for this command is
1066 \partial @var{duration}
1068 This is internally translated into
1070 \property Timing.measurePosition = -@var{length of duration}
1073 The property @code{measurePosition} contains a rational number
1074 indicating how much of the measure has passed at this point.
1076 @node Unmetered music
1077 @subsection Unmetered music
1079 Bar lines and bar numbers are calculated automatically. For unmetered
1080 music (e.g. cadenzas), this is not desirable. By setting
1081 @code{Score.timing} to false, this automatic timing can be switched
1087 @cindex @code{\cadenzaOn}
1089 @cindex @code{\cadenzaOff}
1093 @subsection Bar lines
1097 @cindex measure lines
1101 Bar lines delimit measures, but are also used to indicate repeats.
1102 Normally, they are inserted automatically. Line breaks may only
1108 of barlines can be forced with the @code{\bar} command:
1110 @lilypond[relative=1,fragment,verbatim]
1114 The following bar types are available:
1115 @lilypond[fragment, relative, singleline, verbatim]
1126 For allowing linebreaks, there is a special command,
1130 This will insert an invisible barline, and allow linebreaks at this
1133 In scores with many staves, a @code{\bar} command in one staff is
1134 automatically applied to all staves. The resulting bar lines are
1135 connected between different staves of a @internalsref{StaffGroup}:
1137 @lilypond[fragment, verbatim]
1138 << \context StaffGroup <<
1142 \new Staff { \clef bass c4 g e g } >>
1143 \new Staff { \clef bass c2 c2 } >>
1147 The command @code{\bar @var{bartype}} is a short cut for doing
1148 @code{\property Score.whichBar = @var{bartype}} Whenever
1149 @code{whichBar} is set to a string, a bar line of that type is
1150 created. At the start of a measure it is set to
1151 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1152 to override default measure bars.
1154 Property @code{whichBar} can also be set directly, using @code{\property}
1155 or @code{\bar}. These settings take precedence over the automatic
1156 @code{whichBar} settings.
1159 @cindex repeatCommands
1160 @cindex defaultBarType
1162 You are encouraged to use @code{\repeat} for repetitions. See
1172 The bar line objects that are created at @internalsref{Staff} level
1173 are called @internalsref{BarLine}, the bar lines that span staves are
1174 @internalsref{SpanBar}s.
1176 @cindex bar lines at start of system
1177 @cindex start of system
1179 The barlines at the start of each system are
1180 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1181 @internalsref{SystemStartBracket}. They are spanner objects and
1182 typically must be tuned from a @code{\translator} block.
1189 The easiest way to enter fragments with more than one voice on a staff
1190 is to split chords using the separator @code{\\}. You can use it for
1191 small, short-lived voices or for single chords:
1193 @lilypond[verbatim,fragment]
1194 \context Staff \relative c'' {
1195 c4 << { f d e } \\ { b c2 } >>
1196 c4 << g' \\ b, \\ f' \\ d >>
1200 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1201 voices are sometimes called "layers" other notation packages}
1203 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1204 each of these contexts, vertical direction of slurs, stems, etc. is set
1207 This can also be done by instantiating @internalsref{Voice} contexts
1208 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1209 a stem directions and horizontal shift for each part:
1212 @lilypond[singleline, verbatim]
1214 \context Staff << \new Voice { \voiceOne cis2 b }
1215 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1216 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1219 Normally, note heads with a different number of dots are not merged, but
1220 when the object property @code{merge-differently-dotted} is set in
1221 the @internalsref{NoteCollision} object, they are merged:
1222 @lilypond[verbatim,fragment,singleline]
1223 \relative c'' \context Voice << {
1225 \property Staff.NoteCollision \override
1226 #'merge-differently-dotted = ##t
1228 } \\ { g8.[ f16] g8.[ f16] }
1232 Similarly, you can merge half note heads with eighth notes, by setting
1233 @code{merge-differently-headed}:
1234 @lilypond[fragment, relative=2,verbatim]
1237 \property Staff.NoteCollision
1238 \override #'merge-differently-headed = ##t
1239 c8 c4. } \\ { c2 c2 } >>
1242 LilyPond also vertically shifts rests that are opposite of a stem:
1245 @lilypond[singleline,fragment,verbatim]
1246 \context Voice << c''4 \\ r4 >>
1254 @cindex @code{\oneVoice}
1256 @cindex @code{\voiceOne}
1258 @cindex @code{\voiceTwo}
1260 @cindex @code{\voiceThree}
1262 @cindex @code{\voiceFour}
1265 The following commands specify in what chords of the current voice
1266 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1267 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1270 @cindex @code{\shiftOn}
1272 @cindex @code{\shiftOnn}
1274 @cindex @code{\shiftOnnn}
1276 @cindex @code{\shiftOff}
1283 The objects responsible for resolving collisions are
1284 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1285 also example files @inputfileref{input/regression,collision-dots.ly},
1286 @inputfileref{input/regression,collision-head-chords.ly},
1287 @inputfileref{input/regression,collision-heads.ly},
1288 @inputfileref{input/regression,collision-mesh.ly}, and
1289 @inputfileref{input/regression,collisions.ly}.
1294 Resolving collisions is a intricate subject, and only a few situations
1295 are handled. When LilyPond cannot cope, the @code{force-hshift}
1296 property of the @internalsref{NoteColumn} object and pitched rests can
1297 be used to override typesetting decisions.
1299 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1300 note, and a downstem half note, the 8th note gets the wrong offset.
1305 Beams are used to group short notes into chunks that are aligned with
1306 the metrum. They are inserted automatically in most cases:
1308 @lilypond[fragment,verbatim, relative=2]
1309 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1312 When these automatic decisions are not good enough, beaming can be
1313 entered explicitly. It is also possible to define beaming patterns
1314 that differ from the defaults.
1318 @internalsref{Beam}.
1321 @cindex Automatic beams
1322 @subsection Manual beams
1323 @cindex beams, manual
1327 In some cases it may be necessary to override the automatic beaming
1328 algorithm. For example, the auto beamer will not put beams over rests
1329 or bar lines. Such beams are specified by manually: the begin and end
1330 point are marked with @code{[} and @code{]}:
1332 @lilypond[fragment,relative,verbatim]
1334 r4 r8[ g' a r8] r8 g[ | a] r8
1338 @cindex @code{stemLeftBeamCount}
1340 Normally, beaming patterns within a beam are determined automatically.
1341 When this mechanism fouls up, the properties
1342 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1343 be used to control the beam subdivision on a stem. If either property
1344 is set, its value will be used only once, and then it is erased.
1346 @lilypond[fragment,relative,verbatim]
1349 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1352 @cindex @code{stemRightBeamCount}
1355 The property @code{subdivideBeams} can be set in order to subdivide
1356 all 16th or shorter beams at beat positions, as defined by the
1357 @code{beatLength} property . This accomplishes the same effect as
1358 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1359 but it take less typing:
1362 @lilypond[relative=1,verbatim,noindent]
1364 \property Voice.subdivideBeams = ##t
1366 \property Score.beatLength = #(ly:make-moment 1 8)
1369 @cindex subdivideBeams
1371 Kneed beams are inserted automatically, when a large gap is detected
1372 between the note heads. This behavior can be tuned through the object
1373 property @code{auto-knee-gap}.
1375 Normally, line breaks are forbidden when beams cross bar lines. This
1376 behavior can be changed by setting @code{allowBeamBreak}.
1378 @cindex @code{allowBeamBreak}
1379 @cindex beams and line breaks
1381 @cindex beams, kneed
1383 @cindex auto-knee-gap
1389 @cindex Frenched staves
1391 Automatically kneed beams cannot be used together with hidden staves.
1396 * Setting automatic beam behavior ::
1400 @no de Beam typography
1401 @sub section Beam typography
1403 One of the strong points of LilyPond is how beams are formatted. Beams
1404 are quantized, meaning that the left and right endpoints beams start
1405 exactly on staff lines. Without quantization, small wedges of white
1406 space appear between the beam and staff line, and this looks untidy.
1408 Beams are also slope-damped: melodies that go up or down should also
1409 have beams that go up or down, but the slope of the beams should be
1410 less than the slope of the notes themselves.
1412 Some beams should be horizontal. These are so-called concave beams.
1414 [TODO: some pictures.]
1418 @node Setting automatic beam behavior
1419 @subsection Setting automatic beam behavior
1421 @cindex @code{autoBeamSettings}
1422 @cindex @code{(end * * * *)}
1423 @cindex @code{(begin * * * *)}
1424 @cindex automatic beams, tuning
1425 @cindex tuning automatic beaming
1427 @c [TODO: use \applycontext]
1429 In normal time signatures, automatic beams can start on any note but can
1430 only end in a few positions within the measure: beams can end on a beat,
1431 or at durations specified by the properties in
1432 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1433 are defined in @file{scm/auto-beam.scm}.
1435 The value of @code{autoBeamSettings} is changed using
1436 @code{\override} and restored with @code{\revert}:
1438 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1439 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1441 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1442 whether the rule applies to begin or end-points. The quantity
1443 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1444 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1445 signature (wildcards, `@code{* *}' may be entered to designate all time
1448 For example, if automatic beams should end on every quarter note, use
1451 \property Voice.autoBeamSettings \override
1452 #'(end * * * *) = #(ly:make-moment 1 4)
1454 Since the duration of a quarter note is 1/4 of a whole note, it is
1455 entered as @code{(ly:make-moment 1 4)}.
1457 The same syntax can be used to specify beam starting points. In this
1458 example, automatic beams can only end on a dotted quarter note:
1460 \property Voice.autoBeamSettings \override
1461 #'(end * * * *) = #(ly:make-moment 3 8)
1463 In 4/4 time signature, this means that automatic beams could end only on
1464 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1465 3/8 has passed within the measure).
1467 Rules can also be restricted to specific time signatures. A rule that
1468 should only be applied in @var{N}/@var{M} time signature is formed by
1469 replacing the second asterisks by @var{N} and @var{M}. For example, a
1470 rule for 6/8 time exclusively looks like
1472 \property Voice.autoBeamSettings \override
1473 #'(begin * * 6 8) = ...
1476 If a rule should be to applied only to certain types of beams, use the
1477 first pair of asterisks. Beams are classified according to the
1478 shortest note they contain. For a beam ending rule that only applies
1479 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1482 If a score ends while an automatic beam has not been ended and is still
1483 accepting notes, this last beam will not be typeset at all.
1485 @cindex automatic beam generation
1487 @cindex @code{Voice.autoBeaming}
1490 For melodies that have lyrics, you may want to switch off
1491 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1496 @cindex @code{\autoBeamOff}
1497 @code{\autoBeamOff},
1498 @cindex @code{\autoBeamOn}
1504 The rules for ending a beam depend on the shortest note in a beam.
1505 So, while it is possible to have different ending rules for eight
1506 beams and sixteenth beams, a beam that contains both eight and
1507 sixteenth notes will use the rules for the sixteenth beam.
1509 In the example below, the autobeamer makes eight beams and sixteenth
1510 end at 3 eights; the third beam can only be corrected by specifying
1513 @lilypond[singleline,fragment,relative,noverbatim,quote]
1514 \property Voice.autoBeamSettings
1515 \override #'(end * * * *) = #(ly:make-moment 3 8)
1516 % rather show case where it goes wrong
1517 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1518 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1520 It is not possible to specify beaming parameters that act differently in
1521 different parts of a measure. This means that it is not possible to use
1522 automatic beaming in irregular meters such as @code{5/8}.
1525 @section Accidentals
1528 This section describes how to change the way that accidentals are
1529 inserted automatically before the running notes.
1533 * Using the predefined accidental variables::
1534 * Customized accidental rules::
1537 @node Using the predefined accidental variables
1538 @subsection Using the predefined accidental variables
1540 The constructs for describing the accidental typesetting rules are
1541 quite hairy, so non-experts should stick to the variables
1542 defined in @file{ly/property-init.ly}.
1543 @cindex @file{property-init.ly}
1545 The variables set properties in the ``@code{Current}'' context (see
1546 @ref{Context properties}). This means that the variables should
1547 normally be added right after the creation of the context in which the
1548 accidental typesetting described by the variable is to take
1549 effect. For example, if you want to use piano-accidentals in a piano
1550 staff then issue @code{\pianoAccidentals} first thing after the
1551 creation of the piano staff:
1554 \notes \relative c'' <<
1555 \new Staff @{ cis4 d e2 @}
1556 \context GrandStaff <<
1558 \new Staff @{ cis4 d e2 @}
1559 \new Staff @{ es2 c @}
1561 \new Staff @{ es2 c @}
1565 @lilypond[singleline]
1567 \notes \relative c'' <<
1568 \new Staff { cis4 d e2 }
1569 \context GrandStaff <<
1571 \new Staff { cis4 d e2 }
1572 \new Staff { es2 c }
1574 \new Staff { es2 c }
1579 minimumVerticalExtent = #'(-4.0 . 4.0)
1587 @item \defaultAccidentals
1588 @cindex @code{\defaultAccidentals}
1589 This is the default typesetting behaviour. It should correspond
1590 to 18th century common practice: Accidentals are
1591 remembered to the end of the measure in which they occur and
1592 only on their own octave.
1594 @item \voiceAccidentals
1595 @cindex @code{\voiceAccidentals}
1597 The normal behaviour is to
1598 remember the accidentals on Staff-level. This variable, however,
1599 typesets accidentals individually for each voice. Apart from that the
1600 rule is similar to @code{\defaultAccidentals}.
1602 This leads to some weird and often unwanted results
1603 because accidentals from one voice do not get cancelled in other
1605 @lilypond[singleline,relative,fragment,verbatim,quote]
1613 Hence you should only use @code{\voiceAccidentals} if the voices
1614 are to be read solely by individual musicians. If the staff is to be
1615 used by one musician (e.g. a conductor) then you use
1616 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1619 @item \modernAccidentals
1620 @cindex @code{\modernAccidentals}
1621 This rule corresponds to the common practice in the 20th
1623 The rule is more complex than @code{\defaultAccidentals}.
1624 You get all the same accidentals, but temporary
1625 accidentals also get cancelled in other octaves. Furthermore,
1626 in the same octave, they also get cancelled in the following measure:
1627 @lilypond[singleline,fragment,verbatim]
1629 cis' c'' cis'2 | c'' c'
1632 @item \modernCautionaries
1633 @cindex @code{\modernCautionaries}
1634 This rule is similar to @code{\modernAccidentals}, but the
1635 ``extra'' accidentals (the ones not typeset by
1636 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1637 They are printed in reduced size or with parentheses:
1638 @lilypond[singleline,fragment,verbatim]
1640 cis' c'' cis'2 | c'' c'
1643 @cindex @code{\modernVoiceAccidentals}
1644 @item \modernVoiceAccidentals
1645 is used for multivoice accidentals to be read both by musicians
1646 playing one voice and musicians playing all voices. Accidentals are
1647 typeset for each voice, but they @emph{are} cancelled across voices in
1648 the same @internalsref{Staff}.
1650 @cindex @code{\modernVoiceCautionaries}
1651 @item \modernVoiceCautionaries
1652 is the same as @code{\modernVoiceAccidentals}, but with the extra
1653 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1654 as cautionaries. Even though all accidentals typeset by
1655 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1656 some of them are typeset as cautionaries.
1658 @item \pianoAccidentals
1659 @cindex @code{\pianoAccidentals}
1660 20th century practice for piano notation. Very similar to
1661 @code{\modernAccidentals} but accidentals also get cancelled
1662 across the staves in the same @internalsref{GrandStaff} or
1663 @internalsref{PianoStaff}.
1665 @item \pianoCautionaries
1666 @cindex @code{\pianoCautionaries}
1667 As @code{\pianoAccidentals} but with the extra accidentals
1668 typeset as cautionaries.
1671 @cindex @code{\noResetKey}
1672 Same as @code{\defaultAccidentals} but with accidentals lasting
1673 ``forever'' and not only until the next measure:
1674 @lilypond[singleline,fragment,verbatim,relative]
1679 @item \forgetAccidentals
1680 @cindex @code{\forgetAccidentals}
1681 This is sort of the opposite of @code{\noResetKey}: Accidentals
1682 are not remembered at all---and hence all accidentals are
1683 typeset relative to the key signature, regardless of what was
1684 before in the music:
1685 @lilypond[singleline,fragment,verbatim,relative]
1687 \key d\major c4 c cis cis d d dis dis
1691 @node Customized accidental rules
1692 @subsection Customized accidental rules
1694 For determining when to print an accidental, several different rules
1695 are tried. The rule that gives the highest number of accidentals is
1696 used. Each rule consists of
1699 In which context is the rule applied. For example, if
1700 @var{context} is @internalsref{Score} then all staves share
1701 accidentals, and if @var{context} is @internalsref{Staff} then all
1702 voices in the same staff share accidentals, but staves do not.
1704 Whether the accidental changes all octaves or only the current
1707 Over how many barlines the accidental lasts.
1708 If @var{lazyness} is @code{-1} then the accidental is forget
1709 immediately, and if @var{lazyness} is @code{#t} then the accidental
1712 @c [TODO: should use +infinity for this case?]
1718 @cindex @code{\defaultAccidentals}
1719 @code{\defaultAccidentals},
1720 @cindex @code{\voiceAccidentals}
1721 @code{\voiceAccidentals},
1722 @cindex @code{\modernAccidentals}
1723 @code{\modernAccidentals},
1724 @cindex @code{\modernCautionaries}
1725 @code{\modernCautionaries},
1726 @cindex @code{\modernVoiceAccidentals}
1727 @code{\modernVoiceAccidentals},
1728 @cindex @code{\modernVoiceCautionaries}
1729 @code{\modernVoiceCautionaries},
1730 @cindex @code{\pianoAccidentals}
1731 @code{\pianoAccidentals},
1732 @cindex @code{\pianoCautionaries}
1733 @code{\pianoCautionaries},
1734 @cindex @code{\noResetKey}
1736 @cindex @code{\forgetAccidentals}
1737 @code{\forgetAccidentals}.
1741 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1742 @internalsref{AccidentalPlacement}.
1747 Currently the simultaneous notes are considered to be entered in
1748 sequential mode. This means that in a chord the accidentals are
1749 typeset as if the notes in the chord happened once at a time - in the
1750 order in which they appear in the input file.
1752 This is only a problem when there are simultaneous notes whose
1753 accidentals depend on each other. The problem only occurs when using
1754 non-default accidentals. In the default scheme, accidentals only
1755 depend on other accidentals with the same pitch on the same staff, so
1756 no conflicts possible.
1758 This example shows two examples of the same music giving different
1759 accidentals depending on the order in which the notes occur in the
1762 @lilypond[singleline,fragment,verbatim]
1763 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1764 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1765 | <cis' c''> r | <c'' cis'> r |
1768 This problem can be solved by manually inserting @code{!} and @code{?}
1769 for the problematic notes.
1771 @node Expressive marks
1772 @section Expressive marks
1775 @c todo: should change ordering
1776 @c where to put text spanners, metronome marks,
1785 * Analysis brackets::
1787 * Fingering instructions::
1798 A slur indicates that notes are to be played bound or @emph{legato}.
1802 They are entered using parentheses:
1803 @lilypond[relative 1,fragment,verbatim,center]
1804 f( g)( a) a8 b( a4 g2 f4)
1809 @c TODO: should explain that ^( and _( set directions
1810 @c should set attachments with ^ and _ ?
1812 Slurs avoid crossing stems, and are generally attached to note heads.
1813 However, in some situations with beams, slurs may be attached to stem
1814 ends. If you want to override this layout you can do this through the
1815 object property @code{attachment} of @internalsref{Slur} in
1816 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1817 the attachment type of the left and right end points:
1819 @lilypond[fragment,relative,verbatim]
1821 \property Voice.Stem \set #'length = #5.5
1823 \property Voice.Slur \set #'attachment = #'(stem . stem)
1827 If a slur would strike through a stem or beam, the slur will be moved
1828 away upward or downward. If this happens, attaching the slur to the
1829 stems might look better:
1831 @lilypond[fragment,relative,verbatim]
1834 \property Voice.Slur \set #'attachment = #'(stem . stem)
1841 @cindex @code{\slurUp}
1843 @cindex @code{\slurDown}
1845 @cindex @code{\slurBoth}
1847 @cindex @code{\slurDotted}
1849 @cindex @code{\slurSolid}
1854 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1859 Producing nice slurs is a difficult problem, and LilyPond currently
1860 uses a simple, empiric method to produce slurs. In some cases, its
1864 @cindex Adjusting slurs
1866 @node Phrasing slurs
1867 @subsection Phrasing slurs
1869 @cindex phrasing slurs
1870 @cindex phrasing marks
1872 A phrasing slur (or phrasing mark) connects chords and is used to
1873 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1876 @lilypond[fragment,verbatim,center,relative]
1877 \time 6/4 c'\( d( e) f( e) d\)
1880 Typographically, the phrasing slur behaves almost exactly like a
1881 normal slur. However, they are treated as different objects. A
1882 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1883 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1884 @code{\phrasingSlurBoth}.
1886 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1887 will only affect normal slurs and not phrasing slurs.
1891 @cindex @code{\phrasingSlurUp}
1892 @code{\phrasingSlurUp},
1893 @cindex @code{\phrasingSlurDown}
1894 @code{\phrasingSlurDown},
1895 @cindex @code{\phrasingSlurBoth}
1896 @code{\phrasingSlurBoth},
1900 See also @internalsref{PhrasingSlur}, and
1901 @internalsref{PhrasingSlurEvent}.
1905 Phrasing slurs have the same limitations in their formatting as normal
1906 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1909 @subsection Breath marks
1911 Breath marks are entered using @code{\breathe}:
1914 @lilypond[fragment,relative,verbatim]
1918 The glyph of the breath mark can be tweaked by overriding the
1919 @code{text} property of the @code{BreathingSign} layout object with
1920 any markup text. For example,
1921 @lilypond[fragment,verbatim,relative]
1923 \property Voice.BreathingSign \override #'text
1924 = #(make-musicglyph-markup "scripts-rvarcomma")
1931 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1932 @inputfileref{input/regression,breathing-sign.ly}.
1935 @node Metronome marks
1936 @subsection Metronome marks
1939 @cindex beats per minute
1940 @cindex metronome marking
1942 Metronome settings can be entered as follows:
1944 \tempo @var{duration} = @var{perminute}
1947 In the MIDI output, they are interpreted as a tempo change, and in the
1948 paper output, a metronome marking is printed:
1949 @cindex @code{\tempo}
1950 @lilypond[fragment,verbatim]
1956 @internalsref{MetronomeChangeEvent}.
1961 @subsection Text spanners
1962 @cindex Text spanners
1964 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1965 are written as texts, and extended over many measures with dotted
1966 lines. You can create such texts using text spanners: attach
1967 @code{\startTextSpan} and @code{\stopTextSpan} to the
1968 start and ending note of the spanner.
1970 The string to be printed, as well as the style, is set through object
1973 @lilypond[fragment,relative,verbatim]
1975 \property Voice.TextSpanner \set #'direction = #-1
1976 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1977 c2\startTextSpan b c\stopTextSpan a }
1983 @internalsref{TextSpanEvent},
1984 @internalsref{TextSpanner}, and
1985 @inputfileref{input/regression,text-spanner.ly}.
1988 @node Analysis brackets
1989 @subsection Analysis brackets
1991 @cindex phrasing brackets
1992 @cindex musicological analysis
1993 @cindex note grouping bracket
1995 Brackets are used in musical analysis to indicate structure in musical
1996 pieces. LilyPond supports a simple form of nested horizontal brackets.
1997 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1998 @internalsref{Staff} context. A bracket is started with
1999 @code{\startGroup} and closed with @code{\stopGroup}:
2001 @lilypond[singleline,verbatim]
2002 \score { \notes \relative c'' {
2003 c4\startGroup\startGroup
2006 c4\stopGroup\stopGroup
2008 \paper { \translator {
2009 \StaffContext \consists "Horizontal_bracket_engraver"
2015 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
2016 @inputfileref{input/regression,note-group-bracket.ly}.
2020 @subsection Articulations
2021 @cindex Articulations
2023 @cindex articulations
2027 A variety of symbols can appear above and below notes to indicate
2028 different characteristics of the performance. They are added to a note
2029 by adding a dash and the character signifying the
2030 articulation. They are demonstrated here:
2032 @lilypondfile[notexidoc]{script-abbreviations.ly}
2034 The meanings of these shorthands can be changed: see
2035 @file{ly/script-init.ly} for examples.
2038 The script is automatically placed, but if you need to force
2039 directions, you can use @code{_} to force them down, or @code{^} to
2041 @lilypond[fragment, verbatim]
2045 Other symbols can be added using the syntax
2046 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2047 can be forced up or down using @code{^} and @code{_},
2050 @lilypond[verbatim,fragment,relative 2]
2051 c\fermata c^\fermata c_\fermata
2058 @cindex staccatissimo
2067 @cindex organ pedal marks
2076 @cindex prallmordent
2080 @cindex thumb marking
2085 @lilypondfile[notexidoc]{script-chart.ly}
2090 @cindex @code{\scriptUp}
2092 @cindex @code{\scriptDown}
2094 @cindex @code{\scriptBoth}
2099 @internalsref{ScriptEvent}, and @internalsref{Script}.
2103 These note ornaments appear in the printed output but have no
2104 effect on the MIDI rendering of the music.
2107 @node Fingering instructions
2108 @subsection Fingering instructions
2112 Fingering instructions can be entered using
2114 @var{note}-@var{digit}
2116 For finger changes, use markup texts:
2118 @lilypond[verbatim, singleline, fragment]
2119 c'4-1 c'4-2 c'4-3 c'4-4
2120 c'^\markup { \fontsize #-3 \number "2-3" }
2123 @cindex finger change
2128 You can use the thumb-script to indicate that a note should be
2129 played with your thumb (used in cello music):
2131 @lilypond[verbatim, singleline, fragment]
2132 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2133 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2136 Fingerings for chords can also be added to individual notes
2137 of the chord by adding them after the pitches:
2138 @lilypond[verbatim,singleline,fragment,relative=1]
2139 < c-1 e-2 g-3 b-5 > 4
2142 Setting @code{fingeringOrientations} will put fingerings next
2145 @lilypond[verbatim,singleline,fragment,relative=1]
2146 \property Voice.fingeringOrientations = #'(left down)
2147 <c-1 es-2 g-4 bes-5 > 4
2148 \property Voice.fingeringOrientations = #'(up right down)
2149 <c-1 es-2 g-4 bes-5 > 4
2154 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2158 @subsection Text scripts
2159 @cindex Text scripts
2161 It is possible to place arbitrary strings of text or markup text (see
2162 @ref{Text markup}) above or below notes by using a string:
2163 @code{c^"text"}. By default, these indications do not influence the
2164 note spacing, but by using the command @code{\fatText}, the widths
2165 will be taken into account:
2167 @lilypond[fragment,singleline,verbatim] \relative c' {
2168 c4^"longtext" \fatText c4_"longlongtext" c4 }
2171 It is possible to use @TeX{} commands in the strings, but this should
2172 be avoided because the exact dimensions of the string can then no
2178 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2184 @subsection Grace notes
2187 @c should have blurb about accaciatura / appogiatura
2189 @cindex @code{\grace}
2193 Grace notes are ornaments that are written out. The most common ones
2194 are acciaccatura, which should be played as very short. It is denoted
2195 by a slurred small note with a slashed stem. The appoggiatura is a
2196 grace note that takes a fixed fraction of the main note, is and
2197 denoted as a slurred note in small print without a slash.
2198 They are entered with the commands @code{\acciaccatura} and
2199 @code{\appoggiatura}, as demonstrated in the following example:
2202 @cindex appoggiatura
2203 @cindex acciaccatura
2205 @lilypond[relative=2,verbatim,fragment]
2206 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2207 \acciaccatura { g16[ f] } e4
2210 Both are special forms of the @code{\grace} command. By prefixing this
2211 keyword to a music expression, a new one is formed, which will be
2212 printed in a smaller font and takes up no logical time in a measure.
2213 @lilypond[relative=2,verbatim,fragment]
2215 \grace { c16[ d16] } c2 c4
2219 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2220 @code{\grace} command does not start a slur.
2222 Internally, timing for grace notes is done using a second, `grace'
2223 time. Every point in time consists of two rational numbers: one
2224 denotes the logical time, one denotes the grace timing. The above
2225 example is shown here with timing tuples:
2227 @lilypond[singleline]
2230 c4 \grace c16 c4 \grace {
2233 \new Lyrics \lyrics {
2236 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2237 \markup { (\fraction 1 4 , 0 ) } 4
2239 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2240 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2242 \markup { ( \fraction 2 4 , 0 ) }
2247 The placement of grace notes is synchronized between different staves.
2248 In the following example, there are two sixteenth graces notes for
2249 every eighth grace note:
2251 @lilypond[relative=2,verbatim,fragment]
2252 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2253 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2258 If you want to end a note with a grace, then the standard trick
2259 is to put the grace notes after a ``space note'', e.g.
2260 @lilypond[fragment,verbatim, relative=2]
2263 { s2 \grace { c16[ d] } } >>
2269 By adjusting the duration of the skip note (here it is a half-note),
2270 the space between the main-note and the grace is adjusted.
2273 A @code{\grace} section will introduce special typesetting settings,
2274 for example, to produce smaller type, and set directions. Hence, when
2275 introducing layout tweaks, they should be inside the grace section,
2277 @lilypond[fragment,verbatim,relative 1]
2280 \property Voice.Stem \override #'direction = #-1
2282 \property Voice.Stem \revert #'direction
2289 The overrides should also be reverted inside the grace section.
2291 If the layout of grace sections must be changed throughout the music,
2292 then this can be accomplished through the function
2293 @code{add-grace-property}. The following example
2294 undefines the Stem direction grace section, so stems do not always
2299 #(add-grace-property "Voice" Stem direction '())
2305 Another option is to change the variables @code{startGraceMusic},
2306 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2307 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2308 @code{stopAppoggiaturaMstuic}. More information is in the file
2309 @file{ly/grace-init.ly}
2314 @internalsref{GraceMusic}.
2318 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2320 A score that starts with an @code{\grace} section needs an explicit
2321 @code{\context Voice} declaration, otherwise the main note and grace
2322 note end up on different staves.
2324 Grace note synchronization can also lead to surprises. Staff notation,
2325 such as key signatures, barlines, etc. are also synchronized. Take
2326 care when you mix staves with grace notes and staves without, for example,
2328 @lilypond[relative=2,verbatim,fragment]
2329 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2330 \new Staff { c4 \bar "|:" d4 } >>
2333 Grace sections should only be used within sequential music
2334 expressions. Nesting or juxtaposing grace sections is not supported,
2335 and might produce crashes or other errors.
2337 Overriding settings cannot be done in separate styles for appoggiatura
2342 @subsection Glissando
2345 @cindex @code{\glissando}
2347 A glissando is a smooth change in pitch. It is denoted by a line or a
2348 wavy line between two notes.
2352 A glissando line can be requested by attaching a @code{\glissando} to
2355 @lilypond[fragment,relative,verbatim]
2361 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2366 Adding additional texts (such as @emph{gliss.}) is not supported.
2370 @subsection Dynamics
2383 @cindex @code{\ffff}
2393 Absolute dynamic marks are specified using an variable after a
2394 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2395 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2396 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2397 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2399 @lilypond[verbatim,singleline,fragment,relative]
2400 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2406 @cindex @code{\decr}
2407 @cindex @code{\rced}
2414 A crescendo mark is started with @code{\<} and terminated with
2415 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2416 with @code{\!}. Because these marks are bound to notes, if you must
2417 use spacer notes if multiple marks during one note are needed:
2419 @lilypond[fragment,verbatim,center,quote]
2420 c''\< c''\! d''\decr e''\rced
2421 << f''1 { s4 s4\< s4\! \> s4\! } >>
2423 This may give rise to very short hairpins. Use @code{minimum-length}
2424 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2428 \property Staff.Hairpin \override #'minimum-length = #5
2431 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2432 is an example how to do it:
2434 @lilypond[fragment,relative=2,verbatim]
2435 c4 \cresc c4 c c c \endcresc c4
2441 You can also supply your own texts:
2442 @lilypond[fragment,relative,verbatim]
2444 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2445 \property Voice.crescendoSpanner = #'dashed-line
2455 @cindex @code{\dynamicUp}
2457 @cindex @code{\dynamicDown}
2458 @code{\dynamicDown},
2459 @cindex @code{\dynamicBoth}
2460 @code{\dynamicBoth}.
2462 @cindex direction, of dynamics
2466 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2467 @internalsref{AbsoluteDynamicEvent}.
2469 Dynamics are objects of @internalsref{DynamicText} and
2470 @internalsref{Hairpin}. Vertical positioning of these symbols is
2471 handled by the @internalsref{DynamicLineSpanner} object.
2473 If you want to adjust padding or vertical direction of the dynamics, you
2474 must set properties for the @internalsref{DynamicLineSpanner} object.
2482 @cindex @code{\repeat}
2485 Repetition is a central concept in music, and multiple notations exist
2486 for repetitions. In LilyPond, most of these notations can be captured
2487 in a uniform syntax. One of the advantages is that they can be
2488 rendered in MIDI accurately.
2490 The following types of repetition are supported:
2494 Repeated music is fully written (played) out. Useful for MIDI
2495 output, and entering repetitive music.
2498 This is the normal notation: Repeats are not written out, but
2499 alternative endings (voltas) are printed, left to right.
2503 Alternative endings are written stacked. This has limited use but may be
2504 used to typeset two lines of lyrics in songs with repeats, see
2505 @inputfileref{input,star-spangled-banner.ly}.
2512 Make beat or measure repeats. These look like percent signs.
2518 * Repeats and MIDI::
2519 * Manual repeat commands::
2521 * Tremolo subdivisions::
2526 @subsection Repeat syntax
2530 LilyPond has one syntactic construct for specifying different types of
2531 repeats. The syntax is
2534 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2537 If you have alternative endings, you may add
2538 @cindex @code{\alternative}
2540 \alternative @code{@{} @var{alternative1}
2542 @var{alternative3} @dots{} @code{@}}
2544 where each @var{alternative} is a music expression. If you do not
2545 give enough alternatives for all of the repeats, then the first
2546 alternative is assumed to be played more than once.
2548 Normal notation repeats are used like this:
2549 @lilypond[fragment,verbatim,relative 1]
2551 \repeat volta 2 { c4 d e f }
2552 \repeat volta 2 { f e d c }
2555 With alternative endings:
2556 @lilypond[fragment,verbatim,relative 1]
2558 \repeat volta 2 {c4 d e f}
2559 \alternative { {d2 d} {f f,} }
2563 @lilypond[fragment,verbatim,relative 1]
2566 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2567 \alternative { { g4 g g } { a | a a a a | b2. } }
2573 If you do a nested repeat like
2582 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2583 belongs. This ambiguity is resolved by always having the
2584 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2585 it is advisable to use braces in such situations.
2588 @node Repeats and MIDI
2589 @subsection Repeats and MIDI
2591 @cindex expanding repeats
2593 For instructions on how to unfold repeats for MIDI output, see the
2594 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2599 Timing information is not remembered at the start of an alternative,
2600 so after a repeat timing information must be reset by hand, for
2601 example by setting @code{Score.measurePosition} or entering
2602 @code{\partial}. Similarly, slurs or ties are also not repeated.
2605 @node Manual repeat commands
2606 @subsection Manual repeat commands
2608 @cindex @code{repeatCommands}
2610 The property @code{repeatCommands} can be used to control the layout of
2611 repeats. Its value is a Scheme list of repeat commands, where each repeat
2615 @item the symbol @code{start-repeat},
2616 which prints a @code{|:} bar line,
2617 @item the symbol @code{end-repeat},
2618 which prints a @code{:|} bar line,
2619 @item the list @code{(volta @var{text})},
2620 which prints a volta bracket saying @var{text}: The text can be specified as
2621 a text string or as a markup text, see @ref{Text markup}. Do not
2622 forget to change the font, as the default number font does not contain
2623 alphabetic characters. Or,
2624 @item the list @code{(volta #f)}, which
2625 stops a running volta bracket:
2628 @lilypond[verbatim, fragment,relative 2]
2630 \property Score.repeatCommands = #'((volta "93") end-repeat)
2632 \property Score.repeatCommands = #'((volta #f))
2639 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2640 @internalsref{VoltaRepeatedMusic},
2641 @internalsref{UnfoldedRepeatedMusic}, and
2642 @internalsref{FoldedRepeatedMusic}.
2644 @node Tremolo repeats
2645 @subsection Tremolo repeats
2646 @cindex tremolo beams
2648 To place tremolo marks between notes, use @code{\repeat} with tremolo
2650 @lilypond[verbatim,center,singleline]
2652 \context Voice \notes\relative c' {
2653 \repeat "tremolo" 8 { c16 d16 }
2654 \repeat "tremolo" 4 { c16 d16 }
2655 \repeat "tremolo" 2 { c16 d16 }
2656 \repeat "tremolo" 4 c16
2663 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2664 are @internalsref{StemTremolo}s. The music expression is
2665 @internalsref{TremoloEvent}.
2670 The single stem tremolo must be entered without @code{@{} and
2673 @node Tremolo subdivisions
2674 @subsection Tremolo subdivisions
2675 @cindex tremolo marks
2676 @cindex @code{tremoloFlags}
2678 Tremolo marks can be printed on a single note by adding
2679 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2680 A @var{length} value of 8 gives one line across the note stem. If the
2681 length is omitted, then then the last value (stored in
2682 @code{Voice.tremoloFlags}) is used:
2684 @lilypond[verbatim,fragment,center]
2685 c'2:8 c':32 | c': c': |
2688 @c [TODO : stok is te kort bij 32en]
2692 Tremolos in this style do not carry over into the MIDI output.
2695 @node Measure repeats
2696 @subsection Measure repeats
2698 @cindex percent repeats
2699 @cindex measure repeats
2701 In the @code{percent} style, a note pattern can be repeated. It is
2702 printed once, and then the pattern is replaced with a special sign.
2703 Patterns of a one and two measures are replaced by percent-like signs,
2704 patterns that divide the measure length are replaced by slashes:
2706 @lilypond[verbatim,singleline]
2707 \context Voice { \repeat "percent" 4 { c'4 }
2708 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2714 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2715 @internalsref{PercentRepeatedMusic}, and
2716 @internalsref{DoublePercentRepeat}.
2720 @node Rhythmic music
2721 @section Rhythmic music
2723 Sometimes you might want to show only the rhythm of a melody. This
2724 can be done with the rhythmic staff. All pitches of notes on such a
2725 staff are squashed, and the staff itself has a single line:
2727 @lilypond[fragment,relative,verbatim]
2728 \context RhythmicStaff {
2730 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2735 * Percussion staves::
2736 * Percussion MIDI output::
2739 @node Percussion staves
2740 @subsection Percussion staves
2744 A percussion part for more than one instrument typically uses a
2745 multiline staff where each position in the staff refers to one piece
2750 Percussion staves are typeset with help of a set of Scheme
2751 functions. The system is based on the general MIDI drum-pitches.
2752 Include @file{drumpitch-init.ly} to use drum pitches. This file
2753 defines the pitches from the Scheme variable @code{drum-pitch-names},
2754 the definition of which can be read in @file{scm/drums.scm}. Each
2755 piece of percussion has a full name and an abbreviated name, and either
2756 the full name or the abbreviation may be used in input files.
2758 To typeset the music on a staff apply the function @code{drums->paper}
2759 to the percussion music. This function takes a list of percussion
2760 instrument names, notehead scripts and staff positions (that is:
2761 pitches relative to the C-clef) and transforms the input
2762 music by moving the pitch, changing the notehead and (optionally)
2765 @lilypond[singleline,verbatim,quote]
2766 \include "drumpitch-init.ly"
2767 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2768 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2770 \apply #(drums->paper 'drums) \context Staff <<
2772 \new Voice { \voiceOne \up }
2773 \new Voice { \voiceTwo \down }
2778 In the above example the music was transformed using the list @code{'drums}.
2779 The following lists are defined in @file{scm/drums.scm}:
2782 to typeset a typical drum kit on a five-line staff:
2785 \include "drumpitch-init.ly"
2786 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2787 bd sn ss tomh tommh tomml toml tomfh tomfl }
2788 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2789 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2792 \apply #(drums->paper 'drums) \context Staff <<
2796 \context Lyrics \nam
2799 linewidth = 100.0\mm
2802 \remove Bar_engraver
2803 \remove Time_signature_engraver
2804 minimumVerticalExtent = #'(-4.0 . 5.0)
2808 \remove Stem_engraver
2814 The drum scheme supports six different toms. When there fewer toms, simply
2815 select the toms that produce the desired result, i.e. to get toms on
2816 the three middle lines you use @code{tommh}, @code{tomml} and
2819 Because general MIDI does not contain rimshots the sidestick is used
2820 for this purpose instead.
2822 to typeset timbales on a two line staff:
2824 @lilypond[singleline]
2825 \include "drumpitch-init.ly"
2826 nam = \lyrics { timh ssh timl ssl cb }
2827 mus = \notes { timh ssh timl ssl cb s16 }
2830 \apply #(drums->paper 'timbales) \context Staff <<
2834 \context Lyrics \nam
2839 \remove Bar_engraver
2840 \remove Time_signature_engraver
2841 StaffSymbol \override #'line-count = #2
2842 StaffSymbol \override #'staff-space = #2
2843 minimumVerticalExtent = #'(-3.0 . 4.0)
2847 \remove Stem_engraver
2854 to typeset congas on a two line staff:
2856 @lilypond[singleline]
2857 \include "drumpitch-init.ly"
2858 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2859 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2862 \apply #(drums->paper 'congas) \context Staff <<
2866 \context Lyrics \nam
2871 \remove Bar_engraver
2872 \remove Time_signature_engraver
2873 StaffSymbol \override #'line-count = #2
2874 StaffSymbol \override #'staff-space = #2
2875 minimumVerticalExtent = #'(-3.0 . 4.0)
2879 \remove Stem_engraver
2885 to typeset bongos on a two line staff:
2887 @lilypond[singleline]
2888 \include "drumpitch-init.ly"
2889 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2890 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2893 \apply #(drums->paper 'bongos) \context Staff <<
2897 \context Lyrics \nam
2902 \remove Bar_engraver
2903 \remove Time_signature_engraver
2904 StaffSymbol \override #'line-count = #2
2905 StaffSymbol \override #'staff-space = #2
2906 minimumVerticalExtent = #'(-3.0 . 4.0)
2910 \remove Stem_engraver
2916 to typeset all kinds of simple percussion on one line staves:
2917 @lilypond[singleline]
2918 \include "drumpitch-init.ly"
2919 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2920 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2923 \apply #(drums->paper 'percussion) \context Staff <<
2927 \context Lyrics \nam
2932 \remove Bar_engraver
2933 \remove Time_signature_engraver
2934 StaffSymbol \override #'line-count = #1
2935 minimumVerticalExtent = #'(-2.0 . 3.0)
2939 \remove Stem_engraver
2946 If you do not like any of the predefined lists you can define your own
2947 list at the top of your file:
2949 @lilypond[singleline, verbatim]
2950 #(set-drum-kit 'mydrums `(
2951 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2952 (snare default #f ,(ly:make-pitch 0 1 0))
2953 (hihat cross #f ,(ly:make-pitch 0 5 0))
2954 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2955 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2957 \include "drumpitch-init.ly"
2958 up = \notes { hh8 hh hh hh hhp4 hhp }
2959 down = \notes { bd4 sn bd toml8 toml }
2961 \apply #(drums->paper 'mydrums) \context Staff <<
2963 \new Voice { \voiceOne \up }
2964 \new Voice { \voiceTwo \down }
2969 To use a modified existing list, one can prepend modifications to the
2973 #(set-drum-kit 'mydrums (append `(
2974 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2975 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2976 ) (get-drum-kit 'drums)))
2979 You can easily combine percussion notation with pitched notation.
2980 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2981 names, so you will have to reinclude @file{nederlands.ly} after the
2982 drum-pattern-definitions to enter normal notes:
2984 @lilypond[singleline,verbatim]
2985 \include "drumpitch-init.ly"
2986 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2987 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2988 \include "nederlands.ly"
2989 bass = \notes \transpose c c,, { a4. e8 r e g e }
2992 \apply #(drums->paper 'drums) \new Staff <<
2994 \new Voice { \voiceOne \up }
2995 \new Voice { \voiceTwo \down }
2997 \new Staff { \clef "F_8" \bass }
3002 @node Percussion MIDI output
3003 @subsection Percussion MIDI output
3005 In order to produce correct MIDI output you need to produce two score
3006 blocks---one for the paper and one for the MIDI output. To use the
3007 percussion channel you set the property @code{instrument} to
3008 @code{'drums}. Because the drum-pitches themselves are similar to the
3009 general MIDI pitches all you have to do is to insert the voices with
3010 none of the scheme functions to get the correct MIDI output:
3014 \apply #(drums->paper 'mydrums) \context Staff <<
3023 \property Staff.instrument = #'drums
3033 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3034 temporary implementation.
3038 @section Piano music
3040 Piano staves are two normal staves coupled with a brace. The staves
3041 are largely independent, but sometimes voices can cross between the
3042 two staves. The same notation is also used for harps and other key
3043 instruments. The @internalsref{PianoStaff} is especially built to
3044 handle this cross-staffing behavior. In this section we discuss the
3045 @internalsref{PianoStaff} and some other pianistic peculiarities.
3049 * Automatic staff changes::
3050 * Manual staff switches::
3053 * Staff switch lines::
3058 There is no support for putting chords across staves. You can get
3059 this result by increasing the length of the stem in the lower stave so
3060 it reaches the stem in the upper stave, or vice versa. An example is
3061 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3063 Dynamics are not centered, but kludges do exist. See
3064 @inputfileref{input/template,piano-dynamics.ly}.
3066 @cindex cross staff stem
3067 @cindex stem, cross staff
3070 @c fixme: should have hyperlinks as well.
3076 @node Automatic staff changes
3077 @subsection Automatic staff changes
3078 @cindex Automatic staff changes
3080 Voices can switch automatically between the top and the bottom
3081 staff. The syntax for this is
3083 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3085 The two staffs of the piano staff must be named @code{up} and
3088 The autochanger switches on basis of pitch (central C is the turning
3089 point), and it looks ahead skipping over rests to switch in
3090 advance. Here is a practical example:
3092 @lilypond[verbatim,singleline,quote]
3093 \score { \notes \context PianoStaff <<
3094 \context Staff = "up" {
3095 \autochange Staff \context Voice = VA << \relative c' {
3096 g4 a b c d r4 a g } >> }
3097 \context Staff = "down" {
3104 In this example, spacer rests are used to prevent the bottom staff from
3105 terminating too soon.
3110 @internalsref{AutoChangeMusic}.
3114 The staff switches often do not end up in optimal places. For high
3115 quality output, staff switches should be specified manually.
3118 @node Manual staff switches
3119 @subsection Manual staff switches
3121 @cindex manual staff switches
3122 @cindex staff switch, manual
3124 Voices can be switched between staves manually, using the following command:
3126 \translator Staff = @var{staffname} @var{music}
3130 The string @var{staffname} is the name of the staff. It switches the
3131 current voice from its current staff to the Staff called
3132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3141 Pianos have pedals that alter the way sound are produced. Generally, a
3142 piano has three pedals, sustain, una corda, and sostenuto.
3146 Piano pedal instruction can be expressed by attaching
3147 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3148 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3151 @lilypond[fragment,verbatim]
3152 c'4\sustainDown c'4\sustainUp
3155 What is printed can be modified by setting @code{pedal@var{X}Strings},
3156 where @var{X} is one of the pedal types: @code{Sustain},
3157 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3158 documentation of @internalsref{SustainPedal} for more information.
3160 Pedals can also be indicated by a sequence of brackets, by setting the
3161 @code{pedalSustainStyle} property to @code{bracket} objects:
3163 @lilypond[fragment,verbatim]
3164 \property Staff.pedalSustainStyle = #'bracket
3165 c''4\sustainDown d''4 e''4
3166 a'4\sustainUp\sustainDown
3167 f'4 g'4 a'4\sustainUp
3170 A third style of pedal notation is a mixture of text and brackets,
3171 obtained by setting @code{pedal-type} to @code{mixed}:
3173 @lilypond[fragment,verbatim]
3174 \property Staff.pedalSustainStyle = #'mixed
3175 c''4\sustainDown d''4 e''4
3176 c'4\sustainUp\sustainDown
3177 f'4 g'4 a'4\sustainUp
3180 The default `*Ped' style for sustain and damper pedals corresponds to
3181 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3182 for a sostenuto pedal:
3184 @lilypond[fragment,verbatim]
3185 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3188 For fine-tuning of the appearance of a pedal bracket, the properties
3189 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3190 @code{PianoPedalBracket} objects (see
3191 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3192 bracket may be extended to the end of the note head:
3194 @lilypond[fragment,verbatim]
3195 \property Staff.PianoPedalBracket \override
3196 #'shorten-pair = #'(0 . -1.0)
3197 c''4\sostenutoDown d''4 e''4 c'4
3198 f'4 g'4 a'4\sostenutoUp
3202 @subsection Arpeggio
3205 @cindex broken arpeggio
3206 @cindex @code{\arpeggio}
3208 You can specify an arpeggio sign on a chord by attaching an
3209 @code{\arpeggio} to a chord:
3212 @lilypond[fragment,relative,verbatim]
3216 When an arpeggio crosses staves, you attach an arpeggio to the chords
3217 in both staves, and set
3218 @internalsref{PianoStaff}.@code{connectArpeggios}:
3220 @lilypond[fragment,relative,verbatim]
3221 \context PianoStaff <<
3222 \property PianoStaff.connectArpeggios = ##t
3223 \new Staff { <c' e g c>\arpeggio }
3224 \new Staff { \clef bass <c,, e g>\arpeggio }
3228 The direction of the arpeggio is sometimes denoted by adding an
3229 arrowhead to the wiggly line. This can be typeset by setting
3230 @code{arpeggio-direction}:
3232 @lilypond[fragment,relative,verbatim]
3234 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3236 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3241 A square bracket on the left indicates that the player should not
3242 arpeggiate the chord. To draw these brackets, set the
3243 @code{molecule-callback} property of @code{Arpeggio} or
3244 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3245 @code{\arpeggio} statements within the chords as before:
3247 @lilypond[fragment,relative,verbatim]
3248 \property PianoStaff.Arpeggio \override
3249 #'molecule-callback = \arpeggioBracket
3255 @cindex @code{\arpeggioBracket}
3256 @code{\arpeggioBracket},
3257 @cindex @code{\arpeggio}
3262 @internalsref{ArpeggioEvent} music expressions lead to
3263 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3264 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3268 It is not possible to mix connected arpeggios and unconnected
3269 arpeggios in one @internalsref{PianoStaff} at the same time.
3271 @node Staff switch lines
3272 @subsection Staff switch lines
3275 @cindex follow voice
3276 @cindex staff switching
3279 @cindex @code{followVoice}
3281 Whenever a voice switches to another staff a line connecting the notes
3282 can be printed automatically. This is enabled if the property
3283 @code{PianoStaff.followVoice} is set to true:
3285 @lilypond[fragment,relative,verbatim]
3286 \context PianoStaff <<
3287 \property PianoStaff.followVoice = ##t
3288 \context Staff \context Voice {
3290 \translator Staff=two
3293 \context Staff=two { \clef bass \skip 1*2 }
3297 The associated object is @internalsref{VoiceFollower}.
3301 @cindex @code{\showStaffSwitch}
3302 @code{\showStaffSwitch},
3303 @cindex @code{\hideStaffSwitch}
3304 @code{\hideStaffSwitch}.
3308 @section Vocal music
3310 This section discusses how to enter and print lyrics.
3314 * The Lyrics context::
3319 @node Entering lyrics
3320 @subsection Entering lyrics
3324 @cindex @code{\lyrics}
3327 Lyrics are entered in a special input mode. This mode is is introduced
3328 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3329 punctuation and accents without any hassle. Syllables are entered like
3330 notes, but with pitches replaced by text. For example,
3332 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3335 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3336 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3337 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3338 any 8-bit character with ASCII code over 127, or a two-character
3339 combination of a backslash followed by one of @code{`}, @code{'},
3340 @code{"}, or @code{^}.
3342 Subsequent characters of a word can be any character that is not a digit
3343 and not white space. One important consequence of this is that a word
3344 can end with @code{@}}. The following example is usually a bug. The
3345 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3347 \lyrics @{ twinkle@}
3350 @cindex @code{\property}, in @code{\lyrics}
3351 Similarly, a period following a alphabetic sequence, is included in the
3352 resulting string. As a consequence, spaces must be inserted around
3353 @code{\property} commands:
3355 \property Lyrics . LyricText \set #'font-shape = #'italic
3359 @cindex spaces, in lyrics
3360 @cindex quotes, in lyrics
3362 Any @code{_} character which appears in an unquoted word is converted
3363 to a space. This provides a mechanism for introducing spaces into words
3364 without using quotes. Quoted words can also be used in Lyrics mode to
3365 specify words that cannot be written with the above rules:
3368 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3372 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3377 These will be attached to the end of the first syllable.
3379 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3380 as a separate word between syllables. The hyphen will have variable
3381 length depending on the space between the syllables and it will be
3382 centered between the syllables.
3387 When a lyric is sung over many notes (this is called a melisma), this is
3388 indicated with a horizontal line centered between a syllable and the
3389 next one. Such a line is called an extender line, and it is entered as
3394 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3395 @internalsref{ExtenderEvent}.
3399 The definition of lyrics mode is too complex.
3401 @node The Lyrics context
3402 @subsection The Lyrics context
3404 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3406 \context Lyrics \lyrics @dots{}
3409 @cindex automatic syllable durations
3410 @cindex @code{\addlyrics}
3411 @cindex lyrics and melodies
3413 This will place the lyrics according to the durations that were
3414 entered. The lyrics can also be aligned under a given melody
3415 automatically. In this case, it is no longer necessary to enter the
3416 correct duration for each syllable. This is achieved by combining the
3417 melody and the lyrics with the @code{\addlyrics} expression:
3421 \context Lyrics @dots{}
3424 @cindex staff order, with @code{\addlyrics}
3426 Normally, this will put the lyrics below the staff. For different or
3427 more complex orderings, the best way is to setup the hierarchy of
3428 staves and lyrics first, e.g.
3430 \context ChoirStaff \notes <<
3431 \context Lyrics = sopr @{ s1 @}
3432 \context Staff = soprStaff @{ s1 @}
3433 \context Lyrics = tenor @{ s1 @}
3434 \context Staff = tenorStaff @{ s1 @}
3437 and then combine the appropriate melodies and lyric lines:
3440 \context Staff = soprStaff @emph{the music}
3441 \context Lyrics = sopr @emph{the lyrics}
3444 putting both together, you would get
3446 \context ChoirStaff \notes <<
3447 \context Lyrics = @dots{}
3448 \context Staff = @dots{}
3454 @cindex choral score
3456 A complete example of a SATB score setup is in the file
3457 @inputfileref{input/template,satb.ly}.
3461 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3462 @inputfileref{input/template,satb.ly}.
3466 @code{\addlyrics} is not automatic enough: melismata are not detected
3467 automatically, and melismata are not stopped when they hit a rest. A
3468 melisma on the last note in a melody is not printed.
3472 @subsection More stanzas
3475 @cindex phrasing, in lyrics
3478 The lyrics should be aligned with the note heads of the melody. To
3479 achieve this, each line of lyrics should be marked to correspond with
3482 To this end, give the @internalsref{Voice} context an identity:
3484 \context Voice = duet @{
3489 Then set the @internalsref{LyricsVoice} contexts to names starting with
3490 that identity followed by a dash. In the preceding example, the
3491 @internalsref{Voice} identity is @code{duet}, so the identities of the
3492 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3494 \context LyricsVoice = "duet-1" @{
3495 Hi, my name is bert. @}
3496 \context LyricsVoice = "duet-2" @{
3497 Ooooo, ch\'e -- ri, je t'aime. @}
3500 The complete example is shown here:
3501 @lilypond[singleline,verbatim]
3504 \notes \relative c'' \context Voice = duet { \time 3/4
3506 \lyrics \context Lyrics <<
3507 \context LyricsVoice = "duet-1" {
3508 \property LyricsVoice . stanza = "Bert"
3509 Hi, my name is bert. }
3510 \context LyricsVoice = "duet-2" {
3511 \property LyricsVoice . stanza = "Ernie"
3512 Ooooo, ch\'e -- ri, je t'aime. }
3517 @cindex stanza number
3518 @cindex singer's names
3519 @cindex name of singer
3521 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3524 \property LyricsVoice . stanza = "Bert"
3526 \property LyricsVoice . stanza = "Ernie"
3529 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3530 prevent @code{LyricsVoice.stanza} being interpreted as a single
3533 Names of the singers should be added using @code{LyricsVoice
3534 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3535 annotations for staves.
3537 To make empty spaces in lyrics, use @code{\skip}.
3545 Input for lyrics introduces a syntactical ambiguity:
3552 is interpreted as assigning a string identifier @code{\foo} such that
3553 it contains @code{"bar"}. However, it could also be interpreted as
3554 making or a music identifier @code{\foo} containing the syllable
3555 `bar'. The force the latter interpretation, use
3565 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3566 for a given voice in a part of music. It also may denote the pitch
3567 range that a musical instrument is capable of playing. Most musical
3568 instruments have their ambitus standardized (or at least there is
3569 agreement upon the minimal ambitus of a particular type of
3570 instrument), such that a composer or arranger of a piece of music can
3571 easily meet the ambitus constraints of the targeted instrument.
3572 However, the ambitus of the human voice depends on individual
3573 physiological state, including education and training of the voice.
3574 Therefore, a singer potentially has to check for each piece of music
3575 if the ambitus of that piece meets his individual capabilities. This
3576 is why the ambitus of a piece may be of particular value to vocal
3579 The ambitus is typically notated on a per-voice basis at the very
3580 beginning of a piece, e.g. nearby the initial clef or time signature of
3581 each staff. The range is graphically specified by two noteheads, that
3582 represent the minimum and maximum pitch. Some publishers use a textual
3583 notation: they put the range in words in front of the corresponding
3584 staff. LilyPond only supports the graphical ambitus notation.
3586 To apply, add the @internalsref{Ambitus_engraver} to the
3587 @internalsref{Voice} context, i.e.
3593 \consists Ambitus_engraver
3598 This results in the following output:
3599 @lilypond[singleline]
3600 upper = \notes \relative c {
3603 as'' c e2 bes f cis d4 e f2 g
3605 lower = \notes \relative c {
3608 e'4 b g a c es fis a cis b a g f e d2
3611 \context ChoirStaff {
3613 \new Staff { \upper }
3614 \new Staff { \lower }
3620 \consists Ambitus_engraver
3626 If you have multiple voices in a single staff, and you want a single
3627 ambitus per staff rather than per each voice, then add the
3628 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3629 rather than to the @internalsref{Voice} context.
3631 It is possible to tune individual ambituses for multiple voices on a
3632 single staff, for example by erasing or shifting them horizontally. An
3633 example is in @inputfileref{input/test,ambitus-mixed.ly}
3637 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
3638 @inputfileref{input/test,ambitus-mixed.ly}.
3642 There is no collision handling in the case of multiple per-voice
3648 Tablature notation is used for notating music for plucked string
3649 instruments. It notates pitches not by using note heads, but by
3650 indicating on which string and fret a note must be played. LilyPond
3651 offers limited support for tablature.
3654 * Tablatures basic::
3655 * Non-guitar tablatures::
3658 @node Tablatures basic
3659 @subsection Tablatures basic
3660 @cindex Tablatures basic
3662 The string number associated to a note is given as a backslash
3663 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3664 string. By default, string 1 is the highest one, and the tuning
3665 defaults to the standard guitar tuning (with 6 strings). The notes
3666 are printed as tablature, by using @internalsref{TabStaff} and
3667 @internalsref{TabVoice} contexts:
3669 @lilypond[fragment,verbatim]
3670 \notes \context TabStaff {
3676 When no string is specified, the first string that does not give a
3677 fret number less than @code{minimumFret} is selected. The default
3678 value for @code{minimumFret} is 0:
3682 e8 fis gis a b cis' dis' e'
3683 \property TabStaff.minimumFret = #8
3684 e8 fis gis a b cis' dis' e'
3689 e8 fis gis a b cis' dis' e'
3690 \property TabStaff.minimumFret = #8
3691 e8 fis gis a b cis' dis' e'
3694 \context StaffGroup <<
3695 \context Staff { \clef "G_8" \frag }
3696 \context TabStaff { \frag }
3703 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3704 @internalsref{StringNumberEvent}.
3708 Chords are not handled in a special way, and hence the automatic
3709 string selector may easily select the same string to two notes in a
3713 @node Non-guitar tablatures
3714 @subsection Non-guitar tablatures
3715 @cindex Non-guitar tablatures
3717 You can change the number of strings, by setting the number of lines
3718 in the @internalsref{TabStaff} (the @code{line-count} property of
3719 @internalsref{TabStaff} can only be changed using
3720 @code{\applyoutput}, for more information, see @ref{Tuning
3723 You can change the tuning of the strings. A string tuning is given as
3724 a Scheme list with one integer number for each string, the number
3725 being the pitch (measured in semitones relative to central C) of an
3726 open string. The numbers specified for @code{stringTuning} are the
3727 numbers of semitones to subtract or add, starting the specified pitch
3728 by default middle C, in string order. Thus, the notes are e, a, d, and
3731 @lilypond[fragment,verbatim]
3732 \context TabStaff <<
3734 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
3736 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3739 a,4 c' a e' e c' a e'
3744 It is possible to change the Scheme function to format the tablature
3745 note text. The default is @code{fret-number-tablature-format}, which
3746 uses the fret number. For instruments that do not use this notation,
3747 you can create a special tablature formatting function. This function
3748 takes three argument: string number, string tuning and note pitch.
3752 No guitar special effects have been implemented.
3757 @section Chord names
3760 LilyPond has support for both printing chord names. Chords may be
3761 entered in musical chord notation, i.e. @code{< .. >}, but they can
3762 also be entered by name. Internally, the chords are represented as a
3763 set of pitches, so they can be transposed:
3766 @lilypond[verbatim,singleline]
3767 twoWays = \notes \transpose c c' {
3777 << \context ChordNames \twoWays
3778 \context Voice \twoWays >> }
3781 This example also shows that the chord printing routines do not try to
3782 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3788 * Printing chord names::
3793 @subsection Chords mode
3796 Chord mode is a mode where you can input sets of pitches using common
3797 names. It is introduced by the keyword @code{\chords}.
3798 In chords mode, a chord is entered by the root, which is entered
3799 like a common pitch:
3800 @lilypond[fragment,verbatim,quote, relative=1]
3801 \chords { es4. d8 c2 }
3806 Other chords may be entered by suffixing a colon, and introducing a
3807 modifier, and optionally, a number:
3809 @lilypond[fragment,verbatim,quote]
3810 \chords { e1:m e1:7 e1:m7 }
3812 The first number following the root is taken to be the `type' of the
3813 chord, thirds are added to the root until it reaches the specified
3815 @lilypond[fragment,verbatim]
3816 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3819 @cindex root of chord
3820 @cindex additions, in chords
3821 @cindex removals, in chords
3823 More complex chords may also be constructed adding separate steps
3824 to a chord. Additions are added after the number following
3825 the colon, and are separated by dots:
3827 @lilypond[verbatim,fragment,quote]
3828 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3830 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3832 @lilypond[verbatim,fragment,quote]
3833 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3835 Removals are specified similarly, and are introduced by a caret. They
3836 must come after the additions:
3837 @lilypond[verbatim,fragment]
3838 \chords { c^3 c:7^5 c:9^3.5 }
3841 Modifiers can be used to change pitches. The following modifiers are
3845 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3847 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3850 is the augmented chord. This modifier raises the 5th step.
3852 is the major 7th chord. This modifier raises the 7th step if present.
3854 is the suspended 4th or 2nd. This modifier removes the 3rd
3855 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3858 Modifiers can be mixed with additions:
3859 @lilypond[verbatim,fragment]
3860 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3863 @cindex modifiers, in chords.
3870 Since an unaltered 11 does not sound good when combined with an
3871 unaltered 13, the 11 is removed in this case (unless it is added
3874 @lilypond[fragment,verbatim]
3875 \chords { c:13 c:13.11 c:m13 }
3880 An inversion (putting one pitch of the chord on the bottom), as well
3881 as bass notes, can be specified by appending
3882 @code{/}@var{pitch} to the chord:
3883 @lilypond[fragment,verbatim,center]
3884 \chords { c1 c/g c/f }
3888 A bass note can be added instead of transposed out of the chord,
3889 by using @code{/+}@var{pitch}.
3891 @lilypond[fragment,verbatim,center]
3892 \chords { c1 c/+g c/+f }
3895 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3896 of the commands continue to work, for example, @code{r} and
3897 @code{\skip} can be used to insert rests and spaces, and
3898 @code{\property} may be used to change various settings.
3904 Each step can only be present in a chord once. The following
3905 simply produces the augmented chord, since @code{5+} is interpreted
3908 @lilypond[verbatim,fragment]
3909 \chords { c:5.5-.5+ }
3913 @node Printing chord names
3914 @subsection Printing chord names
3916 @cindex printing chord names
3920 For displaying printed chord names, use the @internalsref{ChordNames} context.
3921 The chords may be entered either using the notation
3922 described above, or directly using @code{<} and @code{>}:
3924 @lilypond[verbatim,singleline]
3926 \chords {a1 b c} <d' f' a'> <e' g' b'>
3930 \context ChordNames \scheme
3931 \context Staff \scheme
3936 You can make the chord changes stand out by setting
3937 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3938 display chord names when there is a change in the chords scheme and at
3939 the start of a new line:
3941 @lilypond[verbatim, linewidth=9cm]
3943 c1:m c:m \break c:m c:m d
3947 \context ChordNames {
3948 \property ChordNames.chordChanges = ##t
3950 \context Staff \transpose c c' \scheme
3955 The default chord name layout is a system for Jazz music, proposed by
3956 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3957 following properties:
3960 @cindex chordNameExceptions
3961 @item chordNameExceptions
3962 This is a list that contains the chords that have special formatting.
3964 @inputfileref{input/regression,chord-name-exceptions.ly}.
3965 @cindex exceptions, chord names.
3968 @cindex majorSevenSymbol
3969 @item majorSevenSymbol
3970 This property contains the markup object used for the 7th step, when
3971 it is major. Predefined options are @code{whiteTriangleMarkup} and
3972 @code{blackTriangleMarkup}. See
3973 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3975 @cindex chordNameSeparator
3976 @item chordNameSeparator
3977 Different parts of a chord name are normally separated by a
3978 slash. By setting @code{chordNameSeparator}, you can specify other
3980 @lilypond[fragment,verbatim]
3981 \context ChordNames \chords {
3983 \property ChordNames.chordNameSeparator
3984 = \markup { \typewriter "|" }
3988 @cindex chordRootNamer
3989 @item chordRootNamer
3990 The root of a chord is usually printed as a letter with an optional
3991 alteration. The transformation from pitch to letter is done by this
3992 function. Special note names (for example, the German ``H'' for a
3993 B-chord) can be produced by storing a new function in this property.
3995 The pre-defined variables @code{\germanChords},
3996 @code{\semiGermanChords} set these variables.
3999 @cindex chordNoteNamer
4000 @item chordNoteNamer
4001 The default is to print single pitch, e.g. the bass note, using the
4002 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4003 to a specialized function to change this behavior. For example, the
4004 base can be printed in lower case.
4009 There are also two other chord name schemes implemented: an alternate
4010 Jazz chord notation, and a systematic scheme called Banter chords. The
4011 alternate jazz notation is also shown on the chart in @ref{Chord name
4012 chart}. Turning on these styles is described in the input file
4013 @inputfileref{input/test,chord-names-jazz.ly}.
4017 @cindex chords, jazz
4022 @cindex @code{\germanChords}
4023 @code{\germanChords},
4024 @cindex @code{\semiGermanChords}
4025 @code{\semiGermanChords}.
4032 @inputfileref{input/regression,chord-name-major7.ly},
4033 @inputfileref{input/regression,chord-name-exceptions.ly},
4034 @inputfileref{input/test,chord-names-jazz.ly},
4035 @inputfileref{input/test,chord-names-german.ly},
4036 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4041 Chord names are determined solely from the list of pitches. Chord
4042 inversions are not identified, and neither are added bass notes. This
4043 may result in strange chord names when chords are entered with the
4044 @code{< .. >} syntax.
4049 @node Orchestral music
4050 @section Orchestral music
4052 @cindex Writing parts
4054 Orchestral music involves some special notation, both in the full
4055 score and the individual parts. This section explains how to tackle
4056 some common problems in orchestral music.
4061 * Multiple staff contexts::
4064 * Instrument names::
4066 * Multi measure rests::
4067 * Automatic part combining::
4069 * Different editions from one source::
4070 * Sound output for transposing instruments::
4073 @node Multiple staff contexts
4074 @subsection Multiple staff contexts
4076 Polyphonic scores consist of many staves. These staves can be
4077 constructed in three different ways:
4079 @item The group is started with a brace at the left. This is done with the
4080 @internalsref{GrandStaff} context.
4081 @item The group is started with a bracket. This is done with the
4082 @internalsref{StaffGroup} context
4083 @item The group is started with a vertical line. This is the default
4087 @cindex Staff, multiple
4088 @cindex bracket, vertical
4089 @cindex brace, vertical
4096 @node Rehearsal marks
4097 @subsection Rehearsal marks
4098 @cindex Rehearsal marks
4100 @cindex @code{\mark}
4102 To print a rehearsal mark, use the @code{\mark} command:
4103 @lilypond[fragment,verbatim]
4113 The mark is incremented automatically if you use @code{\mark
4114 \default}. The value to use is stored in the property
4115 @code{rehearsalMark} is used and automatically incremented.
4117 The @code{\mark} command can also be used to put signs like coda,
4118 segno and fermatas on a barline. Use @code{\markup} to
4119 to access the appropriate symbol:
4121 @lilypond[fragment,verbatim,relative=1]
4122 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4126 In this case, during line breaks,
4127 marks must also be printed at the end of the line, and not at the
4128 beginning. Use the following to force that behavior:
4130 \property Score.RehearsalMark \override
4131 #'break-visibility = #begin-of-line-invisible
4134 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4140 @cindex barlines, putting symbols on
4144 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4145 @inputfileref{input/test,boxed-molecule.ly}.
4149 @subsection Bar numbers
4153 @cindex measure numbers
4154 @cindex currentBarNumber
4156 Bar numbers are printed by default at the start of the line. The
4157 number itself is stored in the
4158 @code{currentBarNumber} property,
4159 which is normally updated automatically for every measure.
4161 Bar numbers can be typeset at regular intervals instead of at the
4162 beginning of each line. This is illustrated in the following example,
4163 whose source is available as
4164 @inputfileref{input/test,bar-number-regular-interval.ly}:
4166 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4171 @internalsref{BarNumber},
4172 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4173 @inputfileref{input/test,bar-number-regular-interval.ly}.
4177 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4178 there is one at the top. To solve this, the
4179 @code{padding} property of @internalsref{BarNumber} can be
4180 used to position the number correctly.
4182 @node Instrument names
4183 @subsection Instrument names
4185 In an orchestral score, instrument names are printed left side of the
4188 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4189 and @internalsref{Staff}.@code{instr}. This will print a string before
4190 the start of the staff. For the first start, @code{instrument} is
4191 used, for the next ones @code{instr} is used:
4194 @lilypond[verbatim,singleline]
4195 \property Staff.instrument = "ploink " { c''4 }
4199 You can also use markup texts to construct more complicated instrument
4203 @lilypond[fragment,verbatim,singleline]
4205 \property Staff.instrument = \markup {
4206 \column < "Clarinetti"
4208 \smaller \musicglyph #"accidentals--1"
4219 @internalsref{InstrumentName}.
4223 When you put a name on a grand staff or piano staff the width of the
4224 brace is not taken into account. You must add extra spaces to the end of
4225 the name to avoid a collision.
4228 @subsection Transpose
4230 @cindex transposition of pitches
4231 @cindex @code{\transpose}
4233 A music expression can be transposed with @code{\transpose}. The syntax
4236 \transpose @var{from} @var{to} @var{musicexpr}
4239 This means that @var{musicexpr} is transposed by the interval
4240 between @var{from} and @var{to}.
4242 @code{\transpose} distinguishes between enharmonic pitches: both
4243 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4244 half a tone. The first version will print sharps and the second
4245 version will print flats:
4247 @lilypond[singleline, verbatim]
4248 mus =\notes { \key d \major cis d fis g }
4249 \score { \notes \context Staff {
4252 \transpose c g' \mus
4253 \transpose c f' \mus
4259 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4263 If you want to use both @code{\transpose} and @code{\relative}, then
4264 you must put @code{\transpose} outside of @code{\relative}, since
4265 @code{\relative} will have no effect music that appears inside a
4271 @node Multi measure rests
4272 @subsection Multi measure rests
4273 @cindex multi measure rests
4274 @cindex Rests, multi measure
4278 Multi measure rests are entered using `@code{R}'. It is specifically
4279 meant for full bar rests and for entering parts: the rest can expand
4280 to fill a score with rests, or it can be printed as a single
4281 multimeasure rest. This expansion is controlled by the property
4282 @code{Score.skipBars}. If this is set to true, empty measures will not
4283 be expanded, and the appropriate number is added automatically:
4285 @lilypond[fragment,verbatim]
4286 \time 4/4 r1 | R1 | R1*2
4287 \property Score.skipBars = ##t R1*17 R1*4
4290 The @code{1} in @code{R1} is similar to the duration notation used for
4291 notes. Hence, for time signatures other than 4/4, you must enter other
4292 durations. This can be done with augmentation dots or fractions:
4294 @lilypond[fragment,verbatim]
4295 \property Score.skipBars = ##t
4303 An @code{R} spanning a single measure is printed as either a whole rest
4304 or a breve, centered in the measure regardless of the time signature.
4306 @cindex text on multi-measure rest
4307 @cindex script on multi-measure rest
4308 @cindex fermata on multi-measure rest
4310 Texts can be added to multi-measure rests by using the
4311 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4312 replaced. If you need both texts and the number, you must add the
4313 number by hand. A variable (@code{\fermataMarkup}) is provided for
4317 @lilypond[verbatim,fragment]
4319 R2._\markup { "Ad lib" }
4323 If you want to have a text on the left end of a multi-measure rest,
4324 attach the text to a zero-length skip note, i.e.
4332 @cindex whole rests for a full measure
4336 @internalsref{MultiMeasureRestEvent},
4337 @internalsref{MultiMeasureTextEvent},
4338 @internalsref{MultiMeasureRestMusicGroup}, and
4339 @internalsref{MultiMeasureRest}.
4341 The layout object @internalsref{MultiMeasureRestNumber} is for the
4342 default number, and @internalsref{MultiMeasureRestText} for user
4347 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4348 over multi-measure rests.
4350 @cindex condensing rests
4352 There is no way to automatically condense multiple rests into a single
4353 multimeasure rest. Multi measure rests do not take part in rest
4356 Be careful when entering multimeasure rests followed by whole
4357 notes. The following will enter two notes lasting four measures each:
4361 When @code{skipBars} is set, then the result will look OK, but the
4362 bar numbering will be off.
4364 @node Automatic part combining
4365 @subsection Automatic part combining
4366 @cindex automatic part combining
4367 @cindex part combiner
4370 Automatic part combining is used to merge two parts of music onto a
4371 staff. It is aimed at typesetting orchestral scores. When the two
4372 parts are identical for a period of time, only one is shown. In
4373 places where the two parts differ, they are typeset as separate
4374 voices, and stem directions are set automatically. Also, solo and
4375 @emph{a due} parts are identified and can be marked.
4379 The syntax for part combining is
4382 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4384 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4385 combined into one context of type @var{context}. The music expressions
4386 must be interpreted by contexts whose names should start with @code{one}
4389 The following example demonstrates the basic functionality of the part
4390 combiner: putting parts on one staff, and setting stem directions and
4393 @lilypond[verbatim,singleline,fragment]
4395 \context Voice=one \partcombine Voice
4396 \context Thread=one \relative c'' {
4399 \context Thread=two \relative c'' {
4405 The first @code{g} appears only once, although it was
4406 specified twice (once in each part). Stem, slur and tie directions are
4407 set automatically, depending whether there is a solo or unisono. The
4408 first part (with context called @code{one}) always gets up stems, and
4409 `solo', while the second (called @code{two}) always gets down stems and
4412 If you just want the merging parts, and not the textual markings, you
4413 may set the property @var{soloADue} to false:
4415 @lilypond[verbatim,singleline,fragment]
4417 \property Staff.soloADue = ##f
4418 \context Voice=one \partcombine Voice
4419 \context Thread=one \relative c'' {
4422 \context Thread=two \relative c'' {
4430 @internalsref{PartCombineMusic},
4431 @internalsref{Thread_devnull_engraver}, and
4432 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4436 The syntax for naming contexts in inconsistent with the syntax for
4439 In @code{soloADue} mode, when the two voices play the same notes on and
4440 off, the part combiner may typeset @code{a2} more than once in a
4443 @lilypond[fragment,singleline]
4445 \context Voice=one \partcombine Voice
4446 \context Thread=one \relative c'' {
4449 \context Thread=two \relative c'' {
4455 The part combiner is rather buggy, and it will be replaced by a better
4456 mechanism in the near future.
4458 @cindex @code{Thread_devnull_engraver}
4459 @cindex @code{Voice_engraver}
4460 @cindex @code{A2_engraver}
4463 @subsection Hiding staves
4465 @cindex Frenched scores
4466 @cindex Hiding staves
4468 In orchestral scores, staff lines that only have rests are usually
4469 removed. This saves some space. This style is called `French Score'.
4470 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4471 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4472 switched on by default. When these line of these contexts turn out
4473 empty after the line-breaking process, they are removed.
4475 For normal staves, a specialized @internalsref{Staff} context is
4476 available, which does the same: staves containing nothing (or only
4477 multi measure rests) are removed. The context definition is stored in
4478 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4479 in this example disappears in the second line:
4484 \notes \relative c' <<
4485 \new Staff { e4 f g a \break c1 }
4486 \new Staff { c4 d e f \break R1 }
4490 \translator { \RemoveEmptyStaffContext }
4495 The first page shows all staffs in full. If they should be removed
4496 from the first page too, set @code{remove-first} to false
4497 in @internalsref{RemoveEmptyVerticalGroup}.
4499 @node Different editions from one source
4500 @subsection Different editions from one source
4502 The @code{\tag} command marks music expressions with a name. These
4503 tagged expressions can be filtered out later. With this mechanism it
4504 is possible to make different versions of the same music source.
4506 In the following example, we see two versions of a piece of music, one
4507 for the full score, and one with cue notes for the instrumental part:
4515 \property Voice.fontSize = #-1
4523 The same can be applied to articulations, texts, etc.: they are
4526 -\tag #@var{your-tag}
4528 to an articulation, for example,
4533 This defines a note with a conditional fingering indication.
4535 By applying the @code{remove-tag} function, tagged expressions can be
4536 filtered. For example,
4540 \apply #(remove-tag 'score) @var{the music}
4541 \apply #(remove-tag 'part) @var{the music}
4546 @lilypondfile[notexidoc]{tag-filter.ly}
4548 The argument of the @code{\tag} command should be a symbol, or a list
4549 of symbols, for example,
4551 \tag #'(original-part transposed-part) @dots{}
4556 @inputfileref{input/regression,tag-filter.ly}
4559 @node Sound output for transposing instruments
4560 @subsection Sound output for transposing instruments
4562 When you want to make a MIDI file from a score containing transposed
4563 and untransposed instruments, you have to instruct LilyPond the pitch
4564 offset (in semitones) for the transposed instruments. This is done
4565 using the @code{transposing} property. It does not affect printed
4568 @cindex @code{transposing}
4571 \property Staff.instrument = #"Cl. in B-flat"
4572 \property Staff.transposing = #-2
4576 @node Ancient notation
4577 @section Ancient notation
4579 @cindex Vaticana, Editio
4580 @cindex Medicaea, Editio
4585 @c [TODO: write more comprehensive introduction on ancient notation]
4587 Support for ancient notation is still under heavy development.
4588 Regardless of all of the current limitations (see the bugs section
4589 below for details), it includes features for mensural
4590 notation and Gregorian Chant notation. There is also limited support
4591 for figured bass notation.
4593 Many graphical objects provide a @code{style} property, see
4594 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4595 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4596 signatures}. By manipulating such a grob property, the typographical
4597 appearance of the affected graphical objects can be accomodated for a
4598 specific notation flavour without need for introducing any new
4602 Other aspects of ancient notation can not that easily be expressed as
4603 in terms of just changing a style property of a graphical object.
4604 Therefore, some notational concepts are introduced specifically for
4605 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4606 @ref{Ligatures}, and @ref{Figured bass}.
4610 * Ancient note heads::
4611 * Ancient accidentals::
4615 * Ancient time signatures::
4620 * Vaticana style contexts::
4623 If this all is way too much of documentation for you, and you just
4624 want to dive into typesetting without worrying too much about the
4625 details on how to customize a context, then you may have a look at the
4626 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4627 set up predefined style-specific voice and staff contexts, and
4628 directly go ahead with the note entry.
4632 Ligatures need special spacing that has not yet been implemented. As
4633 a result, there is too much space between ligatures most of the time,
4634 and line breaking often is unsatisfactory. Also, lyrics do not
4635 correctly align with ligatures.
4637 Accidentals must not be printed within a ligature, but instead need to
4638 be collected and printed in front of it.
4640 Augmentum dots within ligatures are not handled correctly.
4643 @node Ancient note heads
4644 @subsection Ancient note heads
4650 For ancient notation, a note head style other than the @code{default}
4651 style may be chosen. This is accomplished by setting the @code{style}
4652 property of the NoteHead object to the desired value (@code{baroque},
4653 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4654 differs from the @code{default} style only in using a square shape for
4655 @code{\breve} note heads. The @code{neo_mensural} style differs from
4656 the @code{baroque} style in that it uses rhomboidal heads for whole
4657 notes and all smaller durations. Stems are centered on the note
4658 heads. This style is in particular useful when transcribing mensural
4659 music, e.g. for the incipit. The @code{mensural} style finally
4660 produces note heads that mimick the look of note heads in historic
4661 printings of the 16th century.
4663 The following example demonstrates the @code{neo_mensural} style:
4665 @lilypond[fragment,singleline,verbatim]
4666 \property Voice.NoteHead \set #'style = #'neo_mensural
4667 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4670 When typesetting a piece in Gregorian Chant notation, a Gregorian
4671 ligature engraver will automatically select the proper note heads,
4672 such there is no need to explicitly set the note head style. Still,
4673 the note head style can be set e.g. to @code{vaticana_punctum} to
4674 produce punctum neumes. Similarly, a mensural ligature engraver is
4675 used to automatically assemble mensural ligatures. See
4676 @ref{Ligatures} for how ligature engravers work.
4680 @inputfileref{input/regression,note-head-style.ly} gives an overview
4681 over all available note head styles.
4683 @ref{Percussion staves} use note head styles of their own that are
4684 frequently used in contemporary music notation.
4686 @node Ancient accidentals
4687 @subsection Ancient accidentals
4693 Use the @code{style} property of grob @internalsref{Accidental} to
4694 select ancient accidentals. Supported styles are
4695 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4697 @lilypond[singleline,26pt]
4705 { " " \musicglyph #"accidentals-vaticana-1"
4706 " " \musicglyph #"accidentals-vaticana0" }
4710 { " " \musicglyph #"accidentals-medicaea-1" }
4714 { " " \musicglyph #"accidentals-hufnagel-1" }
4718 { " " \musicglyph #"accidentals-mensural-1"
4719 " " \musicglyph #"accidentals-mensural1" }
4728 \remove "Bar_number_engraver"
4732 \remove "Clef_engraver"
4733 \remove "Key_engraver"
4734 \remove "Time_signature_engraver"
4735 \remove "Staff_symbol_engraver"
4736 minimumVerticalExtent = ##f
4742 As shown, not all accidentals are supported by each style. When
4743 trying to access an unsupported accidental, LilyPond will switch to a
4744 different style, as demonstrated in
4745 @inputfileref{input/test,ancient-accidentals.ly}.
4747 Similarly to local accidentals, the style of the key signature can be
4748 controlled by the @code{style} property of the
4749 @internalsref{KeySignature} grob.
4753 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4754 a general introduction into the use of accidentals. @ref{Key
4755 signature} gives a general introduction into the use of key
4760 @subsection Ancient rests
4766 Use the @code{style} property of grob @internalsref{Rest} to select
4767 ancient accidentals. Supported styles are @code{classical},
4768 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4769 from the @code{default} style only in that the quarter rest looks like
4770 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4771 well for e.g. the incipit of a transcribed mensural piece of music.
4772 The @code{mensural} style finally mimicks the appearance of rests as
4773 in historic prints of the 16th century.
4775 The following example demonstrates the @code{neo_mensural} style:
4777 @lilypond[fragment,singleline,verbatim]
4778 \property Voice.Rest \set #'style = #'neo_mensural
4779 r\longa r\breve r1 r2 r4 r8 r16
4782 There are no 32th and 64th rests specifically for the mensural or
4783 neo-mensural style. Instead, the rests from the default style will be
4784 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4787 There are no rests in Gregorian Chant notation; instead, it uses
4792 @ref{Rests} gives a general introduction into the use of rests.
4796 @subsection Ancient clefs
4802 LilyPond supports a variety of clefs, many of them ancient.
4804 The following table shows all ancient clefs that are supported via the
4805 @code{\clef} command. Some of the clefs use the same glyph, but
4806 differ only with respect to the line they are printed on. In such
4807 cases, a trailing number in the name is used to enumerate these clefs.
4808 Still, you can manually force a clef glyph to be typeset on an
4809 arbitrary line, as described in @ref{Clef}. The note printed to the
4810 right side of each clef in the example column denotes the @code{c'}
4811 with respect to that clef.
4813 @multitable @columnfractions .3 .3 .3 .1
4817 @b{Description} @tab
4818 @b{Supported Clefs} @tab
4822 @code{clefs-neo_mensural_c} @tab
4823 modern style mensural C clef @tab
4824 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4825 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4826 @lilypond[relative 0, notime]
4827 \property Staff.TimeSignature \set #'transparent = ##t
4828 \clef "neo_mensural_c2" c
4832 @code{clefs-petrucci_c1}
4833 @code{clefs-petrucci_c2}
4834 @code{clefs-petrucci_c3}
4835 @code{clefs-petrucci_c4}
4836 @code{clefs-petrucci_c5}
4839 petrucci style mensural C clefs, for use on different stafflines
4840 (the examples shows the 2nd staffline C clef).
4850 @lilypond[relative 0, notime]
4851 \property Staff.TimeSignature \set #'transparent = ##t
4852 \clef "petrucci_c2" c
4856 @code{clefs-petrucci_f} @tab
4857 petrucci style mensural F clef @tab
4858 @code{petrucci_f} @tab
4859 @lilypond[relative 0, notime]
4860 \property Staff.TimeSignature \set #'transparent = ##t
4861 \clef "petrucci_f" c
4865 @code{clefs-petrucci_g} @tab
4866 petrucci style mensural G clef @tab
4867 @code{petrucci_g} @tab
4868 @lilypond[relative 0, notime]
4869 \property Staff.TimeSignature \set #'transparent = ##t
4870 \clef "petrucci_g" c
4874 @code{clefs-mensural_c} @tab
4875 historic style mensural C clef @tab
4876 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4877 @code{mensural_c4} @tab
4878 @lilypond[relative 0, notime]
4879 \property Staff.TimeSignature \set #'transparent = ##t
4880 \clef "mensural_c2" c
4884 @code{clefs-mensural_f} @tab
4885 historic style mensural F clef @tab
4886 @code{mensural_f} @tab
4887 @lilypond[relative 0, notime]
4888 \property Staff.TimeSignature \set #'transparent = ##t
4889 \clef "mensural_f" c
4893 @code{clefs-mensural_g} @tab
4894 historic style mensural G clef @tab
4895 @code{mensural_g} @tab
4896 @lilypond[relative 0, notime]
4897 \property Staff.TimeSignature \set #'transparent = ##t
4898 \clef "mensural_g" c
4902 @code{clefs-vaticana_do} @tab
4903 Editio Vaticana style do clef @tab
4904 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4905 @lilypond[relative 0, notime]
4907 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4908 \property Staff.TimeSignature \set #'transparent = ##t
4909 \clef "vaticana_do2" c
4913 @code{clefs-vaticana_fa} @tab
4914 Editio Vaticana style fa clef @tab
4915 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4916 @lilypond[relative 0, notime]
4918 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4919 \property Staff.TimeSignature \set #'transparent = ##t
4920 \clef "vaticana_fa2" c
4924 @code{clefs-medicaea_do} @tab
4925 Editio Medicaea style do clef @tab
4926 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4927 @lilypond[relative 0, notime]
4929 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4930 \property Staff.TimeSignature \set #'transparent = ##t
4931 \clef "medicaea_do2" c
4935 @code{clefs-medicaea_fa} @tab
4936 Editio Medicaea style fa clef @tab
4937 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4938 @lilypond[relative 0, notime]
4940 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4941 \property Staff.TimeSignature \set #'transparent = ##t
4942 \clef "medicaea_fa2" c
4946 @code{clefs-hufnagel_do} @tab
4947 historic style hufnagel do clef @tab
4948 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4949 @lilypond[relative 0, notime]
4951 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4952 \property Staff.TimeSignature \set #'transparent = ##t
4953 \clef "hufnagel_do2" c
4957 @code{clefs-hufnagel_fa} @tab
4958 historic style hufnagel fa clef @tab
4959 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4960 @lilypond[relative 0, notime]
4962 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4963 \property Staff.TimeSignature \set #'transparent = ##t
4964 \clef "hufnagel_fa2" c
4968 @code{clefs-hufnagel_do_fa} @tab
4969 historic style hufnagel combined do/fa clef @tab
4970 @code{hufnagel_do_fa} @tab
4971 @lilypond[relative 0, notime]
4972 \property Staff.TimeSignature \set #'transparent = ##t
4973 \clef "hufnagel_do_fa" c
4978 @c --- This should go somewhere else: ---
4979 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4982 @c @code{percussion}
4984 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4986 @c @item modern style tab clef (glyph: @code{clefs-tab})
4991 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4993 @emph{Modern style} means ``as is typeset in contemporary editions of
4994 transcribed mensural music''.
4996 @emph{Petrucci style} means ``inspired by printings published by the
4997 famous engraver Petrucci (1466-1539)''.
4999 @emph{Historic style} means ``as was typeset or written in historic
5000 editions (other than those of Petrucci)''.
5002 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5004 Petrucci used C clefs with differently balanced left-side vertical
5005 beams, depending on which staffline it is printed.
5009 For modern clefs, see @ref{Clef}. For the percussion clef, see
5010 @ref{Percussion staves}. For the @code{TAB} clef, see
5015 @subsection Ancient flags
5021 Use the @code{flag-style} property of grob @internalsref{Stem} to
5022 select ancient flags. Besides the @code{default} flag style,
5023 only @code{mensural} style is supported:
5025 @lilypond[fragment,singleline,verbatim]
5026 \property Voice.Stem \set #'flag-style = #'mensural
5027 \property Voice.Stem \set #'thickness = #1.0
5028 \property Voice.NoteHead \set #'style = #'mensural
5030 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
5031 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5034 Note that the innermost flare of each mensural flag always is
5035 vertically aligned with a staff line. If you do not like this
5036 behaviour, you can set the @code{adjust-if-on-staffline} property of
5037 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5038 of the end of each flare is different between notes on staff lines and
5039 notes between staff lines:
5041 @lilypond[fragment,singleline]
5042 \property Voice.Stem \set #'flag-style = #'mensural
5043 \property Voice.Stem \set #'thickness = #1.0
5044 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5045 \property Voice.NoteHead \set #'style = #'mensural
5047 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
5048 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5051 There is no particular flag style for neo-mensural notation. Hence,
5052 when typesetting e.g. the incipit of a transcibed piece of mensural
5053 music, the default flag style should be used. There are no flags in
5054 Gregorian Chant notation.
5057 @node Ancient time signatures
5058 @subsection Ancient time signatures
5060 @cindex time signatures
5064 There is limited support for mensural time signatures. The
5065 glyphs are hard-wired to particular time fractions. In other words,
5066 to get a particular mensural signature glyph with the @code{\time n/m}
5067 command, @code{n} and @code{m} have to be chosen according to the
5073 \property Score.timing = ##f
5074 \property Score.barAlways = ##t
5075 s_\markup { "$\\backslash$time 4/4" }
5076 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5078 s_\markup { "$\\backslash$time 2/2" }
5079 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5081 s_\markup { "$\\backslash$time 6/4" }
5082 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5084 s_\markup { "$\\backslash$time 6/8" }
5085 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5087 s_\markup { "$\\backslash$time 3/2" }
5088 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5090 s_\markup { "$\\backslash$time 3/4" }
5091 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5093 s_\markup { "$\\backslash$time 9/4" }
5094 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5096 s_\markup { "$\\backslash$time 9/8" }
5097 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5099 s_\markup { "$\\backslash$time 4/8" }
5100 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5102 s_\markup { "$\\backslash$time 2/4" }
5103 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5111 \remove Staff_symbol_engraver
5112 \remove Clef_engraver
5113 \remove Time_signature_engraver
5119 Use the @code{style} property of grob @internalsref{TimeSignature} to
5120 select ancient time signatures. Supported styles are
5121 @code{neo_mensural} and @code{mensural}. The above table uses the
5122 @code{neo_mensural} style. This style is appropriate e.g. for the
5123 incipit of transcriptions of mensural pieces. The @code{mensural}
5124 style mimicks the look of historical printings of the 16th century.
5126 @inputfileref{input/test,time.ly} gives an overview over all available
5127 ancient and modern styles.
5131 @ref{Time signature} gives a general introduction into the use of time
5136 Mensural signature glyphs are mapped to time fractions in a
5137 hard-wired way. This mapping is sensible, but still arbitrary: given
5138 a mensural time signature, the time fraction represents a modern meter
5139 that usually will be a good choice when transcribing a mensural piece
5140 of music. For a particular piece of mensural music, however, the
5141 mapping may be unsatisfactory. In particular, the mapping assumes a
5142 fixed transcription of durations (e.g. brevis = half note in 2/2,
5143 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5144 are not at all accessible through the @code{\time} command.
5146 Mensural time signatures are supported typographically, but not yet
5147 musically. The internal representation of durations is
5148 based on a purely binary system; a ternary division such as 1 brevis =
5149 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5150 prolatione maiori) is not correctly handled: event times in ternary
5151 modes will be badly computed, resulting e.g. in horizontally
5152 misaligned note heads, and bar checks are likely to erroneously fail.
5154 The syntax and semantics of the @code{\time} command for mensural
5155 music is subject to change.
5158 @subsection Custodes
5163 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5164 symbol that appears at the end of a staff. It anticipates the pitch
5165 of the first note(s) of the following line and thus helps the player
5166 or singer to manage line breaks during performance, thus enhancing
5167 readability of a score.
5169 Custodes were frequently used in music notation until the 17th
5170 century. Nowadays, they have survived only in a few particular forms
5171 of musical notation such as contemporary editions of Gregorian chant
5172 like the @emph{editio vaticana}. There are different custos glyphs
5173 used in different flavours of notational style.
5177 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5178 @internalsref{Staff} context when declaring the @code{\paper} block,
5179 as shown in the following example:
5185 \consists Custos_engraver
5186 Custos \override #'style = #'mensural
5191 The result looks like this:
5197 \property Staff.Custos \set #'style = #'mensural
5204 \consists Custos_engraver
5211 The custos glyph is selected by the @code{style} property. The styles
5212 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5213 @code{mensural}. They are demonstrated in the following fragment:
5223 { " " \musicglyph #"custodes-vaticana-u0" }
5227 { " " \musicglyph #"custodes-medicaea-u0" }
5231 { " " \musicglyph #"custodes-hufnagel-u0" }
5235 { " " \musicglyph #"custodes-mensural-u0" }
5244 \remove "Bar_number_engraver"
5248 \remove "Clef_engraver"
5249 \remove "Key_engraver"
5250 \remove "Time_signature_engraver"
5251 \remove "Staff_symbol_engraver"
5252 minimumVerticalExtent = ##f
5258 If the boolean property @code{adjust-if-on-staffline} is set to
5259 @code{#t} (which it is by default), lily typesets slightly different
5260 variants of the custos glyph, depending on whether the custos, is
5261 typeset on or between stafflines. The glyph will
5262 optically fit well into the staff, with the appendage on the right of
5263 the custos always ending at the same vertical position between two
5264 stafflines regardless of the pitch. If you set
5265 @code{adjust-if-on-staffline} to @code{#f}, then
5266 a compromise between both forms is used.
5268 Just like stems can be attached to noteheads in two directions
5269 @emph{up} and @emph{down}, each custos glyph is available with its
5270 appendage pointing either up or down. If the pitch of a custos is
5271 above a selectable position, the appendage will point downwards; if
5272 the pitch is below this position, the appendage will point upwards.
5273 Use property @code{neutral-position} to select this position. By
5274 default, it is set to @code{0}, such that the neutral position is the
5275 center of the staff. Use property @code{neutral-direction} to control
5276 what happens if a custos is typeset on the neutral position itself.
5277 By default, this property is set to @code{-1}, such that the appendage
5278 will point downwards. If set to @code{1}, the appendage will point
5279 upwards. Other values such as @code{0} are reserved for future
5280 extensions and should not be used.
5284 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5288 @subsection Divisiones
5294 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5295 `division') is a staff context symbol that is used to structure
5296 Gregorian music into phrases and sections. The musical meaning of
5297 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5298 can be characterized as short, medium and long pause, somewhat like
5299 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5300 a chant, but is also frequently used within a single
5301 antiphonal/responsorial chant to mark the end of each section.
5305 To use divisiones, include the file @code{gregorian-init.ly}. It
5306 contains definitions that you can apply by just inserting
5307 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5308 and @code{\finalis} at proper places in the input. Some editions use
5309 @emph{virgula} or @emph{caesura} instead of divisio minima.
5310 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5313 @lilypondfile[notexidoc]{divisiones.ly}
5317 @cindex @code{\virgula}
5319 @cindex @code{\caesura}
5321 @cindex @code{\divisioMinima}
5322 @code{\divisioMinima},
5323 @cindex @code{\divisioMaior}
5324 @code{\divisioMaior},
5325 @cindex @code{\divisioMaxima}
5326 @code{\divisioMaxima},
5327 @cindex @code{\finalis}
5332 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5333 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5336 @subsection Ligatures
5340 @c TODO: Should double check if I recalled things correctly when I wrote
5341 @c down the following paragraph by heart.
5343 In musical terminology, a ligature is a coherent graphical symbol that
5344 represents at least two distinct notes. Ligatures originally appeared
5345 in the manuscripts of Gregorian chant notation roughly since the 9th
5346 century as an allusion to the accent symbols of greek lyric poetry to
5347 denote ascending or descending sequences of notes. Both, the shape
5348 and the exact meaning of ligatures changed tremendously during the
5349 following centuries: In early notation, ligatures were used for
5350 monophonic tunes (Gregorian chant) and very soon denoted also the way
5351 of performance in the sense of articulation. With upcoming
5352 multiphony, the need for a metric system arised, since multiple voices
5353 of a piece have to be synchronized some way. New notation systems
5354 were invented that used the manifold shapes of ligatures to now denote
5355 rhythmical patterns (e.g. black mensural notation, mannered notation,
5356 ars nova). With the invention of the metric system of the white
5357 mensural notation, the need for ligatures to denote such patterns
5358 disappeared. Nevertheless, ligatures were still in use in the
5359 mensural system for a couple of decades until they finally disappeared
5360 during the late 16th / early 17th century. Still, ligatures have
5361 survived in contemporary editions of Gregorian chant such as the
5362 Editio Vaticana from 1905/08.
5366 Syntactically, ligatures are simply enclosed by @code{\[} and
5367 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5368 additional input syntax specific for this particular type of ligature.
5369 By default, the @internalsref{LigatureBracket} engraver just puts a
5370 square bracket above the ligature:
5372 @lilypond[singleline,verbatim]
5374 \notes \transpose c c' {
5382 To select a specific style of ligatures, a proper ligature engraver
5383 has to be added to the @internalsref{Voice} context, as explained in
5384 the following subsections. Only white mensural ligatures
5385 are supported with certain limitations. Support for Editio Vaticana
5386 will be added in the future.
5389 * White mensural ligatures::
5390 * Gregorian square neumes ligatures::
5393 @node White mensural ligatures
5394 @subsubsection White mensural ligatures
5396 @cindex Mensural ligatures
5397 @cindex White mensural ligatures
5399 There is limited support for white mensural ligatures. The
5400 implementation is still experimental; it may output strange
5401 warnings or even crash in some cases or produce weird results on more
5406 To engrave white mensural ligatures, in the paper block the
5407 @internalsref{Mensural_ligature_engraver} has to be put into the
5408 @internalsref{Voice} context, and remove the
5409 @internalsref{Ligature_bracket_engraver}:
5415 \remove Ligature_bracket_engraver
5416 \consists Mensural_ligature_engraver
5421 There is no additional input language to describe the shape of a
5422 white mensural ligature. The shape is rather determined solely from
5423 the pitch and duration of the enclosed notes. While this approach may
5424 take a new user a while to get accustomed, it has the great advantage
5425 that the full musical information of the ligature is known internally.
5426 This is not only required for correct MIDI output, but also allows for
5427 automatic transcription of the ligatures.
5432 \property Score.timing = ##f
5433 \property Score.defaultBarType = "empty"
5434 \property Voice.NoteHead \set #'style = #'neo_mensural
5435 \property Staff.TimeSignature \set #'style = #'neo_mensural
5437 \[ g\longa c\breve a\breve f\breve d'\longa \]
5439 \[ e1 f1 a\breve g\longa \]
5441 @lilypond[singleline]
5443 \notes \transpose c c' {
5444 \property Score.timing = ##f
5445 \property Score.defaultBarType = "empty"
5446 \property Voice.NoteHead \set #'style = #'neo_mensural
5447 \property Staff.TimeSignature \set #'style = #'neo_mensural
5449 \[ g\longa c\breve a\breve f\breve d'\longa \]
5451 \[ e1 f1 a\breve g\longa \]
5456 \remove Ligature_bracket_engraver
5457 \consists Mensural_ligature_engraver
5463 Without replacing @internalsref{Ligature_bracket_engraver} with
5464 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5467 @lilypond[singleline]
5469 \notes \transpose c c' {
5470 \property Score.timing = ##f
5471 \property Score.defaultBarType = "empty"
5472 \property Voice.NoteHead \set #'style = #'neo_mensural
5473 \property Staff.TimeSignature \set #'style = #'neo_mensural
5475 \[ g\longa c\breve a\breve f\breve d'\longa \]
5477 \[ e1 f1 a\breve g\longa \]
5483 @node Gregorian square neumes ligatures
5484 @subsubsection Gregorian square neumes ligatures
5486 @cindex Square neumes ligatures
5487 @cindex Gregorian square neumes ligatures
5489 Gregorian square neumes notation (following the style of the Editio
5490 Vaticana) is under heavy development, but not yet really usable for
5491 production purposes. Core ligatures can already be typeset, but
5492 essential issues for serious typesetting are still under development,
5493 such as (among others) horizontal alignment of multiple ligatures,
5494 lyrics alignment and proper accidentals handling. Still, this section
5495 gives a sneak preview of what Gregorian chant may look like once it
5498 The following table contains the extended neumes table of the 2nd
5499 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5500 1983 by the monks of Solesmes.
5502 @multitable @columnfractions .4 .2 .2 .2
5505 @b{Neuma aut@*Neumarum Elementa} @tab
5506 @b{Figurae@*Rectae} @tab
5507 @b{Figurae@*Liquescentes Auctae} @tab
5508 @b{Figurae@*Liquescentes Deminutae}
5510 @c TODO: \paper block is identical in all of the below examples.
5511 @c Therefore, it should somehow be included rather than duplicated all
5514 @c why not make identifiers in ly/engraver-init.ly? --hwn
5516 @c Because it's just used to typeset plain notes without
5517 @c a staff for demonstration purposes rather than something
5518 @c special of Gregorian chant notation. --jr
5523 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5524 \include "gregorian-init.ly"
5526 \notes \transpose c c' {
5529 \noBreak s^\markup {"a"} \noBreak
5531 % Punctum Inclinatum
5533 \noBreak s^\markup {"b"}
5539 \remove "Bar_number_engraver"
5543 \remove "Clef_engraver"
5544 \remove "Key_engraver"
5545 StaffSymbol \set #'transparent = ##t
5546 \remove "Time_signature_engraver"
5547 \remove "Bar_engraver"
5548 minimumVerticalExtent = ##f
5552 \remove Ligature_bracket_engraver
5553 \consists Vaticana_ligature_engraver
5554 NoteHead \set #'style = #'vaticana_punctum
5555 Stem \set #'transparent = ##t
5561 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5562 \include "gregorian-init.ly"
5564 \notes \transpose c c' {
5565 % Punctum Auctum Ascendens
5566 \[ \auctum \ascendens b \]
5567 \noBreak s^\markup {"c"} \noBreak
5569 % Punctum Auctum Descendens
5570 \[ \auctum \descendens b \]
5571 \noBreak s^\markup {"d"} \noBreak
5573 % Punctum Inclinatum Auctum
5574 \[ \inclinatum \auctum b \]
5575 \noBreak s^\markup {"e"}
5581 \remove "Bar_number_engraver"
5585 \remove "Clef_engraver"
5586 \remove "Key_engraver"
5587 StaffSymbol \set #'transparent = ##t
5588 \remove "Time_signature_engraver"
5589 \remove "Bar_engraver"
5590 minimumVerticalExtent = ##f
5594 \remove Ligature_bracket_engraver
5595 \consists Vaticana_ligature_engraver
5596 NoteHead \set #'style = #'vaticana_punctum
5597 Stem \set #'transparent = ##t
5603 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5604 \include "gregorian-init.ly"
5606 \notes \transpose c c' {
5607 % Punctum Inclinatum Parvum
5608 \[ \inclinatum \deminutum b \]
5609 \noBreak s^\markup {"f"}
5615 \remove "Bar_number_engraver"
5619 \remove "Clef_engraver"
5620 \remove "Key_engraver"
5621 StaffSymbol \set #'transparent = ##t
5622 \remove "Time_signature_engraver"
5623 \remove "Bar_engraver"
5624 minimumVerticalExtent = ##f
5628 \remove Ligature_bracket_engraver
5629 \consists Vaticana_ligature_engraver
5630 NoteHead \set #'style = #'vaticana_punctum
5631 Stem \set #'transparent = ##t
5640 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5641 \include "gregorian-init.ly"
5643 \notes \transpose c c' {
5646 \noBreak s^\markup {"g"}
5652 \remove "Bar_number_engraver"
5656 \remove "Clef_engraver"
5657 \remove "Key_engraver"
5658 StaffSymbol \set #'transparent = ##t
5659 \remove "Time_signature_engraver"
5660 \remove "Bar_engraver"
5661 minimumVerticalExtent = ##f
5665 \remove Ligature_bracket_engraver
5666 \consists Vaticana_ligature_engraver
5667 NoteHead \set #'style = #'vaticana_punctum
5668 Stem \set #'transparent = ##t
5677 @code{3. Apostropha vel Stropha}
5679 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5680 \include "gregorian-init.ly"
5682 \notes \transpose c c' {
5685 \noBreak s^\markup {"h"}
5691 \remove "Bar_number_engraver"
5695 \remove "Clef_engraver"
5696 \remove "Key_engraver"
5697 StaffSymbol \set #'transparent = ##t
5698 \remove "Time_signature_engraver"
5699 \remove "Bar_engraver"
5700 minimumVerticalExtent = ##f
5704 \remove Ligature_bracket_engraver
5705 \consists Vaticana_ligature_engraver
5706 NoteHead \set #'style = #'vaticana_punctum
5707 Stem \set #'transparent = ##t
5713 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5714 \include "gregorian-init.ly"
5716 \notes \transpose c c' {
5718 \[ \stropha \auctum b \]
5719 \noBreak s^\markup {"i"}
5725 \remove "Bar_number_engraver"
5729 \remove "Clef_engraver"
5730 \remove "Key_engraver"
5731 StaffSymbol \set #'transparent = ##t
5732 \remove "Time_signature_engraver"
5733 \remove "Bar_engraver"
5734 minimumVerticalExtent = ##f
5738 \remove Ligature_bracket_engraver
5739 \consists Vaticana_ligature_engraver
5740 NoteHead \set #'style = #'vaticana_punctum
5741 Stem \set #'transparent = ##t
5751 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5752 \include "gregorian-init.ly"
5754 \notes \transpose c c' {
5757 \noBreak s^\markup {"j"}
5763 \remove "Bar_number_engraver"
5767 \remove "Clef_engraver"
5768 \remove "Key_engraver"
5769 StaffSymbol \set #'transparent = ##t
5770 \remove "Time_signature_engraver"
5771 \remove "Bar_engraver"
5772 minimumVerticalExtent = ##f
5776 \remove Ligature_bracket_engraver
5777 \consists Vaticana_ligature_engraver
5778 NoteHead \set #'style = #'vaticana_punctum
5779 Stem \set #'transparent = ##t
5788 @code{5. Clivis vel Flexa}
5790 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5791 \include "gregorian-init.ly"
5793 \notes \transpose c c' {
5802 \remove "Bar_number_engraver"
5806 \remove "Clef_engraver"
5807 \remove "Key_engraver"
5808 StaffSymbol \set #'transparent = ##t
5809 \remove "Time_signature_engraver"
5810 \remove "Bar_engraver"
5811 minimumVerticalExtent = ##f
5815 \remove Ligature_bracket_engraver
5816 \consists Vaticana_ligature_engraver
5817 NoteHead \set #'style = #'vaticana_punctum
5818 Stem \set #'transparent = ##t
5824 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5825 \include "gregorian-init.ly"
5827 \notes \transpose c c' {
5828 % Clivis Aucta Descendens
5829 \[ b \flexa \auctum \descendens g \]
5830 \noBreak s^\markup {"l"} \noBreak
5832 % Clivis Aucta Ascendens
5833 \[ b \flexa \auctum \ascendens g \]
5834 \noBreak s^\markup {"m"}
5840 \remove "Bar_number_engraver"
5844 \remove "Clef_engraver"
5845 \remove "Key_engraver"
5846 StaffSymbol \set #'transparent = ##t
5847 \remove "Time_signature_engraver"
5848 \remove "Bar_engraver"
5849 minimumVerticalExtent = ##f
5853 \remove Ligature_bracket_engraver
5854 \consists Vaticana_ligature_engraver
5855 NoteHead \set #'style = #'vaticana_punctum
5856 Stem \set #'transparent = ##t
5862 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5863 \include "gregorian-init.ly"
5865 \notes \transpose c c' {
5867 \[ b \flexa \deminutum g \]
5874 \remove "Bar_number_engraver"
5878 \remove "Clef_engraver"
5879 \remove "Key_engraver"
5880 StaffSymbol \set #'transparent = ##t
5881 \remove "Time_signature_engraver"
5882 \remove "Bar_engraver"
5883 minimumVerticalExtent = ##f
5887 \remove Ligature_bracket_engraver
5888 \consists Vaticana_ligature_engraver
5889 NoteHead \set #'style = #'vaticana_punctum
5890 Stem \set #'transparent = ##t
5897 @code{6. Podatus vel Pes}
5899 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5900 \include "gregorian-init.ly"
5902 \notes \transpose c c' {
5911 \remove "Bar_number_engraver"
5915 \remove "Clef_engraver"
5916 \remove "Key_engraver"
5917 StaffSymbol \set #'transparent = ##t
5918 \remove "Time_signature_engraver"
5919 \remove "Bar_engraver"
5920 minimumVerticalExtent = ##f
5924 \remove Ligature_bracket_engraver
5925 \consists Vaticana_ligature_engraver
5926 NoteHead \set #'style = #'vaticana_punctum
5927 Stem \set #'transparent = ##t
5933 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5934 \include "gregorian-init.ly"
5936 \notes \transpose c c' {
5937 % Pes Auctus Descendens
5938 \[ g \pes \auctum \descendens b \]
5939 \noBreak s^\markup {"p"} \noBreak
5941 % Pes Auctus Ascendens
5942 \[ g \pes \auctum \ascendens b \]
5943 \noBreak s^\markup {"q"}
5949 \remove "Bar_number_engraver"
5953 \remove "Clef_engraver"
5954 \remove "Key_engraver"
5955 StaffSymbol \set #'transparent = ##t
5956 \remove "Time_signature_engraver"
5957 \remove "Bar_engraver"
5958 minimumVerticalExtent = ##f
5962 \remove Ligature_bracket_engraver
5963 \consists Vaticana_ligature_engraver
5964 NoteHead \set #'style = #'vaticana_punctum
5965 Stem \set #'transparent = ##t
5971 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5972 \include "gregorian-init.ly"
5974 \notes \transpose c c' {
5976 \[ g \pes \deminutum b \]
5983 \remove "Bar_number_engraver"
5987 \remove "Clef_engraver"
5988 \remove "Key_engraver"
5989 StaffSymbol \set #'transparent = ##t
5990 \remove "Time_signature_engraver"
5991 \remove "Bar_engraver"
5992 minimumVerticalExtent = ##f
5996 \remove Ligature_bracket_engraver
5997 \consists Vaticana_ligature_engraver
5998 NoteHead \set #'style = #'vaticana_punctum
5999 Stem \set #'transparent = ##t
6006 @code{7. Pes Quassus}
6008 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6009 \include "gregorian-init.ly"
6011 \notes \transpose c c' {
6013 \[ \oriscus g \pes \virga b \]
6020 \remove "Bar_number_engraver"
6024 \remove "Clef_engraver"
6025 \remove "Key_engraver"
6026 StaffSymbol \set #'transparent = ##t
6027 \remove "Time_signature_engraver"
6028 \remove "Bar_engraver"
6029 minimumVerticalExtent = ##f
6033 \remove Ligature_bracket_engraver
6034 \consists Vaticana_ligature_engraver
6035 NoteHead \set #'style = #'vaticana_punctum
6036 Stem \set #'transparent = ##t
6042 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6043 \include "gregorian-init.ly"
6045 \notes \transpose c c' {
6046 % Pes Quassus Auctus Descendens
6047 \[ \oriscus g \pes \auctum \descendens b \]
6054 \remove "Bar_number_engraver"
6058 \remove "Clef_engraver"
6059 \remove "Key_engraver"
6060 StaffSymbol \set #'transparent = ##t
6061 \remove "Time_signature_engraver"
6062 \remove "Bar_engraver"
6063 minimumVerticalExtent = ##f
6067 \remove Ligature_bracket_engraver
6068 \consists Vaticana_ligature_engraver
6069 NoteHead \set #'style = #'vaticana_punctum
6070 Stem \set #'transparent = ##t
6078 @code{8. Quilisma Pes}
6080 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6081 \include "gregorian-init.ly"
6083 \notes \transpose c c' {
6085 \[ \quilisma g \pes b \]
6092 \remove "Bar_number_engraver"
6096 \remove "Clef_engraver"
6097 \remove "Key_engraver"
6098 StaffSymbol \set #'transparent = ##t
6099 \remove "Time_signature_engraver"
6100 \remove "Bar_engraver"
6101 minimumVerticalExtent = ##f
6105 \remove Ligature_bracket_engraver
6106 \consists Vaticana_ligature_engraver
6107 NoteHead \set #'style = #'vaticana_punctum
6108 Stem \set #'transparent = ##t
6114 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6115 \include "gregorian-init.ly"
6117 \notes \transpose c c' {
6118 % Quilisma Pes Auctus Descendens
6119 \[ \quilisma g \pes \auctum \descendens b \]
6126 \remove "Bar_number_engraver"
6130 \remove "Clef_engraver"
6131 \remove "Key_engraver"
6132 StaffSymbol \set #'transparent = ##t
6133 \remove "Time_signature_engraver"
6134 \remove "Bar_engraver"
6135 minimumVerticalExtent = ##f
6139 \remove Ligature_bracket_engraver
6140 \consists Vaticana_ligature_engraver
6141 NoteHead \set #'style = #'vaticana_punctum
6142 Stem \set #'transparent = ##t
6150 @code{9. Podatus Initio Debilis}
6152 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6153 \include "gregorian-init.ly"
6155 \notes \transpose c c' {
6156 % Pes Initio Debilis
6157 \[ \deminutum g \pes b \]
6164 \remove "Bar_number_engraver"
6168 \remove "Clef_engraver"
6169 \remove "Key_engraver"
6170 StaffSymbol \set #'transparent = ##t
6171 \remove "Time_signature_engraver"
6172 \remove "Bar_engraver"
6173 minimumVerticalExtent = ##f
6177 \remove Ligature_bracket_engraver
6178 \consists Vaticana_ligature_engraver
6179 NoteHead \set #'style = #'vaticana_punctum
6180 Stem \set #'transparent = ##t
6186 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6187 \include "gregorian-init.ly"
6189 \notes \transpose c c' {
6190 % Pes Auctus Descendens Initio Debilis
6191 \[ \deminutum g \pes \auctum \descendens b \]
6198 \remove "Bar_number_engraver"
6202 \remove "Clef_engraver"
6203 \remove "Key_engraver"
6204 StaffSymbol \set #'transparent = ##t
6205 \remove "Time_signature_engraver"
6206 \remove "Bar_engraver"
6207 minimumVerticalExtent = ##f
6211 \remove Ligature_bracket_engraver
6212 \consists Vaticana_ligature_engraver
6213 NoteHead \set #'style = #'vaticana_punctum
6214 Stem \set #'transparent = ##t
6224 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6225 \include "gregorian-init.ly"
6227 \notes \transpose c c' {
6229 \[ a \pes b \flexa g \]
6236 \remove "Bar_number_engraver"
6240 \remove "Clef_engraver"
6241 \remove "Key_engraver"
6242 StaffSymbol \set #'transparent = ##t
6243 \remove "Time_signature_engraver"
6244 \remove "Bar_engraver"
6245 minimumVerticalExtent = ##f
6249 \remove Ligature_bracket_engraver
6250 \consists Vaticana_ligature_engraver
6251 NoteHead \set #'style = #'vaticana_punctum
6252 Stem \set #'transparent = ##t
6258 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6259 \include "gregorian-init.ly"
6261 \notes \transpose c c' {
6262 % Torculus Auctus Descendens
6263 \[ a \pes b \flexa \auctum \descendens g \]
6270 \remove "Bar_number_engraver"
6274 \remove "Clef_engraver"
6275 \remove "Key_engraver"
6276 StaffSymbol \set #'transparent = ##t
6277 \remove "Time_signature_engraver"
6278 \remove "Bar_engraver"
6279 minimumVerticalExtent = ##f
6283 \remove Ligature_bracket_engraver
6284 \consists Vaticana_ligature_engraver
6285 NoteHead \set #'style = #'vaticana_punctum
6286 Stem \set #'transparent = ##t
6292 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6293 \include "gregorian-init.ly"
6295 \notes \transpose c c' {
6296 % Torculus Deminutus
6297 \[ a \pes b \flexa \deminutum g \]
6304 \remove "Bar_number_engraver"
6308 \remove "Clef_engraver"
6309 \remove "Key_engraver"
6310 StaffSymbol \set #'transparent = ##t
6311 \remove "Time_signature_engraver"
6312 \remove "Bar_engraver"
6313 minimumVerticalExtent = ##f
6317 \remove Ligature_bracket_engraver
6318 \consists Vaticana_ligature_engraver
6319 NoteHead \set #'style = #'vaticana_punctum
6320 Stem \set #'transparent = ##t
6327 @code{11. Torculus Initio Debilis}
6329 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6330 \include "gregorian-init.ly"
6332 \notes \transpose c c' {
6333 % Torculus Initio Debilis
6334 \[ \deminutum a \pes b \flexa g \]
6341 \remove "Bar_number_engraver"
6345 \remove "Clef_engraver"
6346 \remove "Key_engraver"
6347 StaffSymbol \set #'transparent = ##t
6348 \remove "Time_signature_engraver"
6349 \remove "Bar_engraver"
6350 minimumVerticalExtent = ##f
6354 \remove Ligature_bracket_engraver
6355 \consists Vaticana_ligature_engraver
6356 NoteHead \set #'style = #'vaticana_punctum
6357 Stem \set #'transparent = ##t
6363 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6364 \include "gregorian-init.ly"
6366 \notes \transpose c c' {
6367 % Torculus Auctus Descendens Initio Debilis
6368 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6375 \remove "Bar_number_engraver"
6379 \remove "Clef_engraver"
6380 \remove "Key_engraver"
6381 StaffSymbol \set #'transparent = ##t
6382 \remove "Time_signature_engraver"
6383 \remove "Bar_engraver"
6384 minimumVerticalExtent = ##f
6388 \remove Ligature_bracket_engraver
6389 \consists Vaticana_ligature_engraver
6390 NoteHead \set #'style = #'vaticana_punctum
6391 Stem \set #'transparent = ##t
6397 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6398 \include "gregorian-init.ly"
6400 \notes \transpose c c' {
6401 % Torculus Deminutus Initio Debilis
6402 \[ \deminutum a \pes b \flexa \deminutum g \]
6409 \remove "Bar_number_engraver"
6413 \remove "Clef_engraver"
6414 \remove "Key_engraver"
6415 StaffSymbol \set #'transparent = ##t
6416 \remove "Time_signature_engraver"
6417 \remove "Bar_engraver"
6418 minimumVerticalExtent = ##f
6422 \remove Ligature_bracket_engraver
6423 \consists Vaticana_ligature_engraver
6424 NoteHead \set #'style = #'vaticana_punctum
6425 Stem \set #'transparent = ##t
6432 @code{12. Porrectus}
6434 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6435 \include "gregorian-init.ly"
6437 \notes \transpose c c' {
6439 \[ a \flexa g \pes b \]
6446 \remove "Bar_number_engraver"
6450 \remove "Clef_engraver"
6451 \remove "Key_engraver"
6452 StaffSymbol \set #'transparent = ##t
6453 \remove "Time_signature_engraver"
6454 \remove "Bar_engraver"
6455 minimumVerticalExtent = ##f
6459 \remove Ligature_bracket_engraver
6460 \consists Vaticana_ligature_engraver
6461 NoteHead \set #'style = #'vaticana_punctum
6462 Stem \set #'transparent = ##t
6468 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6469 \include "gregorian-init.ly"
6471 \notes \transpose c c' {
6472 % Porrectus Auctus Descendens
6473 \[ a \flexa g \pes \auctum \descendens b \]
6480 \remove "Bar_number_engraver"
6484 \remove "Clef_engraver"
6485 \remove "Key_engraver"
6486 StaffSymbol \set #'transparent = ##t
6487 \remove "Time_signature_engraver"
6488 \remove "Bar_engraver"
6489 minimumVerticalExtent = ##f
6493 \remove Ligature_bracket_engraver
6494 \consists Vaticana_ligature_engraver
6495 NoteHead \set #'style = #'vaticana_punctum
6496 Stem \set #'transparent = ##t
6502 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6503 \include "gregorian-init.ly"
6505 \notes \transpose c c' {
6506 % Porrectus Deminutus
6507 \[ a \flexa g \pes \deminutum b \]
6514 \remove "Bar_number_engraver"
6518 \remove "Clef_engraver"
6519 \remove "Key_engraver"
6520 StaffSymbol \set #'transparent = ##t
6521 \remove "Time_signature_engraver"
6522 \remove "Bar_engraver"
6523 minimumVerticalExtent = ##f
6527 \remove Ligature_bracket_engraver
6528 \consists Vaticana_ligature_engraver
6529 NoteHead \set #'style = #'vaticana_punctum
6530 Stem \set #'transparent = ##t
6539 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6540 \include "gregorian-init.ly"
6542 \notes \transpose c c' {
6544 \[ \virga b \inclinatum a \inclinatum g \]
6551 \remove "Bar_number_engraver"
6555 \remove "Clef_engraver"
6556 \remove "Key_engraver"
6557 StaffSymbol \set #'transparent = ##t
6558 \remove "Time_signature_engraver"
6559 \remove "Bar_engraver"
6560 minimumVerticalExtent = ##f
6564 \remove Ligature_bracket_engraver
6565 \consists Vaticana_ligature_engraver
6566 NoteHead \set #'style = #'vaticana_punctum
6567 Stem \set #'transparent = ##t
6573 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6574 \include "gregorian-init.ly"
6576 \notes \transpose c c' {
6578 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6585 \remove "Bar_number_engraver"
6589 \remove "Clef_engraver"
6590 \remove "Key_engraver"
6591 StaffSymbol \set #'transparent = ##t
6592 \remove "Time_signature_engraver"
6593 \remove "Bar_engraver"
6594 minimumVerticalExtent = ##f
6598 \remove Ligature_bracket_engraver
6599 \consists Vaticana_ligature_engraver
6600 NoteHead \set #'style = #'vaticana_punctum
6601 Stem \set #'transparent = ##t
6607 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6608 \include "gregorian-init.ly"
6610 \notes \transpose c c' {
6611 % Climacus Deminutus
6612 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6619 \remove "Bar_number_engraver"
6623 \remove "Clef_engraver"
6624 \remove "Key_engraver"
6625 StaffSymbol \set #'transparent = ##t
6626 \remove "Time_signature_engraver"
6627 \remove "Bar_engraver"
6628 minimumVerticalExtent = ##f
6632 \remove Ligature_bracket_engraver
6633 \consists Vaticana_ligature_engraver
6634 NoteHead \set #'style = #'vaticana_punctum
6635 Stem \set #'transparent = ##t
6642 @code{14. Scandicus}
6644 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6645 \include "gregorian-init.ly"
6647 \notes \transpose c c' {
6649 \[ g \pes a \virga b \]
6656 \remove "Bar_number_engraver"
6660 \remove "Clef_engraver"
6661 \remove "Key_engraver"
6662 StaffSymbol \set #'transparent = ##t
6663 \remove "Time_signature_engraver"
6664 \remove "Bar_engraver"
6665 minimumVerticalExtent = ##f
6669 \remove Ligature_bracket_engraver
6670 \consists Vaticana_ligature_engraver
6671 NoteHead \set #'style = #'vaticana_punctum
6672 Stem \set #'transparent = ##t
6678 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6679 \include "gregorian-init.ly"
6681 \notes \transpose c c' {
6682 % Scandicus Auctus Descendens
6683 \[ g \pes a \pes \auctum \descendens b \]
6690 \remove "Bar_number_engraver"
6694 \remove "Clef_engraver"
6695 \remove "Key_engraver"
6696 StaffSymbol \set #'transparent = ##t
6697 \remove "Time_signature_engraver"
6698 \remove "Bar_engraver"
6699 minimumVerticalExtent = ##f
6703 \remove Ligature_bracket_engraver
6704 \consists Vaticana_ligature_engraver
6705 NoteHead \set #'style = #'vaticana_punctum
6706 Stem \set #'transparent = ##t
6712 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6713 \include "gregorian-init.ly"
6715 \notes \transpose c c' {
6716 % Scandicus Deminutus
6717 \[ g \pes a \pes \deminutum b \]
6724 \remove "Bar_number_engraver"
6728 \remove "Clef_engraver"
6729 \remove "Key_engraver"
6730 StaffSymbol \set #'transparent = ##t
6731 \remove "Time_signature_engraver"
6732 \remove "Bar_engraver"
6733 minimumVerticalExtent = ##f
6737 \remove Ligature_bracket_engraver
6738 \consists Vaticana_ligature_engraver
6739 NoteHead \set #'style = #'vaticana_punctum
6740 Stem \set #'transparent = ##t
6749 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6750 \include "gregorian-init.ly"
6752 \notes \transpose c c' {
6754 \[ g \oriscus a \pes \virga b \]
6761 \remove "Bar_number_engraver"
6765 \remove "Clef_engraver"
6766 \remove "Key_engraver"
6767 StaffSymbol \set #'transparent = ##t
6768 \remove "Time_signature_engraver"
6769 \remove "Bar_engraver"
6770 minimumVerticalExtent = ##f
6774 \remove Ligature_bracket_engraver
6775 \consists Vaticana_ligature_engraver
6776 NoteHead \set #'style = #'vaticana_punctum
6777 Stem \set #'transparent = ##t
6783 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6784 \include "gregorian-init.ly"
6786 \notes \transpose c c' {
6787 % Salicus Auctus Descendens
6788 \[ g \oriscus a \pes \auctum \descendens b \]
6795 \remove "Bar_number_engraver"
6799 \remove "Clef_engraver"
6800 \remove "Key_engraver"
6801 StaffSymbol \set #'transparent = ##t
6802 \remove "Time_signature_engraver"
6803 \remove "Bar_engraver"
6804 minimumVerticalExtent = ##f
6808 \remove Ligature_bracket_engraver
6809 \consists Vaticana_ligature_engraver
6810 NoteHead \set #'style = #'vaticana_punctum
6811 Stem \set #'transparent = ##t
6821 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6822 \include "gregorian-init.ly"
6824 \notes \transpose c c' {
6826 \[ \stropha b \stropha b \stropha a \]
6833 \remove "Bar_number_engraver"
6837 \remove "Clef_engraver"
6838 \remove "Key_engraver"
6839 StaffSymbol \set #'transparent = ##t
6840 \remove "Time_signature_engraver"
6841 \remove "Bar_engraver"
6842 minimumVerticalExtent = ##f
6846 \remove Ligature_bracket_engraver
6847 \consists Vaticana_ligature_engraver
6848 NoteHead \set #'style = #'vaticana_punctum
6849 Stem \set #'transparent = ##t
6861 Unlike most other neumes notation systems, the input language for
6862 neumes does not necessarily reflect directly the typographical
6863 appearance, but is designed to solely focuse on musical meaning. For
6864 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6865 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6866 a Porrectus with a curved flexa shape and only a single Punctum head.
6867 There is no command to explicitly typeset the curved flexa shape; the
6868 decision of when to typeset a curved flexa shape is purely taken from
6869 the musical input. The idea of this approach is to separate the
6870 musical aspects of the input from the notation style of the output.
6871 This way, the same input can be reused to typeset the same music in a
6872 different style of Gregorian chant notation such as Hufnagel (also
6873 known as German gothic neumes) or Medicaea (kind of a very simple
6874 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6875 engraver and Medicaea ligature engraver will have been implemented, it
6876 will be as simple as replacing the ligature engraver in the
6877 @internalsref{Voice} context to get the desired notation style from
6880 The following table shows the code fragments that produce the
6881 ligatures in the above neumes table. The letter in the first column
6882 in each line of the below table indicates to which ligature in the
6883 above table it refers. The second column gives the name of the
6884 ligature. The third column shows the code fragment that produces this
6885 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6887 @multitable @columnfractions .1 .4 .5
6901 Punctum Inclinatum @tab
6902 @code{\[ \inclinatum b \]}
6906 Punctum Auctum Ascendens @tab
6907 @code{\[ \auctum \ascendens b \]}
6911 Punctum Auctum Descendens @tab
6912 @code{\[ \auctum \descendens b \]}
6916 Punctum Inclinatum Auctum @tab
6917 @code{\[ \inclinatum \auctum b \]}
6921 Punctum Inclinatum Parvum @tab
6922 @code{\[ \inclinatum \deminutum b \]}
6927 @code{\[ \virga b \]}
6932 @code{\[ \stropha b \]}
6937 @code{\[ \stropha \auctum b \]}
6942 @code{\[ \oriscus b \]}
6946 Clivis vel Flexa @tab
6947 @code{\[ b \flexa g \]}
6951 Clivis Aucta Descendens @tab
6952 @code{\[ b \flexa \auctum \descendens g \]}
6956 Clivis Aucta Ascendens @tab
6957 @code{\[ b \flexa \auctum \ascendens g \]}
6962 @code{\[ b \flexa \deminutum g \]}
6966 Podatus vel Pes @tab
6967 @code{\[ g \pes b \]}
6971 Pes Auctus Descendens @tab
6972 @code{\[ g \pes \auctum \descendens b \]}
6976 Pes Auctus Ascendens @tab
6977 @code{\[ g \pes \auctum \ascendens b \]}
6982 @code{\[ g \pes \deminutum b \]}
6987 @code{\[ \oriscus g \pes \virga b \]}
6991 Pes Quassus Auctus Descendens @tab
6992 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6997 @code{\[ \quilisma g \pes b \]}
7001 Quilisma Pes Auctus Descendens @tab
7002 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7006 Pes Initio Debilis @tab
7007 @code{\[ \deminutum g \pes b \]}
7011 Pes Auctus Descendens Initio Debilis @tab
7012 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7017 @code{\[ a \pes b \flexa g \]}
7021 Torculus Auctus Descendens @tab
7022 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7026 Torculus Deminutus @tab
7027 @code{\[ a \pes b \flexa \deminutum g \]}
7031 Torculus Initio Debilis @tab
7032 @code{\[ \deminutum a \pes b \flexa g \]}
7036 Torculus Auctus Descendens Initio Debilis @tab
7037 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7041 Torculus Deminutus Initio Debilis @tab
7042 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7047 @code{\[ a \flexa g \pes b \]}
7051 Porrectus Auctus Descendens @tab
7052 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7056 Porrectus Deminutus @tab
7057 @code{\[ a \flexa g \pes \deminutum b \]}
7062 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7066 Climacus Auctus @tab
7067 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7071 Climacus Deminutus @tab
7072 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7077 @code{\[ g \pes a \virga b \]}
7081 Scandicus Auctus Descendens @tab
7082 @code{\[ g \pes a \pes \auctum \descendens b \]}
7086 Scandicus Deminutus @tab
7087 @code{\[ g \pes a \pes \deminutum b \]}
7092 @code{\[ g \oriscus a \pes \virga b \]}
7096 Salicus Auctus Descendens @tab
7097 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7102 @code{\[ \stropha b \stropha b \stropha a \]}
7108 The following head prefixes are supported:
7110 @cindex @code{\virga}
7112 @cindex @code{\stropha}
7114 @cindex @code{\inclinatum}
7116 @cindex @code{\auctum}
7118 @cindex @code{\descendens}
7120 @cindex @code{\ascendens}
7122 @cindex @code{\oriscus}
7124 @cindex @code{\quilisma}
7126 @cindex @code{\deminutum}
7129 Head prefixes can be accumulated, though restrictions apply. For
7130 example, either @code{\descendens} or @code{\ascendens} can be applied
7131 to a head, but not both to the same head.
7134 @cindex @code{\flexa}
7135 Two adjacent heads can be tied together with the @code{\pes} and
7136 @code{\flexa} infix commands for a rising and falling line of melody,
7141 Trigonus: apply equal spacing, regardless of pitch.
7144 @subsection Figured bass
7146 @cindex Basso continuo
7148 @c TODO: musicological blurb about FB
7152 LilyPond has limited support for figured bass:
7154 @lilypond[verbatim,fragment]
7156 \context Voice \notes { \clef bass dis4 c d ais}
7157 \context FiguredBass
7159 < 6 >4 < 7 >8 < 6+ [_!] >
7165 The support for figured bass consists of two parts: there is an input
7166 mode, introduced by @code{\figures}, where you can enter bass figures
7167 as numbers, and there is a context called @internalsref{FiguredBass} that
7168 takes care of making @internalsref{BassFigure} objects.
7170 In figures input mode, a group of bass figures is delimited by
7171 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7176 \context FiguredBass
7180 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7187 \context FiguredBass
7188 \figures { <4- 6+ 7!> }
7191 Spaces or dashes may be inserted by using @code{_}. Brackets are
7192 introduced with @code{[} and @code{]}:
7198 \context FiguredBass
7199 \figures { < [4 6] 8 [_! 12]> }
7202 Although the support for figured bass may superficially resemble chord
7203 support, it works much simpler. The @code{\figures} mode simply
7204 stores the numbers , and @internalsref{FiguredBass} context prints
7205 them as entered. There is no conversion to pitches, and no
7206 realizations of the bass are played in the MIDI file.
7208 Internally, the code produces markup texts. You can use any of the
7209 markup text properties to override formatting. For example, the
7210 vertical spacing of the figures may be set with @code{baseline-skip}.
7214 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7215 and @internalsref{FiguredBass} context.
7219 Slash notation for alterations is not supported.
7222 @node Vaticana style contexts
7223 @subsection Vaticana style contexts
7225 @cindex VaticanaVoiceContext
7226 @cindex VaticanaStaffContext
7228 The predefined @code{VaticanaVoiceContext} and
7229 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7230 Gregorian Chant in the style of the Editio Vaticana. These contexts
7231 initialize all relevant context properties and grob properties to
7232 proper values. With these contexts, you can immediately go ahead
7233 entering the chant, as the following short excerpt demonstrates:
7235 @lilypond[raggedright,verbatim,noindent]
7236 \include "gregorian-init.ly"
7239 \context VaticanaVoice {
7240 \property Score.BarNumber \set #'transparent = ##t
7242 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7243 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7244 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7247 \context Lyrics \lyrics {
7248 San- ctus, San- ctus, San- ctus
7253 @node Contemporary notation
7254 @section Contemporary notation
7256 In the 20th century, composers have greatly expanded the musical
7257 vocabulary. With this expansion, many innovations in musical notation
7258 have been tried. The book by Stone (1980) gives a comprehensive
7259 overview (see @ref{Literature list}). In general, the use of new,
7260 innovative notation makes a piece harder to understand and perform and
7261 its use should therefore be avoided if possible. For this reason,
7262 support for contemporary notation in LilyPond is limited.
7271 @subsection Clusters
7275 In musical terminology, a @emph{cluster} denotes a range of
7276 simultaneously sounding pitches that may change over time. The set of
7277 available pitches to apply usually depends on the accoustic source.
7278 Thus, in piano music, a cluster typically consists of a continous range
7279 of the semitones as provided by the piano's fixed set of a chromatic
7280 scale. In choral music, each singer of the choir typically may sing an
7281 arbitrary pitch within the cluster's range that is not bound to any
7282 diatonic, chromatic or other scale. In electronic music, a cluster
7283 (theoretically) may even cover a continuous range of pitches, thus
7284 resulting in coloured noise, such as pink noise.
7286 Clusters can be denoted in the context of ordinary staff notation by
7287 engraving simple geometrical shapes that replace ordinary notation of
7288 notes. Ordinary notes as musical events specify starting time and
7289 duration of pitches; however, the duration of a note is expressed by the
7290 shape of the note head rather than by the horizontal graphical extent of
7291 the note symbol. In contrast, the shape of a cluster geometrically
7292 describes the development of a range of pitches (vertical extent) over
7293 time (horizontal extent). Still, the geometrical shape of a cluster
7294 covers the area in wich any single pitch contained in the cluster would
7295 be notated as an ordinary note. From this point of view, it is
7296 reasonable to specify a cluster as the envelope of a set of notes.
7300 A cluster is engraved as the envelope of a set of
7301 cluster-notes. Cluster notes are created by applying the function
7302 @code{notes-to-clusters} to a sequence of chords, e.g.
7304 @lilypond[relative 1,verbatim]
7305 \apply #notes-to-clusters { <c e > <b f'> }
7308 The following example (from
7309 @inputfileref{input/regression,cluster.ly}) shows what the result
7312 @lilypondfile[notexidoc]{cluster.ly}
7314 By default, @internalsref{Cluster_spanner_engraver} is in the
7315 @internalsref{Voice} context. This allows putting ordinary notes and
7316 clusters together in the same staff, even simultaneously. In such a
7317 case no attempt is made to automatically avoid collisions between
7318 ordinary notes and clusters.
7322 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7323 @inputfileref{input/regression,cluster.ly},
7324 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7328 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7329 accurately. Use @code{<g a>8 <e a>8} instead.
7334 @subsection Fermatas
7340 Contemporary music notation frequently uses special fermata symbols to
7341 indicate fermatas of differing lengths.
7345 The following are supported
7347 @lilypond[singleline]
7349 << \addlyrics \notes {
7369 \context Lyrics \lyrics {
7370 "shortfermata" "fermata" "longfermata" "verylongfermata"
7375 See @ref{Articulations} for general instructions how to apply scripts
7376 such as fermatas to a @code{\notes@{@}} block.
7379 @section Tuning output
7381 There are situations where default layout decisions are not
7382 sufficient. In this section we discuss ways to override these
7385 Formatting is internally done by manipulating so called objects
7386 (graphic objects). Each object carries with it a set of properties
7387 (object or layout properties) specific to that object. For example, a
7388 stem object has properties that specify its direction, length and
7391 The most direct way of tuning the output is by altering the values of
7392 these properties. There are two ways of doing that: first, you can
7393 temporarily change the definition of one type of object, thus
7394 affecting a whole set of objects. Second, you can select one specific
7395 object, and set a layout property in that object.
7397 Do not confuse layout properties with translation
7398 properties. Translation properties always use a mixed caps style
7399 naming, and are manipulated using @code{\property}:
7401 \property Context.propertyName = @var{value}
7403 Layout properties are use Scheme style variable naming, i.e. lower
7404 case words separated with dashes. They are symbols, and should always
7405 be quoted using @code{#'}. For example, this could be an imaginary
7406 layout property name:
7408 #'layout-property-name
7413 * Constructing a tweak::
7421 @node Tuning objects
7422 @subsection Tuning objects
7424 @cindex object description
7426 The definition of an object is a list of default object
7427 properties. For example, the definition of the Stem object (available
7428 in @file{scm/define-grobs.scm}), includes the following definitions
7429 for @internalsref{Stem}:
7433 (beamed-lengths . (0.0 2.5 2.0 1.5))
7434 (Y-extent-callback . ,Stem::height)
7439 Adding variables on top of this existing definition overrides the
7440 system default, and alters the resulting appearance of the layout
7446 Changing a variable for only one object is commonly achieved with
7450 \once \property @var{context}.@var{objectname}
7451 \override @var{symbol} = @var{value}
7453 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7454 and @var{objectname} is a string and @var{value} is a Scheme expression.
7455 This command applies a setting only during one moment in the score.
7457 In the following example, only one @internalsref{Stem} object is
7458 changed from its original setting:
7460 @lilypond[verbatim, fragment, relative=1]
7462 \once \property Voice.Stem \set #'thickness = #4
7466 @cindex @code{\once}
7468 For changing more objects, the same command, without @code{\once} can
7471 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7473 This command adds @code{@var{symbol} = @var{value}} to the definition
7474 of @var{objectname} in the context @var{context}, and this definition
7475 stays in place until it is removed.
7477 An existing definition may be removed by the following command:
7480 \property @var{context}.@var{objectname} \revert @var{symbol}
7483 All @code{\override} and @code{\revert} commands should be balanced.
7484 The @code{\set} shorthand performs a revert followed by an override,
7485 and is often more convenient to use
7488 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7492 @lilypond[verbatim,quote]
7493 c'4 \property Voice.Stem \override #'thickness = #4.0
7495 c'4 \property Voice.Stem \revert #'thickness
7499 The following example gives exactly the same result as the previous
7500 one (assuming the system default for stem thickness is 1.3):
7502 @lilypond[verbatim,quote]
7503 c'4 \property Voice.Stem \set #'thickness = #4.0
7505 c'4 \property Voice.Stem \set #'thickness = #1.3
7509 Reverting a setting which was not set in the first place has no
7510 effect. However, if the setting was set as a system default, this may
7511 remove the default value, and this may give surprising results,
7512 including crashes. In other words, @code{\override} and
7513 @code{\revert} must be carefully balanced. The following are examples
7514 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7518 a clumsy but correct form:
7520 \override \revert \override \revert \override \revert
7524 shorter version of the same:
7526 \override \set \set \revert
7530 a short form, using only @code{\set}. This requires you to know the
7533 \set \set \set \set @var{to default value}
7537 if there is no default (i.e. by default, the object property is unset),
7540 \set \set \set \revert
7544 The object description is an Scheme association list. Since a Scheme
7545 list is a singly linked list, we can treat it as a stack, and
7546 @code{\override} and @code{\revert} are push and pop operations. The
7547 association list is stored in a normal context property, hence
7549 \property Voice.NoteHead = #'()
7551 will effectively erase @internalsref{NoteHead}s from the current
7552 @internalsref{Voice}. Typically, this will blank the object. However,
7553 this mechanism should not be used: it may cause crashes or other
7558 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7559 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7560 @internalsref{All-layout-objects}.
7565 The backend is not very strict in type-checking object properties.
7566 Cyclic references in Scheme values for properties cause hangs and/or
7567 crashes. Reverting properties that are system defaults may also lead
7570 A property tweak of modifies a local copy of the object definition.
7571 After such a tweak, the definition is independent of the objects in
7572 enclosing contexts. For example
7575 \property Voice.Stem \set #'neutral-direction = #1
7577 \property Staff.Stem \set #'thickness = #4.0
7582 In this fragment, @code{neutral-direction} is tweaked. As a result,
7583 the current @internalsref{Voice} gets a private version of the
7584 @internalsref{Stem} object. The following tweak modifies the
7585 definition at @internalsref{Staff} level. Since it a different
7586 definition, the thickness of the @code{b'16} is unaffected. For the
7587 third note, a new Voice is created, which inherits the new definition,
7588 including the changed thickness, but excluding the new neutral
7592 @node Constructing a tweak
7593 @subsection Constructing a tweak
7596 @cindex internal documentation
7597 @cindex finding graphical objects
7598 @cindex graphical object descriptions
7600 @cindex @code{\override}
7602 @cindex internal documentation
7606 Three pieces of information are required to use @code{\override} and
7607 @code{\set}: the name of the layout object, the context and the name
7608 of the property. We demonstrate how to glean this information from
7609 the notation manual and the generated documentation.
7611 The generated documentation is a set of HTML pages which should be
7612 included if you installed a binary distribution, typically in
7613 @file{/usr/share/doc/lilypond}. They are also available on the web:
7614 go to the @uref{http://lilypond.org,LilyPond website}, click
7615 ``Documentation'', select the correct version, and click then
7616 ``Program reference.'' It is advisable to bookmark the local HTML
7617 files. They will load faster than the ones on the web. If you use the
7618 version from the web, you must check whether the documentation matches
7619 the program version: it is generated from the definitions that the
7620 program uses, and therefore it is strongly tied to the LilyPond
7624 @c [TODO: revise for new site.]
7626 Suppose we want to move the fingering indication in the fragment below:
7628 @lilypond[relative=2,verbatim]
7634 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7635 instructions}), you will notice that there is written:
7640 @internalsref{FingerEvent} and @internalsref{Fingering}.
7647 In other words, the fingerings once entered, are internally stored as
7648 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7649 layout object is created for every @code{FingerEvent}.
7651 The Fingering object has a number of different functions, and each of
7652 those is captured in an interface. The interfaces are listed under
7653 @internalsref{Fingering} in the program reference.
7657 The @code{Fingering} object has a fixed size
7658 (@internalsref{item-interface}), the symbol is a piece of text
7659 (@internalsref{text-interface}), whose font can be set
7660 (@internalsref{font-interface}). It is centered horizontally
7661 (@internalsref{self-alignment-interface}), it is placed next to other
7662 objects (@internalsref{side-position-interface}) vertically, and its
7663 placement is coordinated with other scripts
7664 (@internalsref{text-script-interface}). It also has the standard
7665 @internalsref{grob-interface} (grob stands for Graphical object)
7667 @cindex graphical object
7668 @cindex layout object
7669 @cindex object, layout
7670 with all the variables that come with
7671 it. Finally, it denotes a fingering instruction, so it has
7672 @internalsref{finger-interface}.
7674 For the vertical placement, we have to look under
7675 @code{side-position-interface}:
7677 @code{side-position-interface}
7679 Position a victim object (this one) next to other objects (the
7680 support). In this case, the property @code{direction} signifies where to put the
7681 victim object relative to the support (left or right, up or down?)
7686 below this description, the variable @code{padding} is described as
7690 (dimension, in staff space)
7692 add this much extra space between objects that are next to each
7693 other. Default value: @code{0.6}
7697 By increasing the value of @code{padding}, we can move away the
7698 fingering. The following command inserts 3 staff spaces of white
7699 between the note and the fingering:
7701 \once \property Voice.Fingering \set #'padding = #3
7704 Inserting this command before the Fingering object is created,
7705 i.e. before @code{c2}, yields the following result:
7707 @lilypond[relative=2,fragment,verbatim]
7708 \once \property Voice.Fingering
7715 The context name @code{Voice} in the example above can be determined
7716 as follows. In the documentation for @internalsref{Fingering}, it says
7718 Fingering grobs are created by: @internalsref{Fingering_engraver}
7721 Clicking @code{Fingering_engraver} shows the documentation of
7722 the module responsible for interpreting the fingering instructions and
7723 translating them to a @code{Fingering} object. Such a module is called
7724 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7727 Fingering_engraver is part of contexts: Voice
7729 so tuning the settings for Fingering should be done with
7731 \property Voice.Fingering \set @dots{}
7734 Of course, the tweak may also done in a larger context than
7735 @code{Voice}, for example, @internalsref{Staff} or
7736 @internalsref{Score}.
7740 The program reference also contains alphabetical lists of
7741 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7742 @internalsref{Music-expressions}, so you can also find which objects to
7743 tweak by browsing the internals document.
7747 @subsection Applyoutput
7749 The most versatile way of tuning an object is @code{\applyoutput}. Its
7752 \applyoutput @var{proc}
7756 where @var{proc} is a Scheme function, taking three arguments.
7758 When interpreted, the function @var{proc} is called for every layout
7759 object found in the context, with the following arguments:
7761 @item the layout object itself,
7762 @item the context where the layout object was created, and
7763 @item the context where @code{\applyoutput} is processed.
7767 In addition, the cause of the layout object, i.e. the music
7768 expression or object that was responsible for creating it, is in the
7769 object property @code{cause}. For example, for a note head, this is a
7770 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7771 this is a @internalsref{NoteHead} object.
7773 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7776 (define (blanker grob grob-origin context)
7777 (if (and (memq (ly:get-grob-property grob 'interfaces)
7778 note-head-interface)
7779 (eq? (ly:get-grob-property grob 'staff-position) 0))
7781 (ly:set-grob-property! grob 'transparent #t)))
7786 @node Font selection
7787 @subsection Font selection
7789 The most common thing to change about the appearance of fonts is their
7790 size. The font size of any context can be easily changed by setting
7791 the @code{fontSize} property for that context. Its value is a number:
7792 negative numbers make the font smaller, positive numbers larger. An
7793 example is given below:
7795 @lilypond[fragment,relative=1,verbatim,quote]
7796 c4 c4 \property Voice.fontSize = #-1
7799 This command will set @code{font-size} (see below), and does
7800 not change the size of variable symbols, such as beams or slurs.
7802 One of the uses of @code{fontSize} is to get smaller symbol for cue
7803 notes. An elaborate example of those is in
7804 @inputfileref{input/test,cue-notes.ly}.
7806 @cindex magnification
7812 The font used for printing a object can be selected by setting
7813 @code{font-name}, e.g.
7815 \property Staff.TimeSignature
7816 \set #'font-name = #"cmr17"
7820 Any font can be used, as long as it is available to @TeX{}. Possible
7821 fonts include foreign fonts or fonts that do not belong to the
7822 Computer Modern font family. The size of fonts selected in this way
7823 can be changed with the @code{font-magnification} property. For
7824 example, @code{2.0} blows up all letters by a factor 2 in both
7828 @cindex font magnification
7830 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7831 can also be adjusted with a more fine-grained mechanism. By setting
7832 the object properties described below, you can select a different font;
7833 all three mechanisms work for every object that supports
7834 @code{font-interface}:
7839 is a symbol indicating the general class of the typeface. Supported are
7840 @code{roman} (Computer Modern), @code{braces} (for piano staff
7841 braces), @code{music} (the standard music font, including ancient
7842 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7845 is a symbol indicating the shape of the font, there are typically several
7846 font shapes available for each font family. Choices are @code{italic},
7847 @code{caps} and @code{upright}.
7850 is a symbol indicating the series of the font. There are typically several
7851 font series for each font family and shape. Choices are @code{medium}
7856 For any of these properties, the value @code{*} (i.e. the symbol
7857 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7858 to override default setting, which are always present. For example:
7860 \property Lyrics . LyricText \override #'font-series = #'bold
7861 \property Lyrics . LyricText \override #'font-family = #'typewriter
7862 \property Lyrics . LyricText \override #'font-shape = #'*
7865 @cindex @code{font-style}
7867 The font size is set by modifying the @code{font-size} property. Its
7868 value is a number indicating the size relative to the standard size.
7869 Each step up is an increase of approximately 12% of the font size. Six
7870 steps is exactly a factor two.
7872 LilyPond has fonts in different design sizes: the music fonts for
7873 smaller sizes are chubbier, while the text fonts are relatively wider.
7874 Font size changes are achieved by scaling the design size that is
7875 closest to the desired size.
7877 The @code{font-size} mechanism does not work for fonts selected
7878 through @code{font-name}. These may be scaled with
7879 @code{font-magnification}.
7883 The following commands set @code{fontSize} for the current voice.
7885 @cindex @code{\tiny}
7887 @cindex @code{\small}
7889 @cindex @code{\normalsize}
7894 Relative size is not linked to any real size.
7896 There is no style sheet provided for other fonts besides the @TeX{}
7897 family, and the style sheet cannot be modified easily.
7899 @cindex font selection
7900 @cindex font magnification
7901 @cindex @code{font-interface}
7905 @subsection Text markup
7910 @cindex typeset text
7912 LilyPond has an internal mechanism to typeset texts. You can access it
7913 with the keyword @code{\markup}. Within markup mode, you can enter texts
7914 similar to lyrics: simply enter them, surrounded by spaces:
7917 @lilypond[verbatim,fragment,relative=1]
7918 c1^\markup { hello }
7919 c1_\markup { hi there }
7920 c1^\markup { hi \bold there, is \italic anyone home? }
7923 @cindex font switching
7925 The markup in the example demonstrates font switching commands. The
7926 command @code{\bold} and @code{\italic} only apply to the first
7927 following word; enclose a set of texts with braces to apply a command
7930 \markup @{ \bold @{ hi there @} @}
7934 For clarity, you can also do this for single arguments, e.g.
7936 \markup @{ is \italic @{ anyone @} home @}
7939 @cindex font size, texts
7941 The following size commands set absolute sizes:
7943 @cindex @code{\teeny}
7944 @cindex @code{\tiny}
7945 @cindex @code{\small}
7946 @cindex @code{\large}
7947 @cindex @code{\huge}
7957 You can also make letter larger or smaller relative to their neighbors,
7958 with the commands @code{\larger} and @code{\smaller}.
7962 @cindex font style, for texts
7963 @cindex @code{\bold}
7964 @cindex @code{\dynamic}
7965 @cindex @code{\number}
7966 @cindex @code{\italic}
7968 The following font change commands are defined:
7971 changes to the font used in dynamic signs. This font does not
7972 contain all characters of the alphabet, so when producing ``piu f'',
7973 the ``piu'' should be done in a different font.
7977 changes to the font used in time signatures. It only contains
7978 numbers and a few punctuation marks.
7980 changes @code{font-shape} to @code{italic}.
7982 changes @code{font-series} to @code{bold}.
7985 @cindex raising text
7986 @cindex lowering text
7988 @cindex translating text
7991 @cindex @code{\super}
7993 Raising and lowering texts can be done with @code{\super} and
7996 @lilypond[verbatim,fragment,relative=1]
7997 c1^\markup { E "=" mc \super "2" }
8000 @cindex @code{\raise}
8002 If you want to give an explicit amount for lowering or raising, use
8003 @code{\raise}. This command takes a Scheme valued first argument, and
8004 a markup object as second argument:
8006 @lilypond[verbatim,fragment,relative=1,quote]
8007 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8009 The argument to @code{\raise} is the vertical displacement amount,
8010 measured in (global) staff spaces. @code{\raise} and @code{\super}
8011 raise objects in relation to their surrounding markups. They cannot be
8012 used to move a single text up or down, when it is above or below a
8013 note, since the mechanism that positions it next to the note cancels
8014 any vertical shift. For vertical positioning, use the @code{padding}
8015 and/or @code{extra-offset} properties.
8017 Other commands taking single arguments include
8020 @item \bracket, \hbracket
8021 Bracket the argument markup with normal and horizontal brackets
8025 @cindex @code{\musicglyph}
8026 This is converted to a musical symbol, e.g. @code{\musicglyph
8027 #"accidentals-0"} will select the natural sign from the music font.
8028 See @ref{The Feta font} for a complete listing of the possible glyphs.
8030 This produces a single character, e.g. @code{\char #65} produces the
8033 @item \note @var{log} @var{dots} @var{dir}
8034 @cindex @code{\note}
8036 This produces a note with a stem pointing in @var{dir} direction, with
8037 duration log @var{log} and @var{dots} augmentation dots. The duration
8038 log is the negative 2-logarithm of the duration denominator. For
8039 example, a quarter note has log 2, an eighth note 3 and a breve has
8042 @item \hspace #@var{amount}
8043 @cindex @code{\hspace}
8044 This produces a invisible object taking horizontal space.
8046 \markup @{ A \hspace #2.0 B @}
8048 will put extra space between A and B, on top of the space that is
8049 normally inserted before elements on a line.
8051 @item \fontsize #@var{size}
8052 @cindex @code{\fontsize}
8053 This sets the relative font size, eg.
8055 A \fontsize #2 @{ B C @} D
8059 This will enlarge the B and the C by two steps.
8060 @item \translate #(cons @var{x} @var{y})
8062 This translates an object. Its first argument is a cons of numbers
8064 A \translate #(cons 2 -3) @{ B C @} D
8066 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8067 surroundings. This command cannot be used to move isolated scripts
8068 vertically, for the same reason that @code{\raise} cannot be used for
8071 @item \magnify #@var{mag}
8072 @cindex @code{\magnify}
8073 This sets the font magnification for the its argument. In the following
8074 example, the middle A will be 10% larger:
8076 A \magnify #1.1 @{ A @} A
8080 @item \override #(@var{key} . @var{value})
8081 @cindex @code{\override}
8082 This overrides a formatting property for its argument. The argument
8083 should be a key/value pair, e.g.
8085 m \override #'(font-family . math) m m
8089 In markup mode you can compose expressions, similar to mathematical
8090 expressions, XML documents and music expressions. The braces group
8091 notes into horizontal lines. Other types of lists also exist: you can
8092 stack expressions grouped with @code{<}, and @code{>} vertically with
8093 the command @code{\column}. Similarly, @code{\center} aligns texts by
8096 @lilypond[verbatim,fragment,relative=1]
8097 c1^\markup { \column < a bbbb c > }
8098 c1^\markup { \center < a bbbb c > }
8099 c1^\markup { \line < a b c > }
8102 Markups can be stored in variables, and these variables
8103 may be attached to notes, like
8105 allegro = \markup { \bold \large { Allegro } }
8106 \notes { a^\allegro b c d }
8109 The markup mechanism is extensible. Refer to
8110 @file{scm/new-markup.scm} for more information.
8115 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8122 Text layout is ultimately done by @TeX{}, which does kerning of
8123 letters. LilyPond does not account for kerning, so texts will be
8124 spaced slightly too wide.
8126 Syntax errors for markup mode are confusing.
8128 Markup texts cannot be used in the titling of the @code{\header}
8129 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8136 @section Global layout
8138 The global layout determined by three factors: the page layout, the
8139 line breaks and the spacing. These all influence each other. The
8140 choice of spacing determines how densely each system of music is set,
8141 which influences where line breaks breaks are chosen, and thus
8142 ultimately how many pages a piece of music takes. This section
8143 explains how to tune the algorithm for spacing.
8145 Globally spoken, this procedure happens in three steps: first,
8146 flexible distances (``springs'') are chosen, based on durations. All
8147 possible line breaking combination are tried, and the one with the
8148 best results---a layout that has uniform density and requires as
8149 little stretching or cramping as possible---is chosen. When the score
8150 is processed by @TeX{}, each page is filled with systems, and page breaks
8151 are chosen whenever the page gets full.
8156 * Vertical spacing::
8157 * Horizontal spacing::
8164 @node Vertical spacing
8165 @subsection Vertical spacing
8167 @cindex vertical spacing
8168 @cindex distance between staves
8169 @cindex staff distance
8170 @cindex between staves, distance
8171 @cindex staffs per page
8172 @cindex space between staves
8174 The height of each system is determined automatically by LilyPond, to
8175 keep systems from bumping into each other, some minimum distances are
8176 set. By changing these, you can put staves closer together, and thus
8177 put more systems onto one page.
8179 Normally staves are stacked vertically. To make
8180 staves maintain a distance, their vertical size is padded. This is
8181 done with the property @code{minimumVerticalExtent}. It takes a pair
8182 of numbers, so if you want to make it smaller from its, then you could
8185 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8187 This sets the vertical size of the current staff to 4 staff spaces on
8188 either side of the center staff line. The argument of
8189 @code{minimumVerticalExtent} is interpreted as an interval, where the
8190 center line is the 0, so the first number is generally negative. The
8191 staff can be made larger at the bottom by setting it to @code{(-6
8194 The piano staves are handled a little differently: to make cross-staff
8195 beaming work correctly, it is necessary that the distance between staves
8196 is fixed beforehand. This is also done with a
8197 @internalsref{VerticalAlignment} object, created in
8198 @internalsref{PianoStaff}. In this object the distance between the
8199 staves is fixed by setting @code{forced-distance}. If you want to
8200 override this, use a @code{\translator} block as follows:
8204 VerticalAlignment \override #'forced-distance = #9
8207 This would bring the staves together at a distance of 9 staff spaces,
8208 measured from the center line of each staff.
8212 Vertical alignment of staves is handled by the
8213 @internalsref{VerticalAlignment} object.
8217 @node Horizontal spacing
8218 @subsection Horizontal Spacing
8220 The spacing engine translates differences in durations into
8221 stretchable distances (``springs'') of differing lengths. Longer
8222 durations get more space, shorter durations get less. The shortest
8223 durations get a fixed amount of space (which is controlled by
8224 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8225 /The longer the duration, the more space it gets: doubling a
8226 duration adds a fixed amount (this amount is controlled by
8227 @code{spacing-increment}) of space to the note.
8229 For example, the following piece contains lots of half, quarter and
8230 8th notes, the eighth note is followed by 1 note head width (NHW).
8231 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8232 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8236 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8237 width of a note head, and @code{shortest-duration-space} is set to
8238 2.0, meaning that the shortest note gets 2 NHW (2 times
8239 @code{shortest-duration-space}) of space. For normal notes, this space
8240 is always counted from the left edge of the symbol, so the shortest
8241 notes are generally followed by one NHW of space.
8243 If one would follow the above procedure exactly, then adding a single
8244 32th note to a score that uses 8th and 16th notes, would widen up the
8245 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8246 thus adding 1 NHW to every note. To prevent this, the
8247 shortest duration for spacing is not the shortest note in the score,
8248 but the most commonly found shortest note. Notes that are even
8249 shorter this are followed by a space that is proportional to their
8250 duration relative to the common shortest note. So if we were to add
8251 only a few 16th notes to the example above, they would be followed by
8254 @lilypond[fragment, verbatim, relative=2]
8255 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8258 The most common shortest duration is determined as follows: in every
8259 measure, the shortest duration is determined. The most common short
8260 duration, is taken as the basis for the spacing, with the stipulation
8261 that this shortest duration should always be equal to or shorter than
8262 1/8th note. The shortest duration is printed when you run lilypond
8263 with @code{--verbose}. These durations may also be customized. If you
8264 set the @code{common-shortest-duration} in
8265 @internalsref{SpacingSpanner}, then this sets the base duration for
8266 spacing. The maximum duration for this base (normally 1/8th), is set
8267 through @code{base-shortest-duration}.
8269 @cindex @code{common-shortest-duration}
8270 @cindex @code{base-shortest-duration}
8271 @cindex @code{stem-spacing-correction}
8272 @cindex @code{spacing}
8274 In the introduction it was explained that stem directions influence
8275 spacing. This is controlled with @code{stem-spacing-correction}
8276 property in @internalsref{NoteSpacing}, which are generated for every
8277 @internalsref{Voice} context. The @code{StaffSpacing} object
8278 (generated at @internalsref{Staff} context) contains the same property
8279 for controlling the stem/barline spacing. The following example
8280 shows these corrections, once with default settings, and once with
8281 exaggerated corrections:
8287 \property Staff.NoteSpacing \override #'stem-spacing-correction
8289 \property Staff.StaffSpacing \override #'stem-spacing-correction
8294 \paper { raggedright = ##t } }
8297 @cindex SpacingSpanner, overriding properties
8299 Properties of the @internalsref{SpacingSpanner} must be overridden
8300 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8301 created before any @code{\property} statements are interpreted.
8303 \paper @{ \translator @{
8305 SpacingSpanner \override #'spacing-increment = #3.0
8312 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8313 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8314 @internalsref{SeparatingGroupSpanner}.
8318 Spacing is determined on a score wide basis. If you have a score that
8319 changes its character (measured in durations) halfway during the
8320 score, the part containing the longer durations will be spaced too
8323 There is no convenient mechanism to manually override spacing.
8328 @subsection Font size
8329 @cindex font size, setting
8330 @cindex staff size, setting
8331 @cindex @code{paper} file
8333 The Feta font provides musical symbols at seven different sizes.
8334 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8335 26 point. The point size of a font is the height of the corresponding
8336 staff (excluding line thicknesses).
8338 Definitions for these sizes are the files @file{paperSZ.ly}, where
8339 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8340 of these files, the variables @code{paperEleven},
8341 @code{paperThirteen}, @code{paperSixteen},
8342 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8343 are defined respectively. The default @code{\paper} block is also
8344 set. These files should be imported at toplevel, i.e.
8346 \include "paper26.ly"
8350 The default font size settings for each staff heights are generated
8351 from the 20pt style sheet. For more details, see the file
8352 @file{scm/font.scm}.
8356 @subsection Line breaking
8359 @cindex breaking lines
8361 Line breaks are normally computed automatically. They are chosen such
8362 that lines look neither cramped nor loose, and that consecutive lines
8363 have similar density.
8365 Occasionally you might want to override the automatic breaks; you can
8366 do this by specifying @code{\break}. This will force a line break at
8367 this point. Line breaks can only occur at places where there are bar
8368 lines. If you want to have a line break where there is no bar line,
8369 you can force an invisible bar line by entering @code{\bar
8370 ""}. Similarly, @code{\noBreak} forbids a line break at a
8374 @cindex regular line breaks
8375 @cindex four bar music.
8377 For linebreaks at regular intervals use @code{\break} separated by
8378 skips and repeated with @code{\repeat}:
8380 << \repeat unfold 7 @{ s1 * 4 \break @}
8381 @emph{the real music}
8386 This makes the following 28 measures (assuming 4/4 time) be broken every
8391 @internalsref{BreakEvent}.
8395 @subsection Page layout
8398 @cindex breaking pages
8400 @cindex @code{indent}
8401 @cindex @code{linewidth}
8403 The most basic settings influencing the spacing are @code{indent} and
8404 @code{linewidth}. They are set in the @code{\paper} block. They
8405 control the indentation of the first line of music, and the lengths of
8408 If @code{raggedright} is set to true in the @code{\paper}
8409 block, then the lines are justified at their natural length. This
8410 useful for short fragments, and for checking how tight the natural
8414 @cindex vertical spacing
8416 The page layout process happens outside the LilyPond formatting
8417 engine: variables controlling page layout are passed to the output,
8418 and are further interpreted by @code{lilypond} wrapper program. It
8419 responds to the following variables in the @code{\paper} block. The
8420 variable @code{textheight} sets the total height of the music on each
8421 page. The spacing between systems is controlled with
8422 @code{interscoreline}, its default is 16pt. The distance between the
8423 score lines will stretch in order to fill the full page
8424 @code{interscorelinefill} is set to a positive number. In that case
8425 @code{interscoreline} specifies the minimum spacing.
8427 @cindex @code{textheight}
8428 @cindex @code{interscoreline}
8429 @cindex @code{interscorelinefill}
8431 If the variable @code{lastpagefill} is defined,
8432 @c fixme: this should only be done if lastpagefill == #t
8433 systems are evenly distributed vertically on the last page. This
8434 might produce ugly results in case there are not enough systems on the
8435 last page. The @command{lilypond-book} command ignores
8436 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8439 @cindex @code{lastpagefill}
8441 Page breaks are normally computed by @TeX{}, so they are not under
8442 direct control of LilyPond. However, you can insert a commands into
8443 the @file{.tex} output to instruct @TeX{} where to break pages. This
8444 is done by setting the @code{between-systems-strings} on the
8445 @internalsref{NonMusicalPaperColumn} where the system is broken.
8446 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8447 The predefined command @code{\newpage} also does this.
8451 @cindex @code{papersize}
8453 To change the paper size, you must first set the @code{papersize} paper
8454 variable variable as in the example below. Set it to
8455 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8456 specification, you must set the font as described above. If you want
8457 the default font, then use the 20 point font.
8460 \paper@{ papersize = "a4" @}
8461 \include "paper16.ly"
8464 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8465 will set the paper variables @code{hsize} and @code{vsize} (used by
8466 @code{lilypond-book} and @code{lilypond}).
8471 @cindex @code{\newpage}
8477 @ref{Invoking lilypond},
8478 @inputfileref{input/regression,between-systems.ly}, and
8479 @internalsref{NonMusicalPaperColumn}.
8483 LilyPond has no concept of page layout, which makes it difficult to
8484 reliably choose page breaks in longer pieces.
8493 Entered music can also be converted to MIDI output. The performance
8494 is good enough for proof-hearing the music for errors.
8496 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8497 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8498 marks translate to a fixed fraction of the available MIDI volume
8499 range, crescendi and decrescendi make the volume vary linearly between
8500 their two extremities. The fractions can be adjusted by
8501 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8502 For each type of MIDI instrument, a volume range can be defined. This
8503 gives a basic equalizer control, which can enhance the quality of
8504 the MIDI output remarkably. The equalizer can be controlled by
8505 setting @code{instrumentEqualizer}.
8509 Many musically interesting effects, such as swing, articulation,
8510 slurring, etc., are not translated to MIDI.
8515 * MIDI instrument names::
8520 @subsection MIDI block
8524 The MIDI block is analogous to the paper block, but it is somewhat
8525 simpler. The @code{\midi} block can contain:
8529 @item a @code{\tempo} definition, and
8530 @item context definitions.
8533 Assignments in the @code{\midi} block are not allowed.
8535 A number followed by a period is interpreted as a real number, so
8536 for setting the tempo for dotted notes, an extra space should be
8537 inserted, for example:
8540 \midi @{ \tempo 4 . = 120 @}
8544 @cindex context definition
8546 Context definitions follow precisely the same syntax as within the
8547 \paper block. Translation modules for sound are called performers.
8548 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8551 @node MIDI instrument names
8552 @subsection MIDI instrument names
8554 @cindex instrument names
8555 @cindex @code{Staff.midiInstrument}
8557 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8558 property. The instrument name should be chosen from the list in
8559 @ref{MIDI instruments}.
8563 If the selected string does not exactly match, then the default is
8564 used, which is the Grand Piano.