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}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[singleline,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[singleline,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[singleline,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[singleline,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative 2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a @internalsref{Stem} object is created
367 automatically. For whole notes and rests, they are also created but
372 @cindex @code{\stemUp}
374 @cindex @code{\stemDown}
376 @cindex @code{\stemBoth}
387 A tie connects two adjacent note heads of the same pitch. The tie in
388 effect extends the length of a note. Ties should not be confused with
389 slurs, which indicate articulation, or phrasing slurs, which indicate
390 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
392 @lilypond[fragment,verbatim,center]
393 e' ~ e' <c' e' g'> ~ <c' e' g'>
396 When a tie is applied to a chord, all note heads whose pitches match
397 are connected. When no note heads match, no ties will be created.
399 In its meaning a tie is just a way of extending a note duration, similar
400 to the augmentation dot; in the following example there are two ways of
401 notating exactly the same concept:
403 @lilypond[fragment, singleline,quote]
404 \time 3/4 c'2. c'2 ~ c'4
406 If you need to tie a lot of notes over bars, it may be easier to use automatic
407 note splitting (See @ref{Automatic note splitting}).
412 @cindex @code{\tieUp}
414 @cindex @code{\tieDown}
416 @cindex @code{\tieBoth}
418 @cindex @code{\tieDotted}
420 @cindex @code{\tieSolid}
425 In this manual: @ref{Automatic note splitting}.
427 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 Examples: if you want less ties created for a chord, see
431 @inputfileref{input/test,tie-sparse.ly}.
433 For tying only a subset of the note heads of a pair of chords, see
434 @inputfileref{input/regression,tie-chord-partial.ly}.
439 Switching staves when a tie is active will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
462 The duration of @var{musicexpr} will be multiplied by the fraction.
463 The fraction's denominator will be printed over the notes, optionally
464 with a bracket. The most common tuplet is the triplet in which 3
465 notes have the length of 2, so the notes are 2/3 of their written
468 @lilypond[fragment,verbatim,center]
469 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
472 The property @code{tupletSpannerDuration} specifies how long each
473 bracket should last. With this, you can make lots of tuplets while
474 typing @code{\times} only once, saving lots of typing. In the next
475 example, there are two triplets shown, while @code{\times} was only
478 @lilypond[fragment, relative, singleline, verbatim]
479 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
480 \times 2/3 { c'8 c c c c c }
483 The format of the number is determined by the property
484 @code{tupletNumberFormatFunction}. The default prints only the
485 denominator, but if it is set to the Scheme function
486 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
490 @cindex @code{tupletNumberFormatFunction}
491 @cindex tuplet formatting
496 @cindex @code{\tupletUp}
498 @cindex @code{\tupletDown}
500 @cindex @code{\tupletBoth}
505 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
509 Nested tuplets are not formatted automatically. In this case, outer
510 tuplet brackets should be moved manually.
512 @node Easy Notation note heads
513 @subsection Easy Notation note heads
515 @cindex easy notation
518 The `easy play' note head includes a note name inside the head. It is
519 used in music aimed at beginners:
521 @lilypond[singleline,verbatim,26pt]
523 \notes { c'2 e'4 f' | g'1 }
524 \paper { \translator { \EasyNotation } }
528 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
529 You probably will want to print it with magnification or a
530 large font size to make it more readable. To print with
531 magnification, you must create a DVI file (with @file{lilypond}) and
532 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
533 See the @code{dvips} documentation for more details. To print with a
534 larger font, see @ref{Font Size}.
540 If you view the result with Xdvi, then staff lines will show through
541 the letters. Printing the PostScript file obtained does produce the
545 @node Easier music entry
546 @section Easier music entry
549 When entering music it is easy to introduce errors. This section deals
550 with tricks and features of the input language that were added solely
551 to help entering music, and find and correct mistakes.
553 It is also possible to use external programs, for example GUI
554 interfaces, or MIDI transcription programs, to enter or edit
555 music. Refer to the website for more information. Finally, there are
556 tools make debugging easier, by linking the input file and the output
557 shown on screen. See @ref{Point and click} for more information.
564 * Skipping corrected music::
565 * Automatic note splitting::
571 @node Relative octaves
572 @subsection Relative octaves
574 @cindex relative octave specification
576 Octaves are specified by adding @code{'} and @code{,} to pitch names.
577 When you copy existing music, it is easy to accidentally put a pitch
578 in the wrong octave and hard to find such an error. The relative
579 octave mode prevents these errors: a single error puts the rest of the
580 piece off by one octave:
582 @cindex @code{\relative}
584 \relative @var{startpitch} @var{musicexpr}
587 The octave of notes that appear in @var{musicexpr} are calculated as
588 follows: If no octave changing marks are used, the basic interval
589 between this and the last note is always taken to be a fourth or less
590 (; this distance is determined without regarding alterations: a
591 @code{fisis} following a @code{ceses} will be put above the
594 The octave changing marks @code{'} and @code{,} can be added to raise
595 or lower the pitch by an extra octave. Upon entering relative mode,
596 an absolute starting pitch must be specified that will act as the
597 predecessor of the first note of @var{musicexpr}.
599 Here is the relative mode shown in action:
600 @lilypond[fragment,singleline,verbatim,center]
606 Octave changing marks are used for intervals greater than a fourth:
607 @lilypond[fragment,verbatim,center]
612 If the preceding item is a chord, the first note of the chord is used
613 to determine the first note of the next chord:
615 @lilypond[fragment,verbatim,center]
622 @cindex @code{\notes}
624 The pitch after the @code{\relative} contains a note name. To parse
625 the pitch as a note name, you have to be in note mode, so there must
626 be a surrounding @code{\notes} keyword (which is not
629 The relative conversion will not affect @code{\transpose},
630 @code{\chords} or @code{\relative} sections in its argument. If you
631 want to use relative within transposed music, you must place an
632 additional @code{\relative} inside the @code{\transpose}.
635 @subsection Octave check
638 Octave checks make octave errors easier to correct.
644 This checks that @var{pitch} (without octave) yields @var{pitch} (with
645 octave) in \relative mode. If not, a warning is printed, and the
646 octave is corrected, for example, the first check is passed
647 successfully. The second check fails with an error message. The
648 octave is adjusted so the following notes are in the correct octave
659 The octave of a note following an octave check is determined with
660 respect to the note preceding it. In the next fragment, the last note
661 is a @code{a'}, above central C. Hence, the @code{\octave} check may
662 be deleted without changing the meaning of the piece.
664 @lilypond[verbatim,fragment]
673 @subsection Bar check
677 @cindex @code{barCheckSynchronize}
680 Bar checks help detect errors in the durations. A bar check is
681 entered using the bar symbol, `@code{|}'. Whenever it is encountered
682 during interpretation, it should fall on a measure boundary. If it
683 does not, a warning is printed. Depending on the value of
684 @code{barCheckSynchronize}, the beginning of the measure will be
687 In the next example, the second bar check will signal an error:
689 \time 3/4 c2 e4 | g2 |
692 Bar checks can also be used in lyrics, for example
697 Twin -- kle | Twin -- kle
702 @cindex skipTypesetting
704 Failed bar checks are caused by entering incorrect
705 durations. Incorrect durations often completely garble up the score,
706 especially if it is polyphonic, so you should start correcting the
707 score by scanning for failed bar checks and incorrect durations. To
708 speed up this process, you can use @code{skipTypesetting}, described
711 @node Skipping corrected music
712 @subsection Skipping corrected music
714 The property @code{Score.skipTypesetting} can be used to switch on and
715 off typesetting completely during the interpretation phase. When
716 typesetting is switched off, the music is processed much more quickly.
717 This can be used to skip over the parts of a score that have already
718 been checked for errors:
720 @lilypond[fragment,singleline,verbatim]
722 \property Score.skipTypesetting = ##t
724 \property Score.skipTypesetting = ##f
728 @node Automatic note splitting
729 @subsection Automatic note splitting
731 Long notes can be converted automatically to tied notes. This is done
732 by replacing the @internalsref{Note_heads_engraver} by the
733 @internalsref{Completion_heads_engraver}:
736 \paper @{ \translator @{
738 \remove "Note_heads_engraver"
739 \consists "Completion_heads_engraver"
743 which will make long notes tied in the following example:
746 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
753 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
755 \paper { \translator {
757 \remove "Note_heads_engraver"
758 \consists "Completion_heads_engraver"
763 This engraver splits all running notes at the bar line, and inserts
764 ties. One of its uses is to debug complex scores: if the measures are
765 not entirely filled, then the ties exactly show how much each measure
770 Not all durations (especially those containing tuplets) can be
771 represented exactly; the engraver will not insert tuplets.
777 @section Staff notation
779 This section describes music notation that occurs on staff level,
780 such as keys, clefs and time signatures.
782 @cindex Staff notation
796 @subsection Staff symbol
798 @cindex adjusting staff symbol
799 @cindex StaffSymbol, using \property
801 Notes, dynamic signs, etc. are grouped
802 with a set of horizontal lines, into a staff (plural `staves'). In our
803 system, these lines are drawn using a separate layout object called
807 @cindex staff lines, setting number of
808 @cindex staff lines, setting thickness of
809 @cindex thickness of staff lines, setting
810 @cindex number of staff lines, setting
814 Internals: @internalsref{StaffSymbol},
816 Examples: @inputfileref{input/test,staff-lines.ly},
817 @inputfileref{input/test,staff-size.ly}
821 If a staff is ended halfway a piece, the staff symbol may not end
822 exactly on the barline.
826 @subsection Key signature
827 @cindex Key signature
831 The key signature indicates the scale in which a piece is played. It
832 is denoted by a set of alterations (flats or sharps) at the start of
837 Setting or changing the key signature is done with the @code{\key}
840 @code{\key} @var{pitch} @var{type}
843 @cindex @code{\minor}
844 @cindex @code{\major}
845 @cindex @code{\minor}
846 @cindex @code{\ionian}
847 @cindex @code{\locrian}
848 @cindex @code{\aeolian}
849 @cindex @code{\mixolydian}
850 @cindex @code{\lydian}
851 @cindex @code{\phrygian}
852 @cindex @code{\dorian}
854 Here, @var{type} should be @code{\major} or @code{\minor} to get
855 @var{pitch}-major or @var{pitch}-minor, respectively.
856 The standard mode names @code{\ionian},
857 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
858 @code{\phrygian}, and @code{\dorian} are also defined.
860 This command sets the context property
861 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
862 can be specified by setting this property directly.
864 Accidentals and key signatures often confuse new users, because
865 unaltered notes get natural signs depending on the keysignature. The
866 tutorial explains why this is so in @ref{More about pitches}.
870 The ordering of a key cancellation is wrong when it is combined with
871 repeat bar lines. The cancellation is also printed after a line break.
875 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
877 @cindex @code{keySignature}
884 The clef indicates which lines of the staff correspond to which
889 The clef can be set or changed with the @code{\clef} command:
890 @lilypond[fragment,verbatim]
891 \key f\major c''2 \clef alto g'2
894 Supported clef-names include:
895 @c Moved standard clefs to the top /MB
899 @item treble, violin, G, G2
912 G clef on 1st line, so-called French violin clef
917 @cindex mezzosoprano clef
920 @cindex baritone clef
923 @cindex varbaritone clef
932 By adding @code{_8} or @code{^8} to the clef name, the clef is
933 transposed one octave down or up, respectively, and @code{_15} and
934 @code{^15} transposes by two octaves. The argument @var{clefname}
935 must be enclosed in quotes when it contains underscores or digits. For
939 @cindex choral tenor clef
940 @lilypond[verbatim,fragment,relative]
944 This command is equivalent to setting @code{clefGlyph},
945 @code{clefPosition} (which controls the Y position of the clef),
946 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
947 when any of these properties are changed.
951 Internals: the object for this symbol is @internalsref{Clef}.
955 @node Ottava brackets
956 @subsection Ottava brackets
958 ``Ottava'' brackets introduce an extra transposition of an octave for
959 the staff. They are created by invoking the function
960 @code{set-octavation}:
966 @lilypond[verbatim,fragment]
975 Internally the @code{set-octavation} function sets the properties
976 @code{ottavation} (eg. to @code{"8va"}) and
977 @code{centralCPosition}. The function also takes arguments -1 (for 8va
978 bassa) and 2 (for 15ma).
980 @internalsref{OttavaSpanner}.
984 @code{set-octavation} will get confused when clef changes happen
985 during an octavation bracket.
988 @subsection Time signature
989 @cindex Time signature
993 Time signature indicates the metrum of a piece: a regular pattern of
994 strong and weak beats. It is denoted by a fraction at the start of the
999 The time signature is set or changed by the @code{\time}
1001 @lilypond[fragment,verbatim]
1002 \time 2/4 c'2 \time 3/4 c'2.
1005 The symbol that is printed can be customized with the @code{style}
1006 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1007 2/2 time. There are many more options for its layout. See
1008 @inputfileref{input/test,time.ly} for more examples.
1011 This command sets the property @code{timeSignatureFraction},
1012 @code{beatLength} and @code{measureLength} in the @code{Timing}
1013 context, which is normally aliased to @internalsref{Score}. The
1014 property @code{measureLength} determines where bar lines should be
1015 inserted, and how automatic beams should be generated. Changing the
1016 value of @code{timeSignatureFraction} also causes the symbol to be
1019 More options are available through the Scheme function
1020 @code{set-time-signature}. In combination with the
1021 @internalsref{Measure_grouping_engraver}, it will create
1022 @internalsref{MeasureGrouping} signs. Such signs ease reading
1023 rhythmically complex modern music. In the following example, the 9/8
1024 measure is subdivided in 2, 2, 2 and 3. This is passed to
1025 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1028 \score { \notes \relative c'' {
1029 #(set-time-signature 9 8 '(2 2 2 3))
1030 g8[ g] d[ d] g[ g] a8[( bes g]) |
1031 #(set-time-signature 5 8 '(3 2))
1036 \translator { \StaffContext
1037 \consists "Measure_grouping_engraver"
1043 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1048 Automatic beaming does not use measure grouping specified with
1049 @code{set-time-signature}.
1051 @node Partial measures
1052 @subsection Partial measures
1055 @cindex partial measure
1056 @cindex measure, partial
1057 @cindex shorten measures
1058 @cindex @code{\partial}
1060 Partial measures, for example in upsteps, are entered using the
1061 @code{\partial} command:
1062 @lilypond[fragment,verbatim,relative 1]
1063 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1066 The syntax for this command is
1068 \partial @var{duration}
1070 This is internally translated into
1072 \property Timing.measurePosition = -@var{length of duration}
1075 The property @code{measurePosition} contains a rational number
1076 indicating how much of the measure has passed at this point.
1078 @node Unmetered music
1079 @subsection Unmetered music
1081 Bar lines and bar numbers are calculated automatically. For unmetered
1082 music (e.g. cadenzas), this is not desirable. By setting
1083 @code{Score.timing} to false, this automatic timing can be switched
1089 @cindex @code{\cadenzaOn}
1091 @cindex @code{\cadenzaOff}
1095 @subsection Bar lines
1099 @cindex measure lines
1103 Bar lines delimit measures, but are also used to indicate repeats.
1104 Normally, they are inserted automatically. Line breaks may only
1110 of barlines can be forced with the @code{\bar} command:
1112 @lilypond[relative=1,fragment,verbatim]
1116 The following bar types are available:
1117 @lilypond[fragment, relative, singleline, verbatim]
1128 For allowing linebreaks, there is a special command,
1132 This will insert an invisible barline, and allow linebreaks at this
1135 In scores with many staves, a @code{\bar} command in one staff is
1136 automatically applied to all staves. The resulting bar lines are
1137 connected between different staves of a @internalsref{StaffGroup}:
1139 @lilypond[fragment, verbatim]
1140 << \context StaffGroup <<
1144 \new Staff { \clef bass c4 g e g } >>
1145 \new Staff { \clef bass c2 c2 } >>
1149 The command @code{\bar @var{bartype}} is a short cut for doing
1150 @code{\property Score.whichBar = @var{bartype}} Whenever
1151 @code{whichBar} is set to a string, a bar line of that type is
1152 created. At the start of a measure it is set to
1153 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1154 to override default measure bars.
1156 Property @code{whichBar} can also be set directly, using @code{\property}
1157 or @code{\bar}. These settings take precedence over the automatic
1158 @code{whichBar} settings.
1161 @cindex repeatCommands
1162 @cindex defaultBarType
1164 You are encouraged to use @code{\repeat} for repetitions. See
1171 In this manual: @ref{Repeats}.
1174 The bar line objects that are created at @internalsref{Staff} level
1175 are called @internalsref{BarLine}, the bar lines that span staves are
1176 @internalsref{SpanBar}s.
1178 @cindex bar lines at start of system
1179 @cindex start of system
1181 The barlines at the start of each system are
1182 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1183 @internalsref{SystemStartBracket}. Only one of these types is created
1184 in every context, and that type is determined by the property
1185 @code{systemStartDelimiter}.
1191 The easiest way to enter fragments with more than one voice on a staff
1192 is to split chords using the separator @code{\\}. You can use it for
1193 small, short-lived voices or for single chords:
1195 @lilypond[verbatim,fragment]
1196 \context Staff \relative c'' {
1197 c4 << { f d e } \\ { b c2 } >>
1198 c4 << g' \\ b, \\ f' \\ d >>
1202 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1203 voices are sometimes called "layers" other notation packages}
1205 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1206 each of these contexts, vertical direction of slurs, stems, etc. is set
1209 This can also be done by instantiating @internalsref{Voice} contexts
1210 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1211 a stem directions and horizontal shift for each part:
1214 @lilypond[singleline, verbatim]
1216 \context Staff << \new Voice { \voiceOne cis2 b }
1217 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1218 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1221 Normally, note heads with a different number of dots are not merged, but
1222 when the object property @code{merge-differently-dotted} is set in
1223 the @internalsref{NoteCollision} object, they are merged:
1224 @lilypond[verbatim,fragment,singleline]
1225 \relative c'' \context Voice << {
1227 \property Staff.NoteCollision \override
1228 #'merge-differently-dotted = ##t
1230 } \\ { g8.[ f16] g8.[ f16] }
1234 Similarly, you can merge half note heads with eighth notes, by setting
1235 @code{merge-differently-headed}:
1236 @lilypond[fragment, relative=2,verbatim]
1239 \property Staff.NoteCollision
1240 \override #'merge-differently-headed = ##t
1241 c8 c4. } \\ { c2 c2 } >>
1244 LilyPond also vertically shifts rests that are opposite of a stem:
1247 @lilypond[singleline,fragment,verbatim]
1248 \context Voice << c''4 \\ r4 >>
1256 @cindex @code{\oneVoice}
1258 @cindex @code{\voiceOne}
1260 @cindex @code{\voiceTwo}
1262 @cindex @code{\voiceThree}
1264 @cindex @code{\voiceFour}
1267 The following commands specify in what chords of the current voice
1268 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1269 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1272 @cindex @code{\shiftOn}
1274 @cindex @code{\shiftOnn}
1276 @cindex @code{\shiftOnnn}
1278 @cindex @code{\shiftOff}
1285 Internals: the objects responsible for resolving collisions are
1286 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1288 Examples: See also example files
1289 @inputfileref{input/regression,collision-dots.ly},
1290 @inputfileref{input/regression,collision-head-chords.ly},
1291 @inputfileref{input/regression,collision-heads.ly},
1292 @inputfileref{input/regression,collision-mesh.ly}, and
1293 @inputfileref{input/regression,collisions.ly}.
1298 Resolving collisions is a intricate subject, and only a few situations
1299 are handled. When LilyPond cannot cope, the @code{force-hshift}
1300 property of the @internalsref{NoteColumn} object and pitched rests can
1301 be used to override typesetting decisions.
1303 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1304 note, and a downstem half note, the 8th note gets the wrong offset.
1306 There is no support for clusters where the same note occurs with
1307 different accidentals in the same chord. In this case, it is
1308 recommended to use enharmonic transcription, or to use special cluster
1309 notation (see @ref{Clusters}).
1314 Beams are used to group short notes into chunks that are aligned with
1315 the metrum. They are inserted automatically in most cases:
1317 @lilypond[fragment,verbatim, relative=2]
1318 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1321 When these automatic decisions are not good enough, beaming can be
1322 entered explicitly. It is also possible to define beaming patterns
1323 that differ from the defaults.
1327 Internals: @internalsref{Beam}.
1330 @cindex Automatic beams
1331 @subsection Manual beams
1332 @cindex beams, manual
1336 In some cases it may be necessary to override the automatic beaming
1337 algorithm. For example, the auto beamer will not put beams over rests
1338 or bar lines. Such beams are specified by manually: the begin and end
1339 point are marked with @code{[} and @code{]}:
1341 @lilypond[fragment,relative,verbatim]
1343 r4 r8[ g' a r8] r8 g[ | a] r8
1347 @cindex @code{stemLeftBeamCount}
1349 Normally, beaming patterns within a beam are determined automatically.
1350 When this mechanism fouls up, the properties
1351 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1352 be used to control the beam subdivision on a stem. If either property
1353 is set, its value will be used only once, and then it is erased.
1355 @lilypond[fragment,relative,verbatim]
1358 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1361 @cindex @code{stemRightBeamCount}
1364 The property @code{subdivideBeams} can be set in order to subdivide
1365 all 16th or shorter beams at beat positions, as defined by the
1366 @code{beatLength} property . This accomplishes the same effect as
1367 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1368 but it take less typing:
1371 @lilypond[relative=1,verbatim,noindent]
1373 \property Voice.subdivideBeams = ##t
1375 \property Score.beatLength = #(ly:make-moment 1 8)
1378 @cindex subdivideBeams
1380 Kneed beams are inserted automatically, when a large gap is detected
1381 between the note heads. This behavior can be tuned through the object
1382 property @code{auto-knee-gap}.
1384 Normally, line breaks are forbidden when beams cross bar lines. This
1385 behavior can be changed by setting @code{allowBeamBreak}.
1387 @cindex @code{allowBeamBreak}
1388 @cindex beams and line breaks
1390 @cindex beams, kneed
1392 @cindex auto-knee-gap
1398 @cindex Frenched staves
1400 Automatically kneed beams cannot be used together with hidden staves.
1405 * Setting automatic beam behavior::
1409 @no de Beam typography
1410 @sub section Beam typography
1412 One of the strong points of LilyPond is how beams are formatted. Beams
1413 are quantized, meaning that the left and right endpoints beams start
1414 exactly on staff lines. Without quantization, small wedges of white
1415 space appear between the beam and staff line, and this looks untidy.
1417 Beams are also slope-damped: melodies that go up or down should also
1418 have beams that go up or down, but the slope of the beams should be
1419 less than the slope of the notes themselves.
1421 Some beams should be horizontal. These are so-called concave beams.
1423 [TODO: some pictures.]
1427 @node Setting automatic beam behavior
1428 @subsection Setting automatic beam behavior
1430 @cindex @code{autoBeamSettings}
1431 @cindex @code{(end * * * *)}
1432 @cindex @code{(begin * * * *)}
1433 @cindex automatic beams, tuning
1434 @cindex tuning automatic beaming
1436 @c [TODO: use \applycontext]
1438 In normal time signatures, automatic beams can start on any note but can
1439 only end in a few positions within the measure: beams can end on a beat,
1440 or at durations specified by the properties in
1441 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1442 are defined in @file{scm/auto-beam.scm}.
1444 The value of @code{autoBeamSettings} is changed using
1445 @code{\override} and restored with @code{\revert}:
1447 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1448 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1450 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1451 whether the rule applies to begin or end-points. The quantity
1452 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1453 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1454 signature (wildcards, `@code{* *}' may be entered to designate all time
1457 For example, if automatic beams should end on every quarter note, use
1460 \property Voice.autoBeamSettings \override
1461 #'(end * * * *) = #(ly:make-moment 1 4)
1463 Since the duration of a quarter note is 1/4 of a whole note, it is
1464 entered as @code{(ly:make-moment 1 4)}.
1466 The same syntax can be used to specify beam starting points. In this
1467 example, automatic beams can only end on a dotted quarter note:
1469 \property Voice.autoBeamSettings \override
1470 #'(end * * * *) = #(ly:make-moment 3 8)
1472 In 4/4 time signature, this means that automatic beams could end only on
1473 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1474 3/8 has passed within the measure).
1476 Rules can also be restricted to specific time signatures. A rule that
1477 should only be applied in @var{N}/@var{M} time signature is formed by
1478 replacing the second asterisks by @var{N} and @var{M}. For example, a
1479 rule for 6/8 time exclusively looks like
1481 \property Voice.autoBeamSettings \override
1482 #'(begin * * 6 8) = ...
1485 If a rule should be to applied only to certain types of beams, use the
1486 first pair of asterisks. Beams are classified according to the
1487 shortest note they contain. For a beam ending rule that only applies
1488 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1491 If a score ends while an automatic beam has not been ended and is still
1492 accepting notes, this last beam will not be typeset at all.
1494 @cindex automatic beam generation
1496 @cindex @code{Voice.autoBeaming}
1499 For melodies that have lyrics, you may want to switch off
1500 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1505 @cindex @code{\autoBeamOff}
1506 @code{\autoBeamOff},
1507 @cindex @code{\autoBeamOn}
1513 The rules for ending a beam depend on the shortest note in a beam.
1514 So, while it is possible to have different ending rules for eight
1515 beams and sixteenth beams, a beam that contains both eight and
1516 sixteenth notes will use the rules for the sixteenth beam.
1518 In the example below, the autobeamer makes eight beams and sixteenth
1519 end at 3 eights; the third beam can only be corrected by specifying
1522 @lilypond[singleline,fragment,relative,noverbatim,quote]
1523 \property Voice.autoBeamSettings
1524 \override #'(end * * * *) = #(ly:make-moment 3 8)
1525 % rather show case where it goes wrong
1526 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1527 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1529 It is not possible to specify beaming parameters that act differently in
1530 different parts of a measure. This means that it is not possible to use
1531 automatic beaming in irregular meters such as @code{5/8}.
1534 @section Accidentals
1537 This section describes how to change the way that accidentals are
1538 inserted automatically before the running notes.
1542 * Using the predefined accidental variables::
1543 * Customized accidental rules::
1546 @node Using the predefined accidental variables
1547 @subsection Using the predefined accidental variables
1549 The constructs for describing the accidental typesetting rules are
1550 quite hairy, so non-experts should stick to the variables
1551 defined in @file{ly/property-init.ly}.
1552 @cindex @file{property-init.ly}
1554 The variables set properties in the ``@code{Current}'' context (see
1555 @ref{Context properties}). This means that the variables should
1556 normally be added right after the creation of the context in which the
1557 accidental typesetting described by the variable is to take
1558 effect. For example, if you want to use piano-accidentals in a piano
1559 staff then issue @code{\pianoAccidentals} first thing after the
1560 creation of the piano staff:
1563 \notes \relative c'' <<
1564 \new Staff @{ cis4 d e2 @}
1565 \context GrandStaff <<
1567 \new Staff @{ cis4 d e2 @}
1568 \new Staff @{ es2 c @}
1570 \new Staff @{ es2 c @}
1574 @lilypond[singleline]
1576 \notes \relative c'' <<
1577 \new Staff { cis4 d e2 }
1578 \context GrandStaff <<
1580 \new Staff { cis4 d e2 }
1581 \new Staff { es2 c }
1583 \new Staff { es2 c }
1588 minimumVerticalExtent = #'(-4.0 . 4.0)
1596 @item \defaultAccidentals
1597 @cindex @code{\defaultAccidentals}
1598 This is the default typesetting behaviour. It should correspond
1599 to 18th century common practice: Accidentals are
1600 remembered to the end of the measure in which they occur and
1601 only on their own octave.
1603 @item \voiceAccidentals
1604 @cindex @code{\voiceAccidentals}
1606 The normal behaviour is to
1607 remember the accidentals on Staff-level. This variable, however,
1608 typesets accidentals individually for each voice. Apart from that the
1609 rule is similar to @code{\defaultAccidentals}.
1611 This leads to some weird and often unwanted results
1612 because accidentals from one voice do not get cancelled in other
1614 @lilypond[singleline,relative,fragment,verbatim,quote]
1622 Hence you should only use @code{\voiceAccidentals} if the voices
1623 are to be read solely by individual musicians. If the staff is to be
1624 used by one musician (e.g. a conductor) then you use
1625 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1628 @item \modernAccidentals
1629 @cindex @code{\modernAccidentals}
1630 This rule corresponds to the common practice in the 20th
1632 The rule is more complex than @code{\defaultAccidentals}.
1633 You get all the same accidentals, but temporary
1634 accidentals also get cancelled in other octaves. Furthermore,
1635 in the same octave, they also get cancelled in the following measure:
1636 @lilypond[singleline,fragment,verbatim]
1638 cis' c'' cis'2 | c'' c'
1641 @item \modernCautionaries
1642 @cindex @code{\modernCautionaries}
1643 This rule is similar to @code{\modernAccidentals}, but the
1644 ``extra'' accidentals (the ones not typeset by
1645 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1646 They are printed in reduced size or with parentheses:
1647 @lilypond[singleline,fragment,verbatim]
1649 cis' c'' cis'2 | c'' c'
1652 @cindex @code{\modernVoiceAccidentals}
1653 @item \modernVoiceAccidentals
1654 is used for multivoice accidentals to be read both by musicians
1655 playing one voice and musicians playing all voices. Accidentals are
1656 typeset for each voice, but they @emph{are} cancelled across voices in
1657 the same @internalsref{Staff}.
1659 @cindex @code{\modernVoiceCautionaries}
1660 @item \modernVoiceCautionaries
1661 is the same as @code{\modernVoiceAccidentals}, but with the extra
1662 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1663 as cautionaries. Even though all accidentals typeset by
1664 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1665 some of them are typeset as cautionaries.
1667 @item \pianoAccidentals
1668 @cindex @code{\pianoAccidentals}
1669 20th century practice for piano notation. Very similar to
1670 @code{\modernAccidentals} but accidentals also get cancelled
1671 across the staves in the same @internalsref{GrandStaff} or
1672 @internalsref{PianoStaff}.
1674 @item \pianoCautionaries
1675 @cindex @code{\pianoCautionaries}
1676 As @code{\pianoAccidentals} but with the extra accidentals
1677 typeset as cautionaries.
1680 @cindex @code{\noResetKey}
1681 Same as @code{\defaultAccidentals} but with accidentals lasting
1682 ``forever'' and not only until the next measure:
1683 @lilypond[singleline,fragment,verbatim,relative]
1688 @item \forgetAccidentals
1689 @cindex @code{\forgetAccidentals}
1690 This is sort of the opposite of @code{\noResetKey}: Accidentals
1691 are not remembered at all---and hence all accidentals are
1692 typeset relative to the key signature, regardless of what was
1693 before in the music:
1694 @lilypond[singleline,fragment,verbatim,relative]
1696 \key d\major c4 c cis cis d d dis dis
1700 @node Customized accidental rules
1701 @subsection Customized accidental rules
1703 For determining when to print an accidental, several different rules
1704 are tried. The rule that gives the highest number of accidentals is
1705 used. Each rule consists of
1708 In which context is the rule applied. For example, if
1709 @var{context} is @internalsref{Score} then all staves share
1710 accidentals, and if @var{context} is @internalsref{Staff} then all
1711 voices in the same staff share accidentals, but staves do not.
1713 Whether the accidental changes all octaves or only the current
1716 Over how many barlines the accidental lasts.
1717 If @var{lazyness} is @code{-1} then the accidental is forget
1718 immediately, and if @var{lazyness} is @code{#t} then the accidental
1721 @c [TODO: should use +infinity for this case?]
1727 @cindex @code{\defaultAccidentals}
1728 @code{\defaultAccidentals},
1729 @cindex @code{\voiceAccidentals}
1730 @code{\voiceAccidentals},
1731 @cindex @code{\modernAccidentals}
1732 @code{\modernAccidentals},
1733 @cindex @code{\modernCautionaries}
1734 @code{\modernCautionaries},
1735 @cindex @code{\modernVoiceAccidentals}
1736 @code{\modernVoiceAccidentals},
1737 @cindex @code{\modernVoiceCautionaries}
1738 @code{\modernVoiceCautionaries},
1739 @cindex @code{\pianoAccidentals}
1740 @code{\pianoAccidentals},
1741 @cindex @code{\pianoCautionaries}
1742 @code{\pianoCautionaries},
1743 @cindex @code{\noResetKey}
1745 @cindex @code{\forgetAccidentals}
1746 @code{\forgetAccidentals}.
1750 Internals: @internalsref{Accidental_engraver},
1751 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1756 Currently the simultaneous notes are considered to be entered in
1757 sequential mode. This means that in a chord the accidentals are
1758 typeset as if the notes in the chord happened once at a time - in the
1759 order in which they appear in the input file.
1761 This is only a problem when there are simultaneous notes whose
1762 accidentals depend on each other. The problem only occurs when using
1763 non-default accidentals. In the default scheme, accidentals only
1764 depend on other accidentals with the same pitch on the same staff, so
1765 no conflicts possible.
1767 This example shows two examples of the same music giving different
1768 accidentals depending on the order in which the notes occur in the
1771 @lilypond[singleline,fragment,verbatim]
1772 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1773 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1774 | <cis' c''> r | <c'' cis'> r |
1777 This problem can be solved by manually inserting @code{!} and @code{?}
1778 for the problematic notes.
1780 @node Expressive marks
1781 @section Expressive marks
1784 @c todo: should change ordering
1785 @c where to put text spanners, metronome marks,
1794 * Analysis brackets::
1796 * Fingering instructions::
1807 A slur indicates that notes are to be played bound or @emph{legato}.
1811 They are entered using parentheses:
1812 @lilypond[relative 1,fragment,verbatim,center]
1813 f( g)( a) a8 b( a4 g2 f4)
1818 @c TODO: should explain that ^( and _( set directions
1819 @c should set attachments with ^ and _ ?
1821 Slurs avoid crossing stems, and are generally attached to note heads.
1822 However, in some situations with beams, slurs may be attached to stem
1823 ends. If you want to override this layout you can do this through the
1824 object property @code{attachment} of @internalsref{Slur} in
1825 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1826 the attachment type of the left and right end points:
1828 @lilypond[fragment,relative,verbatim]
1830 \property Voice.Stem \set #'length = #5.5
1832 \property Voice.Slur \set #'attachment = #'(stem . stem)
1836 If a slur would strike through a stem or beam, the slur will be moved
1837 away upward or downward. If this happens, attaching the slur to the
1838 stems might look better:
1840 @lilypond[fragment,relative,verbatim]
1843 \property Voice.Slur \set #'attachment = #'(stem . stem)
1850 @cindex @code{\slurUp}
1852 @cindex @code{\slurDown}
1854 @cindex @code{\slurBoth}
1856 @cindex @code{\slurDotted}
1858 @cindex @code{\slurSolid}
1863 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1868 Producing nice slurs is a difficult problem, and LilyPond currently
1869 uses a simple, empiric method to produce slurs. In some cases, its
1873 @cindex Adjusting slurs
1875 @node Phrasing slurs
1876 @subsection Phrasing slurs
1878 @cindex phrasing slurs
1879 @cindex phrasing marks
1881 A phrasing slur (or phrasing mark) connects chords and is used to
1882 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1885 @lilypond[fragment,verbatim,center,relative]
1886 \time 6/4 c'\( d( e) f( e) d\)
1889 Typographically, the phrasing slur behaves almost exactly like a
1890 normal slur. However, they are treated as different objects. A
1891 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1892 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1893 @code{\phrasingSlurBoth}.
1895 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1896 will only affect normal slurs and not phrasing slurs.
1900 @cindex @code{\phrasingSlurUp}
1901 @code{\phrasingSlurUp},
1902 @cindex @code{\phrasingSlurDown}
1903 @code{\phrasingSlurDown},
1904 @cindex @code{\phrasingSlurBoth}
1905 @code{\phrasingSlurBoth},
1909 Internals: see also @internalsref{PhrasingSlur}, and
1910 @internalsref{PhrasingSlurEvent}.
1914 Phrasing slurs have the same limitations in their formatting as normal
1915 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1918 @subsection Breath marks
1920 Breath marks are entered using @code{\breathe}:
1923 @lilypond[fragment,relative,verbatim]
1927 The glyph of the breath mark can be tweaked by overriding the
1928 @code{text} property of the @code{BreathingSign} layout object with
1929 any markup text. For example,
1930 @lilypond[fragment,verbatim,relative]
1932 \property Voice.BreathingSign \override #'text
1933 = #(make-musicglyph-markup "scripts-rvarcomma")
1940 Internals: @internalsref{BreathingSign},
1941 @internalsref{BreathingSignEvent}
1943 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1946 @node Metronome marks
1947 @subsection Metronome marks
1950 @cindex beats per minute
1951 @cindex metronome marking
1953 Metronome settings can be entered as follows:
1955 \tempo @var{duration} = @var{perminute}
1958 In the MIDI output, they are interpreted as a tempo change, and in the
1959 paper output, a metronome marking is printed:
1960 @cindex @code{\tempo}
1961 @lilypond[fragment,verbatim]
1967 Internals: @internalsref{MetronomeChangeEvent}.
1972 @subsection Text spanners
1973 @cindex Text spanners
1975 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1976 are written as texts, and extended over many measures with dotted
1977 lines. You can create such texts using text spanners: attach
1978 @code{\startTextSpan} and @code{\stopTextSpan} to the
1979 start and ending note of the spanner.
1981 The string to be printed, as well as the style, is set through object
1984 @lilypond[fragment,relative,verbatim]
1986 \property Voice.TextSpanner \set #'direction = #-1
1987 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1988 c2\startTextSpan b c\stopTextSpan a }
1994 Internals @internalsref{TextSpanEvent},
1995 @internalsref{TextSpanner}.
1997 Examples: @inputfileref{input/regression,text-spanner.ly}.
2000 @node Analysis brackets
2001 @subsection Analysis brackets
2003 @cindex phrasing brackets
2004 @cindex musicological analysis
2005 @cindex note grouping bracket
2007 Brackets are used in musical analysis to indicate structure in musical
2008 pieces. LilyPond supports a simple form of nested horizontal brackets.
2009 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2010 @internalsref{Staff} context. A bracket is started with
2011 @code{\startGroup} and closed with @code{\stopGroup}:
2013 @lilypond[singleline,verbatim]
2014 \score { \notes \relative c'' {
2015 c4\startGroup\startGroup
2018 c4\stopGroup\stopGroup
2020 \paper { \translator {
2021 \StaffContext \consists "Horizontal_bracket_engraver"
2027 Internals: @internalsref{HorizontalBracket},
2028 @internalsref{NoteGroupingEvent}
2030 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2034 @subsection Articulations
2035 @cindex Articulations
2037 @cindex articulations
2041 A variety of symbols can appear above and below notes to indicate
2042 different characteristics of the performance. They are added to a note
2043 by adding a dash and the character signifying the
2044 articulation. They are demonstrated here:
2046 @lilypondfile[notexidoc]{script-abbreviations.ly}
2048 The meanings of these shorthands can be changed: see
2049 @file{ly/script-init.ly} for examples.
2052 The script is automatically placed, but if you need to force
2053 directions, you can use @code{_} to force them down, or @code{^} to
2055 @lilypond[fragment, verbatim]
2059 Other symbols can be added using the syntax
2060 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2061 can be forced up or down using @code{^} and @code{_},
2064 @lilypond[verbatim,fragment,relative 2]
2065 c\fermata c^\fermata c_\fermata
2072 @cindex staccatissimo
2081 @cindex organ pedal marks
2090 @cindex prallmordent
2094 @cindex thumb marking
2099 @lilypondfile[notexidoc]{script-chart.ly}
2104 @cindex @code{\scriptUp}
2106 @cindex @code{\scriptDown}
2108 @cindex @code{\scriptBoth}
2113 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2117 These note ornaments appear in the printed output but have no
2118 effect on the MIDI rendering of the music.
2121 @node Fingering instructions
2122 @subsection Fingering instructions
2126 Fingering instructions can be entered using
2128 @var{note}-@var{digit}
2130 For finger changes, use markup texts:
2132 @lilypond[verbatim, singleline, fragment]
2133 c'4-1 c'4-2 c'4-3 c'4-4
2134 c'^\markup { \fontsize #-3 \number "2-3" }
2137 @cindex finger change
2142 You can use the thumb-script to indicate that a note should be
2143 played with your thumb (used in cello music):
2145 @lilypond[verbatim, singleline, fragment]
2146 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2147 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2150 Fingerings for chords can also be added to individual notes
2151 of the chord by adding them after the pitches:
2152 @lilypond[verbatim,singleline,fragment,relative=1]
2153 < c-1 e-2 g-3 b-5 > 4
2156 Setting @code{fingeringOrientations} will put fingerings next
2159 @lilypond[verbatim,singleline,fragment,relative=1]
2160 \property Voice.fingeringOrientations = #'(left down)
2161 <c-1 es-2 g-4 bes-5 > 4
2162 \property Voice.fingeringOrientations = #'(up right down)
2163 <c-1 es-2 g-4 bes-5 > 4
2168 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2172 @subsection Text scripts
2173 @cindex Text scripts
2175 @cindex text items, non-empty
2176 @cindex non-empty texts
2178 It is possible to place arbitrary strings of text or markup text (see
2179 @ref{Text markup}) above or below notes by using a string:
2180 @code{c^"text"}. By default, these indications do not influence the
2181 note spacing, but by using the command @code{\fatText}, the widths
2182 will be taken into account:
2184 @lilypond[fragment,singleline,verbatim] \relative c' {
2185 c4^"longtext" \fatText c4_"longlongtext" c4 }
2188 It is possible to use @TeX{} commands in the strings, but this should
2189 be avoided because the exact dimensions of the string can then no
2194 @refcommand{fatText}, @refcommand{emptyText}.
2199 In this manual: @ref{Text markup}.
2201 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2207 @subsection Grace notes
2210 @c should have blurb about accaciatura / appogiatura
2212 @cindex @code{\grace}
2216 Grace notes are ornaments that are written out. The most common ones
2217 are acciaccatura, which should be played as very short. It is denoted
2218 by a slurred small note with a slashed stem. The appoggiatura is a
2219 grace note that takes a fixed fraction of the main note, is and
2220 denoted as a slurred note in small print without a slash.
2221 They are entered with the commands @code{\acciaccatura} and
2222 @code{\appoggiatura}, as demonstrated in the following example:
2225 @cindex appoggiatura
2226 @cindex acciaccatura
2228 @lilypond[relative=2,verbatim,fragment]
2229 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2230 \acciaccatura { g16[ f] } e4
2233 Both are special forms of the @code{\grace} command. By prefixing this
2234 keyword to a music expression, a new one is formed, which will be
2235 printed in a smaller font and takes up no logical time in a measure.
2236 @lilypond[relative=2,verbatim,fragment]
2238 \grace { c16[ d16] } c2 c4
2242 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2243 @code{\grace} command does not start a slur.
2245 Internally, timing for grace notes is done using a second, `grace'
2246 time. Every point in time consists of two rational numbers: one
2247 denotes the logical time, one denotes the grace timing. The above
2248 example is shown here with timing tuples:
2250 @lilypond[singleline]
2253 c4 \grace c16 c4 \grace {
2256 \new Lyrics \lyrics {
2259 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2260 \markup { (\fraction 1 4 , 0 ) } 4
2262 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2263 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2265 \markup { ( \fraction 2 4 , 0 ) }
2270 The placement of grace notes is synchronized between different staves.
2271 In the following example, there are two sixteenth graces notes for
2272 every eighth grace note:
2274 @lilypond[relative=2,verbatim,fragment]
2275 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2276 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2281 If you want to end a note with a grace, then the standard trick
2282 is to put the grace notes after a ``space note'', e.g.
2283 @lilypond[fragment,verbatim, relative=2]
2286 { s2 \grace { c16[ d] } } >>
2292 By adjusting the duration of the skip note (here it is a half-note),
2293 the space between the main-note and the grace is adjusted.
2296 A @code{\grace} section will introduce special typesetting settings,
2297 for example, to produce smaller type, and set directions. Hence, when
2298 introducing layout tweaks, they should be inside the grace section,
2300 @lilypond[fragment,verbatim,relative 1]
2303 \property Voice.Stem \override #'direction = #-1
2305 \property Voice.Stem \revert #'direction
2312 The overrides should also be reverted inside the grace section.
2314 If the layout of grace sections must be changed throughout the music,
2315 then this can be accomplished through the function
2316 @code{add-grace-property}. The following example
2317 undefines the Stem direction grace section, so stems do not always
2322 #(add-grace-property "Voice" Stem direction '())
2328 Another option is to change the variables @code{startGraceMusic},
2329 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2330 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2331 @code{stopAppoggiaturaMstuic}. More information is in the file
2332 @file{ly/grace-init.ly}
2337 Internals: @internalsref{GraceMusic}.
2341 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2343 A score that starts with an @code{\grace} section needs an explicit
2344 @code{\context Voice} declaration, otherwise the main note and grace
2345 note end up on different staves.
2347 Grace note synchronization can also lead to surprises. Staff notation,
2348 such as key signatures, barlines, etc. are also synchronized. Take
2349 care when you mix staves with grace notes and staves without, for example,
2351 @lilypond[relative=2,verbatim,fragment]
2352 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2353 \new Staff { c4 \bar "|:" d4 } >>
2356 Grace sections should only be used within sequential music
2357 expressions. Nesting or juxtaposing grace sections is not supported,
2358 and might produce crashes or other errors.
2360 Overriding settings cannot be done in separate styles for appoggiatura
2365 @subsection Glissando
2368 @cindex @code{\glissando}
2370 A glissando is a smooth change in pitch. It is denoted by a line or a
2371 wavy line between two notes.
2375 A glissando line can be requested by attaching a @code{\glissando} to
2378 @lilypond[fragment,relative,verbatim]
2384 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2389 Adding additional texts (such as @emph{gliss.}) is not supported.
2393 @subsection Dynamics
2406 @cindex @code{\ffff}
2416 Absolute dynamic marks are specified using an variable after a
2417 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2418 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2419 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2420 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2422 @lilypond[verbatim,singleline,fragment,relative]
2423 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2429 @cindex @code{\decr}
2430 @cindex @code{\rced}
2437 A crescendo mark is started with @code{\<} and terminated with
2438 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2439 with @code{\!}. Because these marks are bound to notes, if you must
2440 use spacer notes if multiple marks during one note are needed:
2442 @lilypond[fragment,verbatim,center,quote]
2443 c''\< c''\! d''\decr e''\rced
2444 << f''1 { s4 s4\< s4\! \> s4\! } >>
2446 This may give rise to very short hairpins. Use @code{minimum-length}
2447 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2451 \property Staff.Hairpin \override #'minimum-length = #5
2454 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2455 is an example how to do it:
2457 @lilypond[fragment,relative=2,verbatim]
2458 c4 \cresc c4 c c c \endcresc c4
2464 You can also supply your own texts:
2465 @lilypond[fragment,relative,verbatim]
2467 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2468 \property Voice.crescendoSpanner = #'dashed-line
2478 @cindex @code{\dynamicUp}
2480 @cindex @code{\dynamicDown}
2481 @code{\dynamicDown},
2482 @cindex @code{\dynamicBoth}
2483 @code{\dynamicBoth}.
2485 @cindex direction, of dynamics
2489 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2490 @internalsref{AbsoluteDynamicEvent}.
2492 Dynamics are objects of @internalsref{DynamicText} and
2493 @internalsref{Hairpin}. Vertical positioning of these symbols is
2494 handled by the @internalsref{DynamicLineSpanner} object.
2496 If you want to adjust padding or vertical direction of the dynamics, you
2497 must set properties for the @internalsref{DynamicLineSpanner} object.
2505 @cindex @code{\repeat}
2508 Repetition is a central concept in music, and multiple notations exist
2509 for repetitions. In LilyPond, most of these notations can be captured
2510 in a uniform syntax. One of the advantages is that they can be
2511 rendered in MIDI accurately.
2513 The following types of repetition are supported:
2517 Repeated music is fully written (played) out. Useful for MIDI
2518 output, and entering repetitive music.
2521 This is the normal notation: Repeats are not written out, but
2522 alternative endings (voltas) are printed, left to right.
2526 Alternative endings are written stacked. This has limited use but may be
2527 used to typeset two lines of lyrics in songs with repeats, see
2528 @inputfileref{input,star-spangled-banner.ly}.
2536 Make beat or measure repeats. These look like percent signs.
2542 * Repeats and MIDI::
2543 * Manual repeat commands::
2545 * Tremolo subdivisions::
2550 @subsection Repeat syntax
2554 LilyPond has one syntactic construct for specifying different types of
2555 repeats. The syntax is
2558 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2561 If you have alternative endings, you may add
2562 @cindex @code{\alternative}
2564 \alternative @code{@{} @var{alternative1}
2566 @var{alternative3} @dots{} @code{@}}
2568 where each @var{alternative} is a music expression. If you do not
2569 give enough alternatives for all of the repeats, then the first
2570 alternative is assumed to be played more than once.
2572 Normal notation repeats are used like this:
2573 @lilypond[fragment,verbatim,relative 1]
2575 \repeat volta 2 { c4 d e f }
2576 \repeat volta 2 { f e d c }
2579 With alternative endings:
2580 @lilypond[fragment,verbatim,relative 1]
2582 \repeat volta 2 {c4 d e f}
2583 \alternative { {d2 d} {f f,} }
2587 @lilypond[fragment,verbatim,relative 1]
2590 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2591 \alternative { { g4 g g } { a | a a a a | b2. } }
2597 If you do a nested repeat like
2606 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2607 belongs. This ambiguity is resolved by always having the
2608 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2609 it is advisable to use braces in such situations.
2612 @node Repeats and MIDI
2613 @subsection Repeats and MIDI
2615 @cindex expanding repeats
2617 For instructions on how to unfold repeats for MIDI output, see the
2618 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2623 Timing information is not remembered at the start of an alternative,
2624 so after a repeat timing information must be reset by hand, for
2625 example by setting @code{Score.measurePosition} or entering
2626 @code{\partial}. Similarly, slurs or ties are also not repeated.
2629 @node Manual repeat commands
2630 @subsection Manual repeat commands
2632 @cindex @code{repeatCommands}
2634 The property @code{repeatCommands} can be used to control the layout of
2635 repeats. Its value is a Scheme list of repeat commands, where each repeat
2639 @item the symbol @code{start-repeat},
2640 which prints a @code{|:} bar line,
2641 @item the symbol @code{end-repeat},
2642 which prints a @code{:|} bar line,
2643 @item the list @code{(volta @var{text})},
2644 which prints a volta bracket saying @var{text}: The text can be specified as
2645 a text string or as a markup text, see @ref{Text markup}. Do not
2646 forget to change the font, as the default number font does not contain
2647 alphabetic characters. Or,
2648 @item the list @code{(volta #f)}, which
2649 stops a running volta bracket:
2652 @lilypond[verbatim, fragment,relative 2]
2654 \property Score.repeatCommands = #'((volta "93") end-repeat)
2656 \property Score.repeatCommands = #'((volta #f))
2663 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2664 @internalsref{VoltaRepeatedMusic},
2665 @internalsref{UnfoldedRepeatedMusic}, and
2666 @internalsref{FoldedRepeatedMusic}.
2668 @node Tremolo repeats
2669 @subsection Tremolo repeats
2670 @cindex tremolo beams
2672 To place tremolo marks between notes, use @code{\repeat} with tremolo
2674 @lilypond[verbatim,singleline]
2676 \context Voice \notes\relative c' {
2677 \repeat "tremolo" 8 { c16 d16 }
2678 \repeat "tremolo" 4 { c16 d16 }
2679 \repeat "tremolo" 2 { c16 d16 }
2684 Tremolo marks can also be put on a single note. In this case, the
2685 note should not be surrounded by braces.
2686 @lilypond[verbatim,singleline]
2687 \repeat "tremolo" 4 c16
2690 A similar mechanism is the tremolo subdivision, described in
2691 @ref{Tremolo subdivisions}.
2695 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2697 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2698 tremolos are @internalsref{StemTremolo}s. The music expression is
2699 @internalsref{TremoloEvent},
2701 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2702 @inputfileref{input/regression,stem-tremolo.ly}.
2704 @node Tremolo subdivisions
2705 @subsection Tremolo subdivisions
2706 @cindex tremolo marks
2707 @cindex @code{tremoloFlags}
2709 Tremolo marks can be printed on a single note by adding
2710 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2711 A @var{length} value of 8 gives one line across the note stem. If the
2712 length is omitted, then then the last value (stored in
2713 @code{Voice.tremoloFlags}) is used:
2715 @lilypond[verbatim,fragment,center]
2716 c'2:8 c':32 | c': c': |
2719 @c [TODO : stok is te kort bij 32en]
2723 Tremolos in this style do not carry over into the MIDI output.
2727 In this manual: @ref{Tremolo repeats}.
2729 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2731 @node Measure repeats
2732 @subsection Measure repeats
2734 @cindex percent repeats
2735 @cindex measure repeats
2737 In the @code{percent} style, a note pattern can be repeated. It is
2738 printed once, and then the pattern is replaced with a special sign.
2739 Patterns of a one and two measures are replaced by percent-like signs,
2740 patterns that divide the measure length are replaced by slashes:
2742 @lilypond[verbatim,singleline]
2743 \context Voice { \repeat "percent" 4 { c'4 }
2744 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2750 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2751 @internalsref{PercentRepeatedMusic}, and
2752 @internalsref{DoublePercentRepeat}.
2756 @node Rhythmic music
2757 @section Rhythmic music
2759 Sometimes you might want to show only the rhythm of a melody. This
2760 can be done with the rhythmic staff. All pitches of notes on such a
2761 staff are squashed, and the staff itself has a single line:
2763 @lilypond[fragment,relative,verbatim]
2764 \context RhythmicStaff {
2766 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2772 Internals: @internalsref{RhythmicStaff}.
2774 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2778 * Percussion staves::
2779 * Percussion MIDI output::
2782 @node Percussion staves
2783 @subsection Percussion staves
2787 A percussion part for more than one instrument typically uses a
2788 multiline staff where each position in the staff refers to one piece
2793 Percussion staves are typeset with help of a set of Scheme
2794 functions. The system is based on the general MIDI drum-pitches.
2795 Include @file{drumpitch-init.ly} to use drum pitches. This file
2796 defines the pitches from the Scheme variable @code{drum-pitch-names},
2797 the definition of which can be read in @file{scm/drums.scm}. Each
2798 piece of percussion has a full name and an abbreviated name, and either
2799 the full name or the abbreviation may be used in input files.
2801 To typeset the music on a staff apply the function @code{drums->paper}
2802 to the percussion music. This function takes a list of percussion
2803 instrument names, notehead scripts and staff positions (that is:
2804 pitches relative to the C-clef) and transforms the input
2805 music by moving the pitch, changing the notehead and (optionally)
2808 @lilypond[singleline,verbatim,quote]
2809 \include "drumpitch-init.ly"
2810 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2811 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2813 \apply #(drums->paper 'drums) \context Staff <<
2815 \new Voice { \voiceOne \up }
2816 \new Voice { \voiceTwo \down }
2821 In the above example the music was transformed using the list @code{'drums}.
2822 The following lists are defined in @file{scm/drums.scm}:
2825 to typeset a typical drum kit on a five-line staff:
2828 \include "drumpitch-init.ly"
2829 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2830 bd sn ss tomh tommh tomml toml tomfh tomfl }
2831 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2832 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2835 \apply #(drums->paper 'drums) \context Staff <<
2839 \context Lyrics \nam
2842 linewidth = 100.0\mm
2845 \remove Bar_engraver
2846 \remove Time_signature_engraver
2847 minimumVerticalExtent = #'(-4.0 . 5.0)
2851 \remove Stem_engraver
2857 The drum scheme supports six different toms. When there fewer toms, simply
2858 select the toms that produce the desired result, i.e. to get toms on
2859 the three middle lines you use @code{tommh}, @code{tomml} and
2862 Because general MIDI does not contain rimshots the sidestick is used
2863 for this purpose instead.
2865 to typeset timbales on a two line staff:
2867 @lilypond[singleline]
2868 \include "drumpitch-init.ly"
2869 nam = \lyrics { timh ssh timl ssl cb }
2870 mus = \notes { timh ssh timl ssl cb s16 }
2873 \apply #(drums->paper 'timbales) \context Staff <<
2877 \context Lyrics \nam
2882 \remove Bar_engraver
2883 \remove Time_signature_engraver
2884 StaffSymbol \override #'line-count = #2
2885 StaffSymbol \override #'staff-space = #2
2886 minimumVerticalExtent = #'(-3.0 . 4.0)
2890 \remove Stem_engraver
2897 to typeset congas on a two line staff:
2899 @lilypond[singleline]
2900 \include "drumpitch-init.ly"
2901 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2902 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2905 \apply #(drums->paper 'congas) \context Staff <<
2909 \context Lyrics \nam
2914 \remove Bar_engraver
2915 \remove Time_signature_engraver
2916 StaffSymbol \override #'line-count = #2
2917 StaffSymbol \override #'staff-space = #2
2918 minimumVerticalExtent = #'(-3.0 . 4.0)
2922 \remove Stem_engraver
2928 to typeset bongos on a two line staff:
2930 @lilypond[singleline]
2931 \include "drumpitch-init.ly"
2932 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2933 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2936 \apply #(drums->paper 'bongos) \context Staff <<
2940 \context Lyrics \nam
2945 \remove Bar_engraver
2946 \remove Time_signature_engraver
2947 StaffSymbol \override #'line-count = #2
2948 StaffSymbol \override #'staff-space = #2
2949 minimumVerticalExtent = #'(-3.0 . 4.0)
2953 \remove Stem_engraver
2959 to typeset all kinds of simple percussion on one line staves:
2960 @lilypond[singleline]
2961 \include "drumpitch-init.ly"
2962 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2963 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2966 \apply #(drums->paper 'percussion) \context Staff <<
2970 \context Lyrics \nam
2975 \remove Bar_engraver
2976 \remove Time_signature_engraver
2977 StaffSymbol \override #'line-count = #1
2978 minimumVerticalExtent = #'(-2.0 . 3.0)
2982 \remove Stem_engraver
2989 If you do not like any of the predefined lists you can define your own
2990 list at the top of your file:
2992 @lilypond[singleline, verbatim]
2993 #(set-drum-kit 'mydrums `(
2994 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2995 (snare default #f ,(ly:make-pitch 0 1 0))
2996 (hihat cross #f ,(ly:make-pitch 0 5 0))
2997 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2998 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3000 \include "drumpitch-init.ly"
3001 up = \notes { hh8 hh hh hh hhp4 hhp }
3002 down = \notes { bd4 sn bd toml8 toml }
3004 \apply #(drums->paper 'mydrums) \context Staff <<
3006 \new Voice { \voiceOne \up }
3007 \new Voice { \voiceTwo \down }
3012 To use a modified existing list, one can prepend modifications to the
3016 #(set-drum-kit 'mydrums (append `(
3017 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3018 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3019 ) (get-drum-kit 'drums)))
3022 You can easily combine percussion notation with pitched notation.
3023 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3024 names, so you will have to reinclude @file{nederlands.ly} after the
3025 drum-pattern-definitions to enter normal notes:
3027 @lilypond[singleline,verbatim]
3028 \include "drumpitch-init.ly"
3029 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3030 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3031 \include "nederlands.ly"
3032 bass = \notes \transpose c c,, { a4. e8 r e g e }
3035 \apply #(drums->paper 'drums) \new Staff <<
3037 \new Voice { \voiceOne \up }
3038 \new Voice { \voiceTwo \down }
3040 \new Staff { \clef "F_8" \bass }
3045 @node Percussion MIDI output
3046 @subsection Percussion MIDI output
3048 In order to produce correct MIDI output you need to produce two score
3049 blocks---one for the paper and one for the MIDI output. To use the
3050 percussion channel you set the property @code{instrument} to
3051 @code{'drums}. Because the drum-pitches themselves are similar to the
3052 general MIDI pitches all you have to do is to insert the voices with
3053 none of the scheme functions to get the correct MIDI output:
3057 \apply #(drums->paper 'mydrums) \context Staff <<
3066 \property Staff.instrument = #'drums
3076 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3077 temporary implementation.
3081 @section Piano music
3083 Piano staves are two normal staves coupled with a brace. The staves
3084 are largely independent, but sometimes voices can cross between the
3085 two staves. The same notation is also used for harps and other key
3086 instruments. The @internalsref{PianoStaff} is especially built to
3087 handle this cross-staffing behavior. In this section we discuss the
3088 @internalsref{PianoStaff} and some other pianistic peculiarities.
3092 * Automatic staff changes::
3093 * Manual staff switches::
3096 * Staff switch lines::
3101 There is no support for putting chords across staves. You can get
3102 this result by increasing the length of the stem in the lower stave so
3103 it reaches the stem in the upper stave, or vice versa. An example is
3104 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3106 Dynamics are not centered, but kludges do exist. See
3107 @inputfileref{input/template,piano-dynamics.ly}.
3109 @cindex cross staff stem
3110 @cindex stem, cross staff
3113 @c fixme: should have hyperlinks as well.
3119 @node Automatic staff changes
3120 @subsection Automatic staff changes
3121 @cindex Automatic staff changes
3123 Voices can switch automatically between the top and the bottom
3124 staff. The syntax for this is
3126 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3128 The two staffs of the piano staff must be named @code{up} and
3131 The autochanger switches on basis of pitch (central C is the turning
3132 point), and it looks ahead skipping over rests to switch in
3133 advance. Here is a practical example:
3135 @lilypond[verbatim,singleline,quote]
3136 \score { \notes \context PianoStaff <<
3137 \context Staff = "up" {
3138 \autochange Staff \context Voice = VA << \relative c' {
3139 g4 a b c d r4 a g } >> }
3140 \context Staff = "down" {
3147 In this example, spacer rests are used to prevent the bottom staff from
3148 terminating too soon.
3153 In this manual: @ref{Manual staff switches}
3155 Internals: @internalsref{AutoChangeMusic}.
3161 The staff switches often do not end up in optimal places. For high
3162 quality output, staff switches should be specified manually.
3165 @node Manual staff switches
3166 @subsection Manual staff switches
3168 @cindex manual staff switches
3169 @cindex staff switch, manual
3171 Voices can be switched between staves manually, using the following command:
3173 \change Staff = @var{staffname} @var{music}
3177 The string @var{staffname} is the name of the staff. It switches the
3178 current voice from its current staff to the Staff called
3179 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3188 Pianos have pedals that alter the way sound are produced. Generally, a
3189 piano has three pedals, sustain, una corda, and sostenuto.
3193 Piano pedal instruction can be expressed by attaching
3194 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3195 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3198 @lilypond[fragment,verbatim]
3199 c'4\sustainDown c'4\sustainUp
3202 What is printed can be modified by setting @code{pedal@var{X}Strings},
3203 where @var{X} is one of the pedal types: @code{Sustain},
3204 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3205 documentation of @internalsref{SustainPedal} for more information.
3207 Pedals can also be indicated by a sequence of brackets, by setting the
3208 @code{pedalSustainStyle} property to @code{bracket} objects:
3210 @lilypond[fragment,verbatim]
3211 \property Staff.pedalSustainStyle = #'bracket
3212 c''4\sustainDown d''4 e''4
3213 a'4\sustainUp\sustainDown
3214 f'4 g'4 a'4\sustainUp
3217 A third style of pedal notation is a mixture of text and brackets,
3218 obtained by setting @code{pedal-type} to @code{mixed}:
3220 @lilypond[fragment,verbatim]
3221 \property Staff.pedalSustainStyle = #'mixed
3222 c''4\sustainDown d''4 e''4
3223 c'4\sustainUp\sustainDown
3224 f'4 g'4 a'4\sustainUp
3227 The default `*Ped' style for sustain and damper pedals corresponds to
3228 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3229 for a sostenuto pedal:
3231 @lilypond[fragment,verbatim]
3232 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3235 For fine-tuning of the appearance of a pedal bracket, the properties
3236 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3237 @code{PianoPedalBracket} objects (see
3238 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3239 bracket may be extended to the end of the note head:
3241 @lilypond[fragment,verbatim]
3242 \property Staff.PianoPedalBracket \override
3243 #'shorten-pair = #'(0 . -1.0)
3244 c''4\sostenutoDown d''4 e''4 c'4
3245 f'4 g'4 a'4\sostenutoUp
3249 @subsection Arpeggio
3252 @cindex broken arpeggio
3253 @cindex @code{\arpeggio}
3255 You can specify an arpeggio sign on a chord by attaching an
3256 @code{\arpeggio} to a chord:
3259 @lilypond[fragment,relative,verbatim]
3263 When an arpeggio crosses staves, you attach an arpeggio to the chords
3264 in both staves, and set
3265 @internalsref{PianoStaff}.@code{connectArpeggios}:
3267 @lilypond[fragment,relative,verbatim]
3268 \context PianoStaff <<
3269 \property PianoStaff.connectArpeggios = ##t
3270 \new Staff { <c' e g c>\arpeggio }
3271 \new Staff { \clef bass <c,, e g>\arpeggio }
3275 The direction of the arpeggio is sometimes denoted by adding an
3276 arrowhead to the wiggly line. This can be typeset by setting
3277 @code{arpeggio-direction}:
3279 @lilypond[fragment,relative,verbatim]
3281 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3283 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3288 A square bracket on the left indicates that the player should not
3289 arpeggiate the chord. To draw these brackets, set the
3290 @code{molecule-callback} property of @code{Arpeggio} or
3291 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3292 @code{\arpeggio} statements within the chords as before:
3294 @lilypond[fragment,relative,verbatim]
3295 \property PianoStaff.Arpeggio \override
3296 #'molecule-callback = \arpeggioBracket
3302 @cindex @code{\arpeggioBracket}
3303 @code{\arpeggioBracket},
3304 @cindex @code{\arpeggio}
3309 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3310 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3311 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3315 It is not possible to mix connected arpeggios and unconnected
3316 arpeggios in one @internalsref{PianoStaff} at the same time.
3318 @node Staff switch lines
3319 @subsection Staff switch lines
3322 @cindex follow voice
3323 @cindex staff switching
3326 @cindex @code{followVoice}
3328 Whenever a voice switches to another staff a line connecting the notes
3329 can be printed automatically. This is enabled if the property
3330 @code{PianoStaff.followVoice} is set to true:
3332 @lilypond[fragment,relative,verbatim]
3333 \context PianoStaff <<
3334 \property PianoStaff.followVoice = ##t
3335 \context Staff \context Voice {
3340 \context Staff=two { \clef bass \skip 1*2 }
3344 The associated object is @internalsref{VoiceFollower}.
3348 @cindex @code{\showStaffSwitch}
3349 @code{\showStaffSwitch},
3350 @cindex @code{\hideStaffSwitch}
3351 @code{\hideStaffSwitch}.
3355 @section Vocal music
3357 This section discusses how to enter and print lyrics.
3361 * The Lyrics context::
3366 @node Entering lyrics
3367 @subsection Entering lyrics
3371 @cindex @code{\lyrics}
3374 Lyrics are entered in a special input mode. This mode is is introduced
3375 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3376 punctuation and accents without any hassle. Syllables are entered like
3377 notes, but with pitches replaced by text. For example,
3379 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3382 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3383 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3384 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3385 any 8-bit character with ASCII code over 127, or a two-character
3386 combination of a backslash followed by one of @code{`}, @code{'},
3387 @code{"}, or @code{^}.
3389 Subsequent characters of a word can be any character that is not a digit
3390 and not white space. One important consequence of this is that a word
3391 can end with @code{@}}. The following example is usually a bug. The
3392 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3394 \lyrics @{ twinkle@}
3397 @cindex @code{\property}, in @code{\lyrics}
3398 Similarly, a period following a alphabetic sequence, is included in the
3399 resulting string. As a consequence, spaces must be inserted around
3400 @code{\property} commands:
3402 \property Lyrics . LyricText \set #'font-shape = #'italic
3406 @cindex spaces, in lyrics
3407 @cindex quotes, in lyrics
3409 Any @code{_} character which appears in an unquoted word is converted
3410 to a space. This provides a mechanism for introducing spaces into words
3411 without using quotes. Quoted words can also be used in Lyrics mode to
3412 specify words that cannot be written with the above rules:
3415 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3419 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3424 These will be attached to the end of the first syllable.
3426 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3427 as a separate word between syllables. The hyphen will have variable
3428 length depending on the space between the syllables and it will be
3429 centered between the syllables.
3434 When a lyric is sung over many notes (this is called a melisma), this is
3435 indicated with a horizontal line centered between a syllable and the
3436 next one. Such a line is called an extender line, and it is entered as
3441 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3442 @internalsref{ExtenderEvent}.
3446 The definition of lyrics mode is too complex.
3448 @node The Lyrics context
3449 @subsection The Lyrics context
3451 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3453 \context Lyrics \lyrics @dots{}
3456 @cindex automatic syllable durations
3457 @cindex @code{\addlyrics}
3458 @cindex lyrics and melodies
3460 This will place the lyrics according to the durations that were
3461 entered. The lyrics can also be aligned under a given melody
3462 automatically. In this case, it is no longer necessary to enter the
3463 correct duration for each syllable. This is achieved by combining the
3464 melody and the lyrics with the @code{\addlyrics} expression:
3468 \context Lyrics @dots{}
3471 @cindex staff order, with @code{\addlyrics}
3473 Normally, this will put the lyrics below the staff. For different or
3474 more complex orderings, the best way is to setup the hierarchy of
3475 staves and lyrics first, e.g.
3477 \context ChoirStaff \notes <<
3478 \context Lyrics = sopr @{ s1 @}
3479 \context Staff = soprStaff @{ s1 @}
3480 \context Lyrics = tenor @{ s1 @}
3481 \context Staff = tenorStaff @{ s1 @}
3484 and then combine the appropriate melodies and lyric lines:
3487 \context Staff = soprStaff @emph{the music}
3488 \context Lyrics = sopr @emph{the lyrics}
3491 putting both together, you would get
3493 \context ChoirStaff \notes <<
3494 \context Lyrics = @dots{}
3495 \context Staff = @dots{}
3501 @cindex choral score
3503 A complete example of a SATB score setup is in the file
3504 @inputfileref{input/template,satb.ly}.
3508 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
3510 Examples: @inputfileref{input/template,satb.ly}.
3514 @code{\addlyrics} is not automatic enough: melismata are not detected
3515 automatically, and melismata are not stopped when they hit a rest. A
3516 melisma on the last note in a melody is not printed.
3520 @subsection More stanzas
3523 @cindex phrasing, in lyrics
3526 The lyrics should be aligned with the note heads of the melody. To
3527 achieve this, each line of lyrics should be marked to correspond with
3530 To this end, give the @internalsref{Voice} context an identity:
3532 \context Voice = duet @{
3537 Then set the @internalsref{LyricsVoice} contexts to names starting with
3538 that identity followed by a dash. In the preceding example, the
3539 @internalsref{Voice} identity is @code{duet}, so the identities of the
3540 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3542 \context LyricsVoice = "duet-1" @{
3543 Hi, my name is bert. @}
3544 \context LyricsVoice = "duet-2" @{
3545 Ooooo, ch\'e -- ri, je t'aime. @}
3548 The complete example is shown here:
3549 @lilypond[singleline,verbatim]
3552 \notes \relative c'' \context Voice = duet { \time 3/4
3554 \lyrics \context Lyrics <<
3555 \context LyricsVoice = "duet-1" {
3556 \property LyricsVoice . stanza = "Bert"
3557 Hi, my name is bert. }
3558 \context LyricsVoice = "duet-2" {
3559 \property LyricsVoice . stanza = "Ernie"
3560 Ooooo, ch\'e -- ri, je t'aime. }
3565 @cindex stanza number
3566 @cindex singer's names
3567 @cindex name of singer
3569 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3572 \property LyricsVoice . stanza = "Bert"
3574 \property LyricsVoice . stanza = "Ernie"
3577 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3578 prevent @code{LyricsVoice.stanza} being interpreted as a single
3581 Names of the singers should be added using @code{LyricsVoice
3582 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3583 annotations for staves.
3585 To make empty spaces in lyrics, use @code{\skip}.
3593 Input for lyrics introduces a syntactical ambiguity:
3600 is interpreted as assigning a string identifier @code{\foo} such that
3601 it contains @code{"bar"}. However, it could also be interpreted as
3602 making or a music identifier @code{\foo} containing the syllable
3603 `bar'. The force the latter interpretation, use
3613 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3614 for a given voice in a part of music. It also may denote the pitch
3615 range that a musical instrument is capable of playing. Most musical
3616 instruments have their ambitus standardized (or at least there is
3617 agreement upon the minimal ambitus of a particular type of
3618 instrument), such that a composer or arranger of a piece of music can
3619 easily meet the ambitus constraints of the targeted instrument.
3620 However, the ambitus of the human voice depends on individual
3621 physiological state, including education and training of the voice.
3622 Therefore, a singer potentially has to check for each piece of music
3623 if the ambitus of that piece meets his individual capabilities. This
3624 is why the ambitus of a piece may be of particular value to vocal
3627 The ambitus is typically notated on a per-voice basis at the very
3628 beginning of a piece, e.g. nearby the initial clef or time signature of
3629 each staff. The range is graphically specified by two noteheads, that
3630 represent the minimum and maximum pitch. Some publishers use a textual
3631 notation: they put the range in words in front of the corresponding
3632 staff. LilyPond only supports the graphical ambitus notation.
3634 To apply, add the @internalsref{Ambitus_engraver} to the
3635 @internalsref{Voice} context, i.e.
3641 \consists Ambitus_engraver
3646 This results in the following output:
3647 @lilypond[singleline]
3648 upper = \notes \relative c {
3651 as'' c e2 bes f cis d4 e f2 g
3653 lower = \notes \relative c {
3656 e'4 b g a c es fis a cis b a g f e d2
3659 \context ChoirStaff {
3661 \new Staff { \upper }
3662 \new Staff { \lower }
3668 \consists Ambitus_engraver
3674 If you have multiple voices in a single staff, and you want a single
3675 ambitus per staff rather than per each voice, then add the
3676 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3677 rather than to the @internalsref{Voice} context.
3679 It is possible to tune individual ambituses for multiple voices on a
3680 single staff, for example by erasing or shifting them horizontally. An
3681 example is in @inputfileref{input/test,ambitus-mixed.ly}
3685 Internals: @internalsref{Ambitus}
3687 Examples: @inputfileref{input/regression,ambitus.ly},
3688 @inputfileref{input/test,ambitus-mixed.ly}.
3692 There is no collision handling in the case of multiple per-voice
3698 Tablature notation is used for notating music for plucked string
3699 instruments. It notates pitches not by using note heads, but by
3700 indicating on which string and fret a note must be played. LilyPond
3701 offers limited support for tablature.
3704 * Tablatures basic::
3705 * Non-guitar tablatures::
3708 @node Tablatures basic
3709 @subsection Tablatures basic
3710 @cindex Tablatures basic
3712 The string number associated to a note is given as a backslash
3713 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3714 string. By default, string 1 is the highest one, and the tuning
3715 defaults to the standard guitar tuning (with 6 strings). The notes
3716 are printed as tablature, by using @internalsref{TabStaff} and
3717 @internalsref{TabVoice} contexts:
3719 @lilypond[fragment,verbatim]
3720 \notes \context TabStaff {
3728 When no string is specified, the first string that does not give a
3729 fret number less than @code{minimumFret} is selected. The default
3730 value for @code{minimumFret} is 0:
3734 e8 fis gis a b cis' dis' e'
3735 \property TabStaff.minimumFret = #8
3736 e8 fis gis a b cis' dis' e'
3741 e8 fis gis a b cis' dis' e'
3742 \property TabStaff.minimumFret = #8
3743 e8 fis gis a b cis' dis' e'
3746 \context StaffGroup <<
3747 \context Staff { \clef "G_8" \frag }
3748 \context TabStaff { \frag }
3755 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3756 @internalsref{StringNumberEvent}.
3760 Chords are not handled in a special way, and hence the automatic
3761 string selector may easily select the same string to two notes in a
3765 @node Non-guitar tablatures
3766 @subsection Non-guitar tablatures
3767 @cindex Non-guitar tablatures
3769 You can change the number of strings, by setting the number of lines
3770 in the @internalsref{TabStaff}.
3772 You can change the tuning of the strings. A string tuning is given as
3773 a Scheme list with one integer number for each string, the number
3774 being the pitch (measured in semitones relative to central C) of an
3775 open string. The numbers specified for @code{stringTuning} are the
3776 numbers of semitones to subtract or add, starting the specified pitch
3777 by default middle C, in string order. Thus, the notes are e, a, d, and
3780 @lilypond[fragment,verbatim]
3781 \context TabStaff <<
3782 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3785 a,4 c' a e' e c' a e'
3790 It is possible to change the Scheme function to format the tablature
3791 note text. The default is @code{fret-number-tablature-format}, which
3792 uses the fret number. For instruments that do not use this notation,
3793 you can create a special tablature formatting function. This function
3794 takes three argument: string number, string tuning and note pitch.
3798 No guitar special effects have been implemented.
3803 @section Chord names
3806 LilyPond has support for both printing chord names. Chords may be
3807 entered in musical chord notation, i.e. @code{< .. >}, but they can
3808 also be entered by name. Internally, the chords are represented as a
3809 set of pitches, so they can be transposed:
3812 @lilypond[verbatim,singleline]
3813 twoWays = \notes \transpose c c' {
3823 << \context ChordNames \twoWays
3824 \context Voice \twoWays >> }
3827 This example also shows that the chord printing routines do not try to
3828 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3834 * Printing chord names::
3839 @subsection Chords mode
3842 Chord mode is a mode where you can input sets of pitches using common
3843 names. It is introduced by the keyword @code{\chords}.
3844 In chords mode, a chord is entered by the root, which is entered
3845 like a common pitch:
3846 @lilypond[fragment,verbatim,quote, relative=1]
3847 \chords { es4. d8 c2 }
3852 Other chords may be entered by suffixing a colon, and introducing a
3853 modifier, and optionally, a number:
3855 @lilypond[fragment,verbatim,quote]
3856 \chords { e1:m e1:7 e1:m7 }
3858 The first number following the root is taken to be the `type' of the
3859 chord, thirds are added to the root until it reaches the specified
3861 @lilypond[fragment,verbatim]
3862 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3865 @cindex root of chord
3866 @cindex additions, in chords
3867 @cindex removals, in chords
3869 More complex chords may also be constructed adding separate steps
3870 to a chord. Additions are added after the number following
3871 the colon, and are separated by dots:
3873 @lilypond[verbatim,fragment,quote]
3874 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3876 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3878 @lilypond[verbatim,fragment,quote]
3879 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3881 Removals are specified similarly, and are introduced by a caret. They
3882 must come after the additions:
3883 @lilypond[verbatim,fragment]
3884 \chords { c^3 c:7^5 c:9^3.5 }
3887 Modifiers can be used to change pitches. The following modifiers are
3891 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3893 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3896 is the augmented chord. This modifier raises the 5th step.
3898 is the major 7th chord. This modifier raises the 7th step if present.
3900 is the suspended 4th or 2nd. This modifier removes the 3rd
3901 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3904 Modifiers can be mixed with additions:
3905 @lilypond[verbatim,fragment]
3906 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3909 @cindex modifiers, in chords.
3916 Since an unaltered 11 does not sound good when combined with an
3917 unaltered 13, the 11 is removed in this case (unless it is added
3920 @lilypond[fragment,verbatim]
3921 \chords { c:13 c:13.11 c:m13 }
3926 An inversion (putting one pitch of the chord on the bottom), as well
3927 as bass notes, can be specified by appending
3928 @code{/}@var{pitch} to the chord:
3929 @lilypond[fragment,verbatim,center]
3930 \chords { c1 c/g c/f }
3934 A bass note can be added instead of transposed out of the chord,
3935 by using @code{/+}@var{pitch}.
3937 @lilypond[fragment,verbatim,center]
3938 \chords { c1 c/+g c/+f }
3941 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3942 of the commands continue to work, for example, @code{r} and
3943 @code{\skip} can be used to insert rests and spaces, and
3944 @code{\property} may be used to change various settings.
3950 Each step can only be present in a chord once. The following
3951 simply produces the augmented chord, since @code{5+} is interpreted
3954 @lilypond[verbatim,fragment]
3955 \chords { c:5.5-.5+ }
3959 @node Printing chord names
3960 @subsection Printing chord names
3962 @cindex printing chord names
3966 For displaying printed chord names, use the @internalsref{ChordNames} context.
3967 The chords may be entered either using the notation
3968 described above, or directly using @code{<} and @code{>}:
3970 @lilypond[verbatim,singleline]
3972 \chords {a1 b c} <d' f' a'> <e' g' b'>
3976 \context ChordNames \scheme
3977 \context Staff \scheme
3982 You can make the chord changes stand out by setting
3983 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3984 display chord names when there is a change in the chords scheme and at
3985 the start of a new line:
3987 @lilypond[verbatim, linewidth=9cm]
3989 c1:m c:m \break c:m c:m d
3993 \context ChordNames {
3994 \property ChordNames.chordChanges = ##t
3996 \context Staff \transpose c c' \scheme
4001 The default chord name layout is a system for Jazz music, proposed by
4002 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4003 following properties:
4006 @cindex chordNameExceptions
4007 @item chordNameExceptions
4008 This is a list that contains the chords that have special formatting.
4010 @inputfileref{input/regression,chord-name-exceptions.ly}.
4011 @cindex exceptions, chord names.
4014 @cindex majorSevenSymbol
4015 @item majorSevenSymbol
4016 This property contains the markup object used for the 7th step, when
4017 it is major. Predefined options are @code{whiteTriangleMarkup} and
4018 @code{blackTriangleMarkup}. See
4019 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4021 @cindex chordNameSeparator
4022 @item chordNameSeparator
4023 Different parts of a chord name are normally separated by a
4024 slash. By setting @code{chordNameSeparator}, you can specify other
4026 @lilypond[fragment,verbatim]
4027 \context ChordNames \chords {
4029 \property ChordNames.chordNameSeparator
4030 = \markup { \typewriter "|" }
4034 @cindex chordRootNamer
4035 @item chordRootNamer
4036 The root of a chord is usually printed as a letter with an optional
4037 alteration. The transformation from pitch to letter is done by this
4038 function. Special note names (for example, the German ``H'' for a
4039 B-chord) can be produced by storing a new function in this property.
4041 The pre-defined variables @code{\germanChords},
4042 @code{\semiGermanChords} set these variables.
4045 @cindex chordNoteNamer
4046 @item chordNoteNamer
4047 The default is to print single pitch, e.g. the bass note, using the
4048 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4049 to a specialized function to change this behavior. For example, the
4050 base can be printed in lower case.
4055 There are also two other chord name schemes implemented: an alternate
4056 Jazz chord notation, and a systematic scheme called Banter chords. The
4057 alternate jazz notation is also shown on the chart in @ref{Chord name
4058 chart}. Turning on these styles is described in the input file
4059 @inputfileref{input/test,chord-names-jazz.ly}.
4063 @cindex chords, jazz
4068 @cindex @code{\germanChords}
4069 @code{\germanChords},
4070 @cindex @code{\semiGermanChords}
4071 @code{\semiGermanChords}.
4078 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4079 @inputfileref{input/regression,chord-name-exceptions.ly},
4080 @inputfileref{input/test,chord-names-jazz.ly},
4081 @inputfileref{input/test,chord-names-german.ly}.
4083 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4088 Chord names are determined solely from the list of pitches. Chord
4089 inversions are not identified, and neither are added bass notes. This
4090 may result in strange chord names when chords are entered with the
4091 @code{< .. >} syntax.
4096 @node Orchestral music
4097 @section Orchestral music
4099 @cindex Writing parts
4101 Orchestral music involves some special notation, both in the full
4102 score and the individual parts. This section explains how to tackle
4103 some common problems in orchestral music.
4108 * Multiple staff contexts::
4111 * Instrument names::
4113 * Multi measure rests::
4114 * Automatic part combining::
4116 * Different editions from one source::
4117 * Sound output for transposing instruments::
4120 @node Multiple staff contexts
4121 @subsection Multiple staff contexts
4123 Polyphonic scores consist of many staves. These staves can be
4124 constructed in three different ways:
4126 @item The group is started with a brace at the left. This is done with the
4127 @internalsref{GrandStaff} context.
4128 @item The group is started with a bracket. This is done with the
4129 @internalsref{StaffGroup} context
4130 @item The group is started with a vertical line. This is the default
4134 @cindex Staff, multiple
4135 @cindex bracket, vertical
4136 @cindex brace, vertical
4143 @node Rehearsal marks
4144 @subsection Rehearsal marks
4145 @cindex Rehearsal marks
4147 @cindex @code{\mark}
4149 To print a rehearsal mark, use the @code{\mark} command:
4150 @lilypond[fragment,verbatim]
4160 The mark is incremented automatically if you use @code{\mark
4161 \default}. The value to use is stored in the property
4162 @code{rehearsalMark} is used and automatically incremented.
4164 The @code{\mark} command can also be used to put signs like coda,
4165 segno and fermatas on a barline. Use @code{\markup} to
4166 to access the appropriate symbol:
4168 @lilypond[fragment,verbatim,relative=1]
4169 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4173 In this case, during line breaks,
4174 marks must also be printed at the end of the line, and not at the
4175 beginning. Use the following to force that behavior:
4177 \property Score.RehearsalMark \override
4178 #'break-visibility = #begin-of-line-invisible
4181 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4187 @cindex barlines, putting symbols on
4191 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4193 Examples: @inputfileref{input/test,boxed-molecule.ly}.
4197 @subsection Bar numbers
4201 @cindex measure numbers
4202 @cindex currentBarNumber
4204 Bar numbers are printed by default at the start of the line. The
4205 number itself is stored in the
4206 @code{currentBarNumber} property,
4207 which is normally updated automatically for every measure.
4209 Bar numbers can be typeset at regular intervals instead of at the
4210 beginning of each line. This is illustrated in the following example,
4211 whose source is available as
4212 @inputfileref{input/test,bar-number-regular-interval.ly}:
4214 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4219 Internals: @internalsref{BarNumber}.
4221 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4222 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4226 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4227 there is one at the top. To solve this, the
4228 @code{padding} property of @internalsref{BarNumber} can be
4229 used to position the number correctly.
4231 @node Instrument names
4232 @subsection Instrument names
4234 In an orchestral score, instrument names are printed left side of the
4237 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4238 and @internalsref{Staff}.@code{instr}. This will print a string before
4239 the start of the staff. For the first start, @code{instrument} is
4240 used, for the next ones @code{instr} is used:
4243 @lilypond[verbatim,singleline]
4244 \property Staff.instrument = "ploink " { c''4 }
4248 You can also use markup texts to construct more complicated instrument
4252 @lilypond[fragment,verbatim,singleline]
4254 \property Staff.instrument = \markup {
4255 \column < "Clarinetti"
4257 \smaller \musicglyph #"accidentals--1"
4268 Internals: @internalsref{InstrumentName}.
4272 When you put a name on a grand staff or piano staff the width of the
4273 brace is not taken into account. You must add extra spaces to the end of
4274 the name to avoid a collision.
4277 @subsection Transpose
4279 @cindex transposition of pitches
4280 @cindex @code{\transpose}
4282 A music expression can be transposed with @code{\transpose}. The syntax
4285 \transpose @var{from} @var{to} @var{musicexpr}
4288 This means that @var{musicexpr} is transposed by the interval
4289 between the pitches @var{from} and @var{to}.
4290 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4291 inside a @code{\notes} section.
4293 @code{\transpose} distinguishes between enharmonic pitches: both
4294 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4295 half a tone. The first version will print sharps and the second
4296 version will print flats:
4298 @lilypond[singleline, verbatim]
4299 mus =\notes { \key d \major cis d fis g }
4300 \score { \notes \context Staff {
4303 \transpose c g' \mus
4304 \transpose c f' \mus
4311 Internals: @internalsref{TransposedMusic}, and
4312 @internalsref{UntransposableMusic}.
4316 If you want to use both @code{\transpose} and @code{\relative}, then
4317 you must put @code{\transpose} outside of @code{\relative}, since
4318 @code{\relative} will have no effect music that appears inside a
4324 @node Multi measure rests
4325 @subsection Multi measure rests
4326 @cindex multi measure rests
4327 @cindex Rests, multi measure
4331 Multi measure rests are entered using `@code{R}'. It is specifically
4332 meant for full bar rests and for entering parts: the rest can expand
4333 to fill a score with rests, or it can be printed as a single
4334 multimeasure rest. This expansion is controlled by the property
4335 @code{Score.skipBars}. If this is set to true, empty measures will not
4336 be expanded, and the appropriate number is added automatically:
4338 @lilypond[fragment,verbatim]
4339 \time 4/4 r1 | R1 | R1*2
4340 \property Score.skipBars = ##t R1*17 R1*4
4343 The @code{1} in @code{R1} is similar to the duration notation used for
4344 notes. Hence, for time signatures other than 4/4, you must enter other
4345 durations. This can be done with augmentation dots or fractions:
4347 @lilypond[fragment,verbatim]
4348 \property Score.skipBars = ##t
4356 An @code{R} spanning a single measure is printed as either a whole rest
4357 or a breve, centered in the measure regardless of the time signature.
4359 @cindex text on multi-measure rest
4360 @cindex script on multi-measure rest
4361 @cindex fermata on multi-measure rest
4363 Texts can be added to multi-measure rests by using the
4364 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4365 replaced. If you need both texts and the number, you must add the
4366 number by hand. A variable (@code{\fermataMarkup}) is provided for
4370 @lilypond[verbatim,fragment]
4372 R2._\markup { "Ad lib" }
4376 If you want to have a text on the left end of a multi-measure rest,
4377 attach the text to a zero-length skip note, i.e.
4385 @cindex whole rests for a full measure
4389 Internals: @internalsref{MultiMeasureRestEvent},
4390 @internalsref{MultiMeasureTextEvent},
4391 @internalsref{MultiMeasureRestMusicGroup}, and
4392 @internalsref{MultiMeasureRest}.
4394 The layout object @internalsref{MultiMeasureRestNumber} is for the
4395 default number, and @internalsref{MultiMeasureRestText} for user
4400 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4401 over multi-measure rests.
4403 @cindex condensing rests
4405 There is no way to automatically condense multiple rests into a single
4406 multimeasure rest. Multi measure rests do not take part in rest
4409 Be careful when entering multimeasure rests followed by whole
4410 notes. The following will enter two notes lasting four measures each:
4414 When @code{skipBars} is set, then the result will look OK, but the
4415 bar numbering will be off.
4417 @node Automatic part combining
4418 @subsection Automatic part combining
4419 @cindex automatic part combining
4420 @cindex part combiner
4423 Automatic part combining is used to merge two parts of music onto a
4424 staff. It is aimed at typesetting orchestral scores. When the two
4425 parts are identical for a period of time, only one is shown. In
4426 places where the two parts differ, they are typeset as separate
4427 voices, and stem directions are set automatically. Also, solo and
4428 @emph{a due} parts are identified and can be marked.
4432 The syntax for part combining is
4435 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4437 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4438 combined into one context of type @var{context}. The music expressions
4439 must be interpreted by contexts whose names should start with @code{one}
4442 The following example demonstrates the basic functionality of the part
4443 combiner: putting parts on one staff, and setting stem directions and
4446 @lilypond[verbatim,singleline,fragment]
4448 \context Voice=one \partcombine Voice
4449 \context Thread=one \relative c'' {
4452 \context Thread=two \relative c'' {
4458 The first @code{g} appears only once, although it was
4459 specified twice (once in each part). Stem, slur and tie directions are
4460 set automatically, depending whether there is a solo or unisono. The
4461 first part (with context called @code{one}) always gets up stems, and
4462 `solo', while the second (called @code{two}) always gets down stems and
4465 If you just want the merging parts, and not the textual markings, you
4466 may set the property @var{soloADue} to false:
4468 @lilypond[verbatim,singleline,fragment]
4470 \property Staff.soloADue = ##f
4471 \context Voice=one \partcombine Voice
4472 \context Thread=one \relative c'' {
4475 \context Thread=two \relative c'' {
4483 Internals: @internalsref{PartCombineMusic},
4484 @internalsref{Thread_devnull_engraver}, and
4485 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4489 The syntax for naming contexts in inconsistent with the syntax for
4492 In @code{soloADue} mode, when the two voices play the same notes on and
4493 off, the part combiner may typeset @code{a2} more than once in a
4496 @lilypond[fragment,singleline]
4498 \context Voice=one \partcombine Voice
4499 \context Thread=one \relative c'' {
4502 \context Thread=two \relative c'' {
4508 The part combiner is rather buggy, and it will be replaced by a better
4509 mechanism in the near future.
4511 @cindex @code{Thread_devnull_engraver}
4512 @cindex @code{Voice_engraver}
4513 @cindex @code{A2_engraver}
4516 @subsection Hiding staves
4518 @cindex Frenched scores
4519 @cindex Hiding staves
4521 In orchestral scores, staff lines that only have rests are usually
4522 removed. This saves some space. This style is called `French Score'.
4523 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4524 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4525 switched on by default. When these line of these contexts turn out
4526 empty after the line-breaking process, they are removed.
4528 For normal staves, a specialized @internalsref{Staff} context is
4529 available, which does the same: staves containing nothing (or only
4530 multi measure rests) are removed. The context definition is stored in
4531 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4532 in this example disappears in the second line:
4537 \notes \relative c' <<
4538 \new Staff { e4 f g a \break c1 }
4539 \new Staff { c4 d e f \break R1 }
4543 \translator { \RemoveEmptyStaffContext }
4548 The first page shows all staffs in full. If they should be removed
4549 from the first page too, set @code{remove-first} to false
4550 in @internalsref{RemoveEmptyVerticalGroup}.
4552 @node Different editions from one source
4553 @subsection Different editions from one source
4555 The @code{\tag} command marks music expressions with a name. These
4556 tagged expressions can be filtered out later. With this mechanism it
4557 is possible to make different versions of the same music source.
4559 In the following example, we see two versions of a piece of music, one
4560 for the full score, and one with cue notes for the instrumental part:
4568 \property Voice.fontSize = #-1
4576 The same can be applied to articulations, texts, etc.: they are
4579 -\tag #@var{your-tag}
4581 to an articulation, for example,
4586 This defines a note with a conditional fingering indication.
4588 By applying the @code{remove-tag} function, tagged expressions can be
4589 filtered. For example,
4593 \apply #(remove-tag 'score) @var{the music}
4594 \apply #(remove-tag 'part) @var{the music}
4599 @lilypondfile[notexidoc]{tag-filter.ly}
4601 The argument of the @code{\tag} command should be a symbol, or a list
4602 of symbols, for example,
4604 \tag #'(original-part transposed-part) @dots{}
4609 Examples: @inputfileref{input/regression,tag-filter.ly}
4612 @node Sound output for transposing instruments
4613 @subsection Sound output for transposing instruments
4615 When you want to make a MIDI file from a score containing transposed
4616 and untransposed instruments, you have to instruct LilyPond the pitch
4617 offset (in semitones) for the transposed instruments. This is done
4618 using the @code{transposing} property. It does not affect printed
4621 @cindex @code{transposing}
4624 \property Staff.instrument = #"Cl. in B-flat"
4625 \property Staff.transposing = #-2
4629 @node Ancient notation
4630 @section Ancient notation
4632 @cindex Vaticana, Editio
4633 @cindex Medicaea, Editio
4638 @c [TODO: write more comprehensive introduction on ancient notation]
4640 Support for ancient notation is still under heavy development.
4641 Regardless of all of the current limitations (see the bugs section
4642 below for details), it includes features for mensural
4643 notation and Gregorian Chant notation. There is also limited support
4644 for figured bass notation.
4646 Many graphical objects provide a @code{style} property, see
4647 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4648 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4649 signatures}. By manipulating such a grob property, the typographical
4650 appearance of the affected graphical objects can be accomodated for a
4651 specific notation flavour without need for introducing any new
4655 Other aspects of ancient notation can not that easily be expressed as
4656 in terms of just changing a style property of a graphical object.
4657 Therefore, some notational concepts are introduced specifically for
4658 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4659 @ref{Ligatures}, and @ref{Figured bass}.
4663 * Ancient note heads::
4664 * Ancient accidentals::
4668 * Ancient time signatures::
4673 * Vaticana style contexts::
4676 If this all is way too much of documentation for you, and you just
4677 want to dive into typesetting without worrying too much about the
4678 details on how to customize a context, then you may have a look at the
4679 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4680 set up predefined style-specific voice and staff contexts, and
4681 directly go ahead with the note entry.
4685 Ligatures need special spacing that has not yet been implemented. As
4686 a result, there is too much space between ligatures most of the time,
4687 and line breaking often is unsatisfactory. Also, lyrics do not
4688 correctly align with ligatures.
4690 Accidentals must not be printed within a ligature, but instead need to
4691 be collected and printed in front of it.
4693 Augmentum dots within ligatures are not handled correctly.
4696 @node Ancient note heads
4697 @subsection Ancient note heads
4703 For ancient notation, a note head style other than the @code{default}
4704 style may be chosen. This is accomplished by setting the @code{style}
4705 property of the NoteHead object to the desired value (@code{baroque},
4706 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4707 differs from the @code{default} style only in using a square shape for
4708 @code{\breve} note heads. The @code{neo_mensural} style differs from
4709 the @code{baroque} style in that it uses rhomboidal heads for whole
4710 notes and all smaller durations. Stems are centered on the note
4711 heads. This style is in particular useful when transcribing mensural
4712 music, e.g. for the incipit. The @code{mensural} style finally
4713 produces note heads that mimick the look of note heads in historic
4714 printings of the 16th century.
4716 The following example demonstrates the @code{neo_mensural} style:
4718 @lilypond[fragment,singleline,verbatim]
4719 \property Voice.NoteHead \set #'style = #'neo_mensural
4720 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4723 When typesetting a piece in Gregorian Chant notation, a Gregorian
4724 ligature engraver will automatically select the proper note heads,
4725 such there is no need to explicitly set the note head style. Still,
4726 the note head style can be set e.g. to @code{vaticana_punctum} to
4727 produce punctum neumes. Similarly, a mensural ligature engraver is
4728 used to automatically assemble mensural ligatures. See
4729 @ref{Ligatures} for how ligature engravers work.
4734 @ref{Percussion staves} use note head styles of their own that are
4735 frequently used in contemporary music notation.
4737 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4738 overview over all available note head styles.
4741 @node Ancient accidentals
4742 @subsection Ancient accidentals
4748 Use the @code{style} property of grob @internalsref{Accidental} to
4749 select ancient accidentals. Supported styles are
4750 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4752 @lilypond[singleline,26pt]
4760 { " " \musicglyph #"accidentals-vaticana-1"
4761 " " \musicglyph #"accidentals-vaticana0" }
4765 { " " \musicglyph #"accidentals-medicaea-1" }
4769 { " " \musicglyph #"accidentals-hufnagel-1" }
4773 { " " \musicglyph #"accidentals-mensural-1"
4774 " " \musicglyph #"accidentals-mensural1" }
4783 \remove "Bar_number_engraver"
4787 \remove "Clef_engraver"
4788 \remove "Key_engraver"
4789 \remove "Time_signature_engraver"
4790 \remove "Staff_symbol_engraver"
4791 minimumVerticalExtent = ##f
4797 As shown, not all accidentals are supported by each style. When
4798 trying to access an unsupported accidental, LilyPond will switch to a
4799 different style, as demonstrated in
4800 @inputfileref{input/test,ancient-accidentals.ly}.
4802 Similarly to local accidentals, the style of the key signature can be
4803 controlled by the @code{style} property of the
4804 @internalsref{KeySignature} grob.
4808 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4809 @ref{Accidentals} give a general introduction into the use of
4810 accidentals. @ref{Key signature} gives a general introduction into
4811 the use of key signatures.
4813 Internals: @internalsref{KeySignature}
4815 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4818 @subsection Ancient rests
4824 Use the @code{style} property of grob @internalsref{Rest} to select
4825 ancient accidentals. Supported styles are @code{classical},
4826 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4827 from the @code{default} style only in that the quarter rest looks like
4828 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4829 well for e.g. the incipit of a transcribed mensural piece of music.
4830 The @code{mensural} style finally mimicks the appearance of rests as
4831 in historic prints of the 16th century.
4833 The following example demonstrates the @code{neo_mensural} style:
4835 @lilypond[fragment,singleline,verbatim]
4836 \property Voice.Rest \set #'style = #'neo_mensural
4837 r\longa r\breve r1 r2 r4 r8 r16
4840 There are no 32th and 64th rests specifically for the mensural or
4841 neo-mensural style. Instead, the rests from the default style will be
4842 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4845 There are no rests in Gregorian Chant notation; instead, it uses
4850 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4854 @subsection Ancient clefs
4860 LilyPond supports a variety of clefs, many of them ancient.
4862 The following table shows all ancient clefs that are supported via the
4863 @code{\clef} command. Some of the clefs use the same glyph, but
4864 differ only with respect to the line they are printed on. In such
4865 cases, a trailing number in the name is used to enumerate these clefs.
4866 Still, you can manually force a clef glyph to be typeset on an
4867 arbitrary line, as described in @ref{Clef}. The note printed to the
4868 right side of each clef in the example column denotes the @code{c'}
4869 with respect to that clef.
4871 @multitable @columnfractions .3 .3 .3 .1
4875 @b{Description} @tab
4876 @b{Supported Clefs} @tab
4880 @code{clefs-neo_mensural_c} @tab
4881 modern style mensural C clef @tab
4882 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4883 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4884 @lilypond[relative 0, notime]
4885 \property Staff.TimeSignature \set #'transparent = ##t
4886 \clef "neo_mensural_c2" c
4890 @code{clefs-petrucci_c1}
4891 @code{clefs-petrucci_c2}
4892 @code{clefs-petrucci_c3}
4893 @code{clefs-petrucci_c4}
4894 @code{clefs-petrucci_c5}
4897 petrucci style mensural C clefs, for use on different stafflines
4898 (the examples shows the 2nd staffline C clef).
4908 @lilypond[relative 0, notime]
4909 \property Staff.TimeSignature \set #'transparent = ##t
4910 \clef "petrucci_c2" c
4914 @code{clefs-petrucci_f} @tab
4915 petrucci style mensural F clef @tab
4916 @code{petrucci_f} @tab
4917 @lilypond[relative 0, notime]
4918 \property Staff.TimeSignature \set #'transparent = ##t
4919 \clef "petrucci_f" c
4923 @code{clefs-petrucci_g} @tab
4924 petrucci style mensural G clef @tab
4925 @code{petrucci_g} @tab
4926 @lilypond[relative 0, notime]
4927 \property Staff.TimeSignature \set #'transparent = ##t
4928 \clef "petrucci_g" c
4932 @code{clefs-mensural_c} @tab
4933 historic style mensural C clef @tab
4934 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4935 @code{mensural_c4} @tab
4936 @lilypond[relative 0, notime]
4937 \property Staff.TimeSignature \set #'transparent = ##t
4938 \clef "mensural_c2" c
4942 @code{clefs-mensural_f} @tab
4943 historic style mensural F clef @tab
4944 @code{mensural_f} @tab
4945 @lilypond[relative 0, notime]
4946 \property Staff.TimeSignature \set #'transparent = ##t
4947 \clef "mensural_f" c
4951 @code{clefs-mensural_g} @tab
4952 historic style mensural G clef @tab
4953 @code{mensural_g} @tab
4954 @lilypond[relative 0, notime]
4955 \property Staff.TimeSignature \set #'transparent = ##t
4956 \clef "mensural_g" c
4960 @code{clefs-vaticana_do} @tab
4961 Editio Vaticana style do clef @tab
4962 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4963 @lilypond[relative 0, notime]
4964 \property Staff.StaffSymbol \set #'line-count = #4
4965 \property Staff.TimeSignature \set #'transparent = ##t
4966 \clef "vaticana_do2" c
4970 @code{clefs-vaticana_fa} @tab
4971 Editio Vaticana style fa clef @tab
4972 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4973 @lilypond[relative 0, notime]
4974 \property Staff.StaffSymbol \set #'line-count = #4
4975 \property Staff.TimeSignature \set #'transparent = ##t
4976 \clef "vaticana_fa2" c
4980 @code{clefs-medicaea_do} @tab
4981 Editio Medicaea style do clef @tab
4982 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4983 @lilypond[relative 0, notime]
4984 \property Staff.StaffSymbol \set #'line-count = #4
4985 \property Staff.TimeSignature \set #'transparent = ##t
4986 \clef "medicaea_do2" c
4990 @code{clefs-medicaea_fa} @tab
4991 Editio Medicaea style fa clef @tab
4992 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4993 @lilypond[relative 0, notime]
4994 \property Staff.StaffSymbol \set #'line-count = #4
4995 \property Staff.TimeSignature \set #'transparent = ##t
4996 \clef "medicaea_fa2" c
5000 @code{clefs-hufnagel_do} @tab
5001 historic style hufnagel do clef @tab
5002 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5003 @lilypond[relative 0, notime]
5004 \property Staff.StaffSymbol \set #'line-count = #4
5005 \property Staff.TimeSignature \set #'transparent = ##t
5006 \clef "hufnagel_do2" c
5010 @code{clefs-hufnagel_fa} @tab
5011 historic style hufnagel fa clef @tab
5012 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5013 @lilypond[relative 0, notime]
5014 \property Staff.StaffSymbol \set #'line-count = #4
5015 \property Staff.TimeSignature \set #'transparent = ##t
5016 \clef "hufnagel_fa2" c
5020 @code{clefs-hufnagel_do_fa} @tab
5021 historic style hufnagel combined do/fa clef @tab
5022 @code{hufnagel_do_fa} @tab
5023 @lilypond[relative 0, notime]
5024 \property Staff.TimeSignature \set #'transparent = ##t
5025 \clef "hufnagel_do_fa" c
5030 @c --- This should go somewhere else: ---
5031 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5034 @c @code{percussion}
5036 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5038 @c @item modern style tab clef (glyph: @code{clefs-tab})
5043 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5045 @emph{Modern style} means ``as is typeset in contemporary editions of
5046 transcribed mensural music''.
5048 @emph{Petrucci style} means ``inspired by printings published by the
5049 famous engraver Petrucci (1466-1539)''.
5051 @emph{Historic style} means ``as was typeset or written in historic
5052 editions (other than those of Petrucci)''.
5054 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5056 Petrucci used C clefs with differently balanced left-side vertical
5057 beams, depending on which staffline it is printed.
5061 In this manual: for the percussion clef, see @ref{Percussion staves}.
5062 For the @code{TAB} clef, see @ref{Tablatures}.
5064 Internals: for modern clefs, see @ref{Clef}.
5069 @subsection Ancient flags
5075 Use the @code{flag-style} property of grob @internalsref{Stem} to
5076 select ancient flags. Besides the @code{default} flag style,
5077 only @code{mensural} style is supported:
5079 @lilypond[fragment,singleline,verbatim]
5080 \property Voice.Stem \set #'flag-style = #'mensural
5081 \property Voice.Stem \set #'thickness = #1.0
5082 \property Voice.NoteHead \set #'style = #'mensural
5084 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
5085 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5088 Note that the innermost flare of each mensural flag always is
5089 vertically aligned with a staff line. If you do not like this
5090 behaviour, you can set the @code{adjust-if-on-staffline} property of
5091 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5092 of the end of each flare is different between notes on staff lines and
5093 notes between staff lines:
5095 @lilypond[fragment,singleline]
5096 \property Voice.Stem \set #'flag-style = #'mensural
5097 \property Voice.Stem \set #'thickness = #1.0
5098 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5099 \property Voice.NoteHead \set #'style = #'mensural
5101 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
5102 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5105 There is no particular flag style for neo-mensural notation. Hence,
5106 when typesetting e.g. the incipit of a transcibed piece of mensural
5107 music, the default flag style should be used. There are no flags in
5108 Gregorian Chant notation.
5111 @node Ancient time signatures
5112 @subsection Ancient time signatures
5114 @cindex time signatures
5118 There is limited support for mensural time signatures. The
5119 glyphs are hard-wired to particular time fractions. In other words,
5120 to get a particular mensural signature glyph with the @code{\time n/m}
5121 command, @code{n} and @code{m} have to be chosen according to the
5127 \property Score.timing = ##f
5128 \property Score.barAlways = ##t
5129 s_\markup { "$\\backslash$time 4/4" }
5130 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5132 s_\markup { "$\\backslash$time 2/2" }
5133 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5135 s_\markup { "$\\backslash$time 6/4" }
5136 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5138 s_\markup { "$\\backslash$time 6/8" }
5139 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5141 s_\markup { "$\\backslash$time 3/2" }
5142 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5144 s_\markup { "$\\backslash$time 3/4" }
5145 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5147 s_\markup { "$\\backslash$time 9/4" }
5148 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5150 s_\markup { "$\\backslash$time 9/8" }
5151 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5153 s_\markup { "$\\backslash$time 4/8" }
5154 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5156 s_\markup { "$\\backslash$time 2/4" }
5157 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5165 \remove Staff_symbol_engraver
5166 \remove Clef_engraver
5167 \remove Time_signature_engraver
5173 Use the @code{style} property of grob @internalsref{TimeSignature} to
5174 select ancient time signatures. Supported styles are
5175 @code{neo_mensural} and @code{mensural}. The above table uses the
5176 @code{neo_mensural} style. This style is appropriate e.g. for the
5177 incipit of transcriptions of mensural pieces. The @code{mensural}
5178 style mimicks the look of historical printings of the 16th century.
5180 @inputfileref{input/test,time.ly} gives an overview over all available
5181 ancient and modern styles.
5185 Internals: @ref{Time signature} gives a general introduction into the use of time
5190 Mensural signature glyphs are mapped to time fractions in a
5191 hard-wired way. This mapping is sensible, but still arbitrary: given
5192 a mensural time signature, the time fraction represents a modern meter
5193 that usually will be a good choice when transcribing a mensural piece
5194 of music. For a particular piece of mensural music, however, the
5195 mapping may be unsatisfactory. In particular, the mapping assumes a
5196 fixed transcription of durations (e.g. brevis = half note in 2/2,
5197 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5198 are not at all accessible through the @code{\time} command.
5200 Mensural time signatures are supported typographically, but not yet
5201 musically. The internal representation of durations is
5202 based on a purely binary system; a ternary division such as 1 brevis =
5203 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5204 prolatione maiori) is not correctly handled: event times in ternary
5205 modes will be badly computed, resulting e.g. in horizontally
5206 misaligned note heads, and bar checks are likely to erroneously fail.
5208 The syntax and semantics of the @code{\time} command for mensural
5209 music is subject to change.
5212 @subsection Custodes
5217 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5218 symbol that appears at the end of a staff. It anticipates the pitch
5219 of the first note(s) of the following line and thus helps the player
5220 or singer to manage line breaks during performance, thus enhancing
5221 readability of a score.
5223 Custodes were frequently used in music notation until the 17th
5224 century. Nowadays, they have survived only in a few particular forms
5225 of musical notation such as contemporary editions of Gregorian chant
5226 like the @emph{editio vaticana}. There are different custos glyphs
5227 used in different flavours of notational style.
5231 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5232 @internalsref{Staff} context when declaring the @code{\paper} block,
5233 as shown in the following example:
5239 \consists Custos_engraver
5240 Custos \override #'style = #'mensural
5245 The result looks like this:
5251 \property Staff.Custos \set #'style = #'mensural
5258 \consists Custos_engraver
5265 The custos glyph is selected by the @code{style} property. The styles
5266 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5267 @code{mensural}. They are demonstrated in the following fragment:
5277 { " " \musicglyph #"custodes-vaticana-u0" }
5281 { " " \musicglyph #"custodes-medicaea-u0" }
5285 { " " \musicglyph #"custodes-hufnagel-u0" }
5289 { " " \musicglyph #"custodes-mensural-u0" }
5298 \remove "Bar_number_engraver"
5302 \remove "Clef_engraver"
5303 \remove "Key_engraver"
5304 \remove "Time_signature_engraver"
5305 \remove "Staff_symbol_engraver"
5306 minimumVerticalExtent = ##f
5312 If the boolean property @code{adjust-if-on-staffline} is set to
5313 @code{#t} (which it is by default), lily typesets slightly different
5314 variants of the custos glyph, depending on whether the custos, is
5315 typeset on or between stafflines. The glyph will
5316 optically fit well into the staff, with the appendage on the right of
5317 the custos always ending at the same vertical position between two
5318 stafflines regardless of the pitch. If you set
5319 @code{adjust-if-on-staffline} to @code{#f}, then
5320 a compromise between both forms is used.
5322 Just like stems can be attached to noteheads in two directions
5323 @emph{up} and @emph{down}, each custos glyph is available with its
5324 appendage pointing either up or down. If the pitch of a custos is
5325 above a selectable position, the appendage will point downwards; if
5326 the pitch is below this position, the appendage will point upwards.
5327 Use property @code{neutral-position} to select this position. By
5328 default, it is set to @code{0}, such that the neutral position is the
5329 center of the staff. Use property @code{neutral-direction} to control
5330 what happens if a custos is typeset on the neutral position itself.
5331 By default, this property is set to @code{-1}, such that the appendage
5332 will point downwards. If set to @code{1}, the appendage will point
5333 upwards. Other values such as @code{0} are reserved for future
5334 extensions and should not be used.
5338 Internals: @internalsref{Custos}
5340 Examples: @inputfileref{input/regression,custos.ly}.
5344 @subsection Divisiones
5350 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5351 `division') is a staff context symbol that is used to structure
5352 Gregorian music into phrases and sections. The musical meaning of
5353 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5354 can be characterized as short, medium and long pause, somewhat like
5355 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5356 a chant, but is also frequently used within a single
5357 antiphonal/responsorial chant to mark the end of each section.
5361 To use divisiones, include the file @code{gregorian-init.ly}. It
5362 contains definitions that you can apply by just inserting
5363 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5364 and @code{\finalis} at proper places in the input. Some editions use
5365 @emph{virgula} or @emph{caesura} instead of divisio minima.
5366 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5369 @lilypondfile[notexidoc]{divisiones.ly}
5373 @cindex @code{\virgula}
5375 @cindex @code{\caesura}
5377 @cindex @code{\divisioMinima}
5378 @code{\divisioMinima},
5379 @cindex @code{\divisioMaior}
5380 @code{\divisioMaior},
5381 @cindex @code{\divisioMaxima}
5382 @code{\divisioMaxima},
5383 @cindex @code{\finalis}
5388 In this manual: @ref{Breath marks}.
5390 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5392 Examples: @inputfileref{input/test,divisiones.ly}
5395 @subsection Ligatures
5399 @c TODO: Should double check if I recalled things correctly when I wrote
5400 @c down the following paragraph by heart.
5402 In musical terminology, a ligature is a coherent graphical symbol that
5403 represents at least two distinct notes. Ligatures originally appeared
5404 in the manuscripts of Gregorian chant notation roughly since the 9th
5405 century as an allusion to the accent symbols of greek lyric poetry to
5406 denote ascending or descending sequences of notes. Both, the shape
5407 and the exact meaning of ligatures changed tremendously during the
5408 following centuries: In early notation, ligatures were used for
5409 monophonic tunes (Gregorian chant) and very soon denoted also the way
5410 of performance in the sense of articulation. With upcoming
5411 multiphony, the need for a metric system arised, since multiple voices
5412 of a piece have to be synchronized some way. New notation systems
5413 were invented that used the manifold shapes of ligatures to now denote
5414 rhythmical patterns (e.g. black mensural notation, mannered notation,
5415 ars nova). With the invention of the metric system of the white
5416 mensural notation, the need for ligatures to denote such patterns
5417 disappeared. Nevertheless, ligatures were still in use in the
5418 mensural system for a couple of decades until they finally disappeared
5419 during the late 16th / early 17th century. Still, ligatures have
5420 survived in contemporary editions of Gregorian chant such as the
5421 Editio Vaticana from 1905/08.
5425 Syntactically, ligatures are simply enclosed by @code{\[} and
5426 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5427 additional input syntax specific for this particular type of ligature.
5428 By default, the @internalsref{LigatureBracket} engraver just puts a
5429 square bracket above the ligature:
5431 @lilypond[singleline,verbatim]
5433 \notes \transpose c c' {
5441 To select a specific style of ligatures, a proper ligature engraver
5442 has to be added to the @internalsref{Voice} context, as explained in
5443 the following subsections. Only white mensural ligatures
5444 are supported with certain limitations. Support for Editio Vaticana
5445 will be added in the future.
5448 * White mensural ligatures::
5449 * Gregorian square neumes ligatures::
5452 @node White mensural ligatures
5453 @subsubsection White mensural ligatures
5455 @cindex Mensural ligatures
5456 @cindex White mensural ligatures
5458 There is limited support for white mensural ligatures. The
5459 implementation is still experimental; it may output strange
5460 warnings or even crash in some cases or produce weird results on more
5465 To engrave white mensural ligatures, in the paper block the
5466 @internalsref{Mensural_ligature_engraver} has to be put into the
5467 @internalsref{Voice} context, and remove the
5468 @internalsref{Ligature_bracket_engraver}:
5474 \remove Ligature_bracket_engraver
5475 \consists Mensural_ligature_engraver
5480 There is no additional input language to describe the shape of a
5481 white mensural ligature. The shape is rather determined solely from
5482 the pitch and duration of the enclosed notes. While this approach may
5483 take a new user a while to get accustomed, it has the great advantage
5484 that the full musical information of the ligature is known internally.
5485 This is not only required for correct MIDI output, but also allows for
5486 automatic transcription of the ligatures.
5491 \property Score.timing = ##f
5492 \property Score.defaultBarType = "empty"
5493 \property Voice.NoteHead \set #'style = #'neo_mensural
5494 \property Staff.TimeSignature \set #'style = #'neo_mensural
5496 \[ g\longa c\breve a\breve f\breve d'\longa \]
5498 \[ e1 f1 a\breve g\longa \]
5500 @lilypond[singleline]
5502 \notes \transpose c c' {
5503 \property Score.timing = ##f
5504 \property Score.defaultBarType = "empty"
5505 \property Voice.NoteHead \set #'style = #'neo_mensural
5506 \property Staff.TimeSignature \set #'style = #'neo_mensural
5508 \[ g\longa c\breve a\breve f\breve d'\longa \]
5510 \[ e1 f1 a\breve g\longa \]
5515 \remove Ligature_bracket_engraver
5516 \consists Mensural_ligature_engraver
5522 Without replacing @internalsref{Ligature_bracket_engraver} with
5523 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5526 @lilypond[singleline]
5528 \notes \transpose c c' {
5529 \property Score.timing = ##f
5530 \property Score.defaultBarType = "empty"
5531 \property Voice.NoteHead \set #'style = #'neo_mensural
5532 \property Staff.TimeSignature \set #'style = #'neo_mensural
5534 \[ g\longa c\breve a\breve f\breve d'\longa \]
5536 \[ e1 f1 a\breve g\longa \]
5542 @node Gregorian square neumes ligatures
5543 @subsubsection Gregorian square neumes ligatures
5545 @cindex Square neumes ligatures
5546 @cindex Gregorian square neumes ligatures
5548 Gregorian square neumes notation (following the style of the Editio
5549 Vaticana) is under heavy development, but not yet really usable for
5550 production purposes. Core ligatures can already be typeset, but
5551 essential issues for serious typesetting are still under development,
5552 such as (among others) horizontal alignment of multiple ligatures,
5553 lyrics alignment and proper accidentals handling. Still, this section
5554 gives a sneak preview of what Gregorian chant may look like once it
5557 The following table contains the extended neumes table of the 2nd
5558 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5559 1983 by the monks of Solesmes.
5561 @multitable @columnfractions .4 .2 .2 .2
5564 @b{Neuma aut@*Neumarum Elementa} @tab
5565 @b{Figurae@*Rectae} @tab
5566 @b{Figurae@*Liquescentes Auctae} @tab
5567 @b{Figurae@*Liquescentes Deminutae}
5569 @c TODO: \paper block is identical in all of the below examples.
5570 @c Therefore, it should somehow be included rather than duplicated all
5573 @c why not make identifiers in ly/engraver-init.ly? --hwn
5575 @c Because it's just used to typeset plain notes without
5576 @c a staff for demonstration purposes rather than something
5577 @c special of Gregorian chant notation. --jr
5582 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5583 \include "gregorian-init.ly"
5585 \notes \transpose c c' {
5588 \noBreak s^\markup {"a"} \noBreak
5590 % Punctum Inclinatum
5592 \noBreak s^\markup {"b"}
5598 \remove "Bar_number_engraver"
5602 \remove "Clef_engraver"
5603 \remove "Key_engraver"
5604 StaffSymbol \set #'transparent = ##t
5605 \remove "Time_signature_engraver"
5606 \remove "Bar_engraver"
5607 minimumVerticalExtent = ##f
5611 \remove Ligature_bracket_engraver
5612 \consists Vaticana_ligature_engraver
5613 NoteHead \set #'style = #'vaticana_punctum
5614 Stem \set #'transparent = ##t
5620 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5621 \include "gregorian-init.ly"
5623 \notes \transpose c c' {
5624 % Punctum Auctum Ascendens
5625 \[ \auctum \ascendens b \]
5626 \noBreak s^\markup {"c"} \noBreak
5628 % Punctum Auctum Descendens
5629 \[ \auctum \descendens b \]
5630 \noBreak s^\markup {"d"} \noBreak
5632 % Punctum Inclinatum Auctum
5633 \[ \inclinatum \auctum b \]
5634 \noBreak s^\markup {"e"}
5640 \remove "Bar_number_engraver"
5644 \remove "Clef_engraver"
5645 \remove "Key_engraver"
5646 StaffSymbol \set #'transparent = ##t
5647 \remove "Time_signature_engraver"
5648 \remove "Bar_engraver"
5649 minimumVerticalExtent = ##f
5653 \remove Ligature_bracket_engraver
5654 \consists Vaticana_ligature_engraver
5655 NoteHead \set #'style = #'vaticana_punctum
5656 Stem \set #'transparent = ##t
5662 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5663 \include "gregorian-init.ly"
5665 \notes \transpose c c' {
5666 % Punctum Inclinatum Parvum
5667 \[ \inclinatum \deminutum b \]
5668 \noBreak s^\markup {"f"}
5674 \remove "Bar_number_engraver"
5678 \remove "Clef_engraver"
5679 \remove "Key_engraver"
5680 StaffSymbol \set #'transparent = ##t
5681 \remove "Time_signature_engraver"
5682 \remove "Bar_engraver"
5683 minimumVerticalExtent = ##f
5687 \remove Ligature_bracket_engraver
5688 \consists Vaticana_ligature_engraver
5689 NoteHead \set #'style = #'vaticana_punctum
5690 Stem \set #'transparent = ##t
5699 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5700 \include "gregorian-init.ly"
5702 \notes \transpose c c' {
5705 \noBreak s^\markup {"g"}
5711 \remove "Bar_number_engraver"
5715 \remove "Clef_engraver"
5716 \remove "Key_engraver"
5717 StaffSymbol \set #'transparent = ##t
5718 \remove "Time_signature_engraver"
5719 \remove "Bar_engraver"
5720 minimumVerticalExtent = ##f
5724 \remove Ligature_bracket_engraver
5725 \consists Vaticana_ligature_engraver
5726 NoteHead \set #'style = #'vaticana_punctum
5727 Stem \set #'transparent = ##t
5736 @code{3. Apostropha vel Stropha}
5738 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5739 \include "gregorian-init.ly"
5741 \notes \transpose c c' {
5744 \noBreak s^\markup {"h"}
5750 \remove "Bar_number_engraver"
5754 \remove "Clef_engraver"
5755 \remove "Key_engraver"
5756 StaffSymbol \set #'transparent = ##t
5757 \remove "Time_signature_engraver"
5758 \remove "Bar_engraver"
5759 minimumVerticalExtent = ##f
5763 \remove Ligature_bracket_engraver
5764 \consists Vaticana_ligature_engraver
5765 NoteHead \set #'style = #'vaticana_punctum
5766 Stem \set #'transparent = ##t
5772 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5773 \include "gregorian-init.ly"
5775 \notes \transpose c c' {
5777 \[ \stropha \auctum b \]
5778 \noBreak s^\markup {"i"}
5784 \remove "Bar_number_engraver"
5788 \remove "Clef_engraver"
5789 \remove "Key_engraver"
5790 StaffSymbol \set #'transparent = ##t
5791 \remove "Time_signature_engraver"
5792 \remove "Bar_engraver"
5793 minimumVerticalExtent = ##f
5797 \remove Ligature_bracket_engraver
5798 \consists Vaticana_ligature_engraver
5799 NoteHead \set #'style = #'vaticana_punctum
5800 Stem \set #'transparent = ##t
5810 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5811 \include "gregorian-init.ly"
5813 \notes \transpose c c' {
5816 \noBreak s^\markup {"j"}
5822 \remove "Bar_number_engraver"
5826 \remove "Clef_engraver"
5827 \remove "Key_engraver"
5828 StaffSymbol \set #'transparent = ##t
5829 \remove "Time_signature_engraver"
5830 \remove "Bar_engraver"
5831 minimumVerticalExtent = ##f
5835 \remove Ligature_bracket_engraver
5836 \consists Vaticana_ligature_engraver
5837 NoteHead \set #'style = #'vaticana_punctum
5838 Stem \set #'transparent = ##t
5847 @code{5. Clivis vel Flexa}
5849 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5850 \include "gregorian-init.ly"
5852 \notes \transpose c c' {
5861 \remove "Bar_number_engraver"
5865 \remove "Clef_engraver"
5866 \remove "Key_engraver"
5867 StaffSymbol \set #'transparent = ##t
5868 \remove "Time_signature_engraver"
5869 \remove "Bar_engraver"
5870 minimumVerticalExtent = ##f
5874 \remove Ligature_bracket_engraver
5875 \consists Vaticana_ligature_engraver
5876 NoteHead \set #'style = #'vaticana_punctum
5877 Stem \set #'transparent = ##t
5883 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5884 \include "gregorian-init.ly"
5886 \notes \transpose c c' {
5887 % Clivis Aucta Descendens
5888 \[ b \flexa \auctum \descendens g \]
5889 \noBreak s^\markup {"l"} \noBreak
5891 % Clivis Aucta Ascendens
5892 \[ b \flexa \auctum \ascendens g \]
5893 \noBreak s^\markup {"m"}
5899 \remove "Bar_number_engraver"
5903 \remove "Clef_engraver"
5904 \remove "Key_engraver"
5905 StaffSymbol \set #'transparent = ##t
5906 \remove "Time_signature_engraver"
5907 \remove "Bar_engraver"
5908 minimumVerticalExtent = ##f
5912 \remove Ligature_bracket_engraver
5913 \consists Vaticana_ligature_engraver
5914 NoteHead \set #'style = #'vaticana_punctum
5915 Stem \set #'transparent = ##t
5921 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5922 \include "gregorian-init.ly"
5924 \notes \transpose c c' {
5926 \[ b \flexa \deminutum g \]
5933 \remove "Bar_number_engraver"
5937 \remove "Clef_engraver"
5938 \remove "Key_engraver"
5939 StaffSymbol \set #'transparent = ##t
5940 \remove "Time_signature_engraver"
5941 \remove "Bar_engraver"
5942 minimumVerticalExtent = ##f
5946 \remove Ligature_bracket_engraver
5947 \consists Vaticana_ligature_engraver
5948 NoteHead \set #'style = #'vaticana_punctum
5949 Stem \set #'transparent = ##t
5956 @code{6. Podatus vel Pes}
5958 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5959 \include "gregorian-init.ly"
5961 \notes \transpose c c' {
5970 \remove "Bar_number_engraver"
5974 \remove "Clef_engraver"
5975 \remove "Key_engraver"
5976 StaffSymbol \set #'transparent = ##t
5977 \remove "Time_signature_engraver"
5978 \remove "Bar_engraver"
5979 minimumVerticalExtent = ##f
5983 \remove Ligature_bracket_engraver
5984 \consists Vaticana_ligature_engraver
5985 NoteHead \set #'style = #'vaticana_punctum
5986 Stem \set #'transparent = ##t
5992 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5993 \include "gregorian-init.ly"
5995 \notes \transpose c c' {
5996 % Pes Auctus Descendens
5997 \[ g \pes \auctum \descendens b \]
5998 \noBreak s^\markup {"p"} \noBreak
6000 % Pes Auctus Ascendens
6001 \[ g \pes \auctum \ascendens b \]
6002 \noBreak s^\markup {"q"}
6008 \remove "Bar_number_engraver"
6012 \remove "Clef_engraver"
6013 \remove "Key_engraver"
6014 StaffSymbol \set #'transparent = ##t
6015 \remove "Time_signature_engraver"
6016 \remove "Bar_engraver"
6017 minimumVerticalExtent = ##f
6021 \remove Ligature_bracket_engraver
6022 \consists Vaticana_ligature_engraver
6023 NoteHead \set #'style = #'vaticana_punctum
6024 Stem \set #'transparent = ##t
6030 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6031 \include "gregorian-init.ly"
6033 \notes \transpose c c' {
6035 \[ g \pes \deminutum b \]
6042 \remove "Bar_number_engraver"
6046 \remove "Clef_engraver"
6047 \remove "Key_engraver"
6048 StaffSymbol \set #'transparent = ##t
6049 \remove "Time_signature_engraver"
6050 \remove "Bar_engraver"
6051 minimumVerticalExtent = ##f
6055 \remove Ligature_bracket_engraver
6056 \consists Vaticana_ligature_engraver
6057 NoteHead \set #'style = #'vaticana_punctum
6058 Stem \set #'transparent = ##t
6065 @code{7. Pes Quassus}
6067 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6068 \include "gregorian-init.ly"
6070 \notes \transpose c c' {
6072 \[ \oriscus g \pes \virga b \]
6079 \remove "Bar_number_engraver"
6083 \remove "Clef_engraver"
6084 \remove "Key_engraver"
6085 StaffSymbol \set #'transparent = ##t
6086 \remove "Time_signature_engraver"
6087 \remove "Bar_engraver"
6088 minimumVerticalExtent = ##f
6092 \remove Ligature_bracket_engraver
6093 \consists Vaticana_ligature_engraver
6094 NoteHead \set #'style = #'vaticana_punctum
6095 Stem \set #'transparent = ##t
6101 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6102 \include "gregorian-init.ly"
6104 \notes \transpose c c' {
6105 % Pes Quassus Auctus Descendens
6106 \[ \oriscus g \pes \auctum \descendens b \]
6113 \remove "Bar_number_engraver"
6117 \remove "Clef_engraver"
6118 \remove "Key_engraver"
6119 StaffSymbol \set #'transparent = ##t
6120 \remove "Time_signature_engraver"
6121 \remove "Bar_engraver"
6122 minimumVerticalExtent = ##f
6126 \remove Ligature_bracket_engraver
6127 \consists Vaticana_ligature_engraver
6128 NoteHead \set #'style = #'vaticana_punctum
6129 Stem \set #'transparent = ##t
6137 @code{8. Quilisma Pes}
6139 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6140 \include "gregorian-init.ly"
6142 \notes \transpose c c' {
6144 \[ \quilisma g \pes b \]
6151 \remove "Bar_number_engraver"
6155 \remove "Clef_engraver"
6156 \remove "Key_engraver"
6157 StaffSymbol \set #'transparent = ##t
6158 \remove "Time_signature_engraver"
6159 \remove "Bar_engraver"
6160 minimumVerticalExtent = ##f
6164 \remove Ligature_bracket_engraver
6165 \consists Vaticana_ligature_engraver
6166 NoteHead \set #'style = #'vaticana_punctum
6167 Stem \set #'transparent = ##t
6173 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6174 \include "gregorian-init.ly"
6176 \notes \transpose c c' {
6177 % Quilisma Pes Auctus Descendens
6178 \[ \quilisma g \pes \auctum \descendens b \]
6185 \remove "Bar_number_engraver"
6189 \remove "Clef_engraver"
6190 \remove "Key_engraver"
6191 StaffSymbol \set #'transparent = ##t
6192 \remove "Time_signature_engraver"
6193 \remove "Bar_engraver"
6194 minimumVerticalExtent = ##f
6198 \remove Ligature_bracket_engraver
6199 \consists Vaticana_ligature_engraver
6200 NoteHead \set #'style = #'vaticana_punctum
6201 Stem \set #'transparent = ##t
6209 @code{9. Podatus Initio Debilis}
6211 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6212 \include "gregorian-init.ly"
6214 \notes \transpose c c' {
6215 % Pes Initio Debilis
6216 \[ \deminutum g \pes b \]
6223 \remove "Bar_number_engraver"
6227 \remove "Clef_engraver"
6228 \remove "Key_engraver"
6229 StaffSymbol \set #'transparent = ##t
6230 \remove "Time_signature_engraver"
6231 \remove "Bar_engraver"
6232 minimumVerticalExtent = ##f
6236 \remove Ligature_bracket_engraver
6237 \consists Vaticana_ligature_engraver
6238 NoteHead \set #'style = #'vaticana_punctum
6239 Stem \set #'transparent = ##t
6245 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6246 \include "gregorian-init.ly"
6248 \notes \transpose c c' {
6249 % Pes Auctus Descendens Initio Debilis
6250 \[ \deminutum g \pes \auctum \descendens b \]
6257 \remove "Bar_number_engraver"
6261 \remove "Clef_engraver"
6262 \remove "Key_engraver"
6263 StaffSymbol \set #'transparent = ##t
6264 \remove "Time_signature_engraver"
6265 \remove "Bar_engraver"
6266 minimumVerticalExtent = ##f
6270 \remove Ligature_bracket_engraver
6271 \consists Vaticana_ligature_engraver
6272 NoteHead \set #'style = #'vaticana_punctum
6273 Stem \set #'transparent = ##t
6283 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6284 \include "gregorian-init.ly"
6286 \notes \transpose c c' {
6288 \[ a \pes b \flexa g \]
6295 \remove "Bar_number_engraver"
6299 \remove "Clef_engraver"
6300 \remove "Key_engraver"
6301 StaffSymbol \set #'transparent = ##t
6302 \remove "Time_signature_engraver"
6303 \remove "Bar_engraver"
6304 minimumVerticalExtent = ##f
6308 \remove Ligature_bracket_engraver
6309 \consists Vaticana_ligature_engraver
6310 NoteHead \set #'style = #'vaticana_punctum
6311 Stem \set #'transparent = ##t
6317 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6318 \include "gregorian-init.ly"
6320 \notes \transpose c c' {
6321 % Torculus Auctus Descendens
6322 \[ a \pes b \flexa \auctum \descendens g \]
6329 \remove "Bar_number_engraver"
6333 \remove "Clef_engraver"
6334 \remove "Key_engraver"
6335 StaffSymbol \set #'transparent = ##t
6336 \remove "Time_signature_engraver"
6337 \remove "Bar_engraver"
6338 minimumVerticalExtent = ##f
6342 \remove Ligature_bracket_engraver
6343 \consists Vaticana_ligature_engraver
6344 NoteHead \set #'style = #'vaticana_punctum
6345 Stem \set #'transparent = ##t
6351 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6352 \include "gregorian-init.ly"
6354 \notes \transpose c c' {
6355 % Torculus Deminutus
6356 \[ a \pes b \flexa \deminutum g \]
6363 \remove "Bar_number_engraver"
6367 \remove "Clef_engraver"
6368 \remove "Key_engraver"
6369 StaffSymbol \set #'transparent = ##t
6370 \remove "Time_signature_engraver"
6371 \remove "Bar_engraver"
6372 minimumVerticalExtent = ##f
6376 \remove Ligature_bracket_engraver
6377 \consists Vaticana_ligature_engraver
6378 NoteHead \set #'style = #'vaticana_punctum
6379 Stem \set #'transparent = ##t
6386 @code{11. Torculus Initio Debilis}
6388 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6389 \include "gregorian-init.ly"
6391 \notes \transpose c c' {
6392 % Torculus Initio Debilis
6393 \[ \deminutum a \pes b \flexa g \]
6400 \remove "Bar_number_engraver"
6404 \remove "Clef_engraver"
6405 \remove "Key_engraver"
6406 StaffSymbol \set #'transparent = ##t
6407 \remove "Time_signature_engraver"
6408 \remove "Bar_engraver"
6409 minimumVerticalExtent = ##f
6413 \remove Ligature_bracket_engraver
6414 \consists Vaticana_ligature_engraver
6415 NoteHead \set #'style = #'vaticana_punctum
6416 Stem \set #'transparent = ##t
6422 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6423 \include "gregorian-init.ly"
6425 \notes \transpose c c' {
6426 % Torculus Auctus Descendens Initio Debilis
6427 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6434 \remove "Bar_number_engraver"
6438 \remove "Clef_engraver"
6439 \remove "Key_engraver"
6440 StaffSymbol \set #'transparent = ##t
6441 \remove "Time_signature_engraver"
6442 \remove "Bar_engraver"
6443 minimumVerticalExtent = ##f
6447 \remove Ligature_bracket_engraver
6448 \consists Vaticana_ligature_engraver
6449 NoteHead \set #'style = #'vaticana_punctum
6450 Stem \set #'transparent = ##t
6456 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6457 \include "gregorian-init.ly"
6459 \notes \transpose c c' {
6460 % Torculus Deminutus Initio Debilis
6461 \[ \deminutum a \pes b \flexa \deminutum g \]
6468 \remove "Bar_number_engraver"
6472 \remove "Clef_engraver"
6473 \remove "Key_engraver"
6474 StaffSymbol \set #'transparent = ##t
6475 \remove "Time_signature_engraver"
6476 \remove "Bar_engraver"
6477 minimumVerticalExtent = ##f
6481 \remove Ligature_bracket_engraver
6482 \consists Vaticana_ligature_engraver
6483 NoteHead \set #'style = #'vaticana_punctum
6484 Stem \set #'transparent = ##t
6491 @code{12. Porrectus}
6493 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6494 \include "gregorian-init.ly"
6496 \notes \transpose c c' {
6498 \[ a \flexa g \pes b \]
6505 \remove "Bar_number_engraver"
6509 \remove "Clef_engraver"
6510 \remove "Key_engraver"
6511 StaffSymbol \set #'transparent = ##t
6512 \remove "Time_signature_engraver"
6513 \remove "Bar_engraver"
6514 minimumVerticalExtent = ##f
6518 \remove Ligature_bracket_engraver
6519 \consists Vaticana_ligature_engraver
6520 NoteHead \set #'style = #'vaticana_punctum
6521 Stem \set #'transparent = ##t
6527 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6528 \include "gregorian-init.ly"
6530 \notes \transpose c c' {
6531 % Porrectus Auctus Descendens
6532 \[ a \flexa g \pes \auctum \descendens b \]
6539 \remove "Bar_number_engraver"
6543 \remove "Clef_engraver"
6544 \remove "Key_engraver"
6545 StaffSymbol \set #'transparent = ##t
6546 \remove "Time_signature_engraver"
6547 \remove "Bar_engraver"
6548 minimumVerticalExtent = ##f
6552 \remove Ligature_bracket_engraver
6553 \consists Vaticana_ligature_engraver
6554 NoteHead \set #'style = #'vaticana_punctum
6555 Stem \set #'transparent = ##t
6561 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6562 \include "gregorian-init.ly"
6564 \notes \transpose c c' {
6565 % Porrectus Deminutus
6566 \[ a \flexa g \pes \deminutum b \]
6573 \remove "Bar_number_engraver"
6577 \remove "Clef_engraver"
6578 \remove "Key_engraver"
6579 StaffSymbol \set #'transparent = ##t
6580 \remove "Time_signature_engraver"
6581 \remove "Bar_engraver"
6582 minimumVerticalExtent = ##f
6586 \remove Ligature_bracket_engraver
6587 \consists Vaticana_ligature_engraver
6588 NoteHead \set #'style = #'vaticana_punctum
6589 Stem \set #'transparent = ##t
6598 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6599 \include "gregorian-init.ly"
6601 \notes \transpose c c' {
6603 \[ \virga b \inclinatum a \inclinatum g \]
6610 \remove "Bar_number_engraver"
6614 \remove "Clef_engraver"
6615 \remove "Key_engraver"
6616 StaffSymbol \set #'transparent = ##t
6617 \remove "Time_signature_engraver"
6618 \remove "Bar_engraver"
6619 minimumVerticalExtent = ##f
6623 \remove Ligature_bracket_engraver
6624 \consists Vaticana_ligature_engraver
6625 NoteHead \set #'style = #'vaticana_punctum
6626 Stem \set #'transparent = ##t
6632 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6633 \include "gregorian-init.ly"
6635 \notes \transpose c c' {
6637 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6644 \remove "Bar_number_engraver"
6648 \remove "Clef_engraver"
6649 \remove "Key_engraver"
6650 StaffSymbol \set #'transparent = ##t
6651 \remove "Time_signature_engraver"
6652 \remove "Bar_engraver"
6653 minimumVerticalExtent = ##f
6657 \remove Ligature_bracket_engraver
6658 \consists Vaticana_ligature_engraver
6659 NoteHead \set #'style = #'vaticana_punctum
6660 Stem \set #'transparent = ##t
6666 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6667 \include "gregorian-init.ly"
6669 \notes \transpose c c' {
6670 % Climacus Deminutus
6671 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6678 \remove "Bar_number_engraver"
6682 \remove "Clef_engraver"
6683 \remove "Key_engraver"
6684 StaffSymbol \set #'transparent = ##t
6685 \remove "Time_signature_engraver"
6686 \remove "Bar_engraver"
6687 minimumVerticalExtent = ##f
6691 \remove Ligature_bracket_engraver
6692 \consists Vaticana_ligature_engraver
6693 NoteHead \set #'style = #'vaticana_punctum
6694 Stem \set #'transparent = ##t
6701 @code{14. Scandicus}
6703 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6704 \include "gregorian-init.ly"
6706 \notes \transpose c c' {
6708 \[ g \pes a \virga b \]
6715 \remove "Bar_number_engraver"
6719 \remove "Clef_engraver"
6720 \remove "Key_engraver"
6721 StaffSymbol \set #'transparent = ##t
6722 \remove "Time_signature_engraver"
6723 \remove "Bar_engraver"
6724 minimumVerticalExtent = ##f
6728 \remove Ligature_bracket_engraver
6729 \consists Vaticana_ligature_engraver
6730 NoteHead \set #'style = #'vaticana_punctum
6731 Stem \set #'transparent = ##t
6737 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6738 \include "gregorian-init.ly"
6740 \notes \transpose c c' {
6741 % Scandicus Auctus Descendens
6742 \[ g \pes a \pes \auctum \descendens b \]
6749 \remove "Bar_number_engraver"
6753 \remove "Clef_engraver"
6754 \remove "Key_engraver"
6755 StaffSymbol \set #'transparent = ##t
6756 \remove "Time_signature_engraver"
6757 \remove "Bar_engraver"
6758 minimumVerticalExtent = ##f
6762 \remove Ligature_bracket_engraver
6763 \consists Vaticana_ligature_engraver
6764 NoteHead \set #'style = #'vaticana_punctum
6765 Stem \set #'transparent = ##t
6771 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6772 \include "gregorian-init.ly"
6774 \notes \transpose c c' {
6775 % Scandicus Deminutus
6776 \[ g \pes a \pes \deminutum b \]
6783 \remove "Bar_number_engraver"
6787 \remove "Clef_engraver"
6788 \remove "Key_engraver"
6789 StaffSymbol \set #'transparent = ##t
6790 \remove "Time_signature_engraver"
6791 \remove "Bar_engraver"
6792 minimumVerticalExtent = ##f
6796 \remove Ligature_bracket_engraver
6797 \consists Vaticana_ligature_engraver
6798 NoteHead \set #'style = #'vaticana_punctum
6799 Stem \set #'transparent = ##t
6808 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6809 \include "gregorian-init.ly"
6811 \notes \transpose c c' {
6813 \[ g \oriscus a \pes \virga b \]
6820 \remove "Bar_number_engraver"
6824 \remove "Clef_engraver"
6825 \remove "Key_engraver"
6826 StaffSymbol \set #'transparent = ##t
6827 \remove "Time_signature_engraver"
6828 \remove "Bar_engraver"
6829 minimumVerticalExtent = ##f
6833 \remove Ligature_bracket_engraver
6834 \consists Vaticana_ligature_engraver
6835 NoteHead \set #'style = #'vaticana_punctum
6836 Stem \set #'transparent = ##t
6842 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6843 \include "gregorian-init.ly"
6845 \notes \transpose c c' {
6846 % Salicus Auctus Descendens
6847 \[ g \oriscus a \pes \auctum \descendens b \]
6854 \remove "Bar_number_engraver"
6858 \remove "Clef_engraver"
6859 \remove "Key_engraver"
6860 StaffSymbol \set #'transparent = ##t
6861 \remove "Time_signature_engraver"
6862 \remove "Bar_engraver"
6863 minimumVerticalExtent = ##f
6867 \remove Ligature_bracket_engraver
6868 \consists Vaticana_ligature_engraver
6869 NoteHead \set #'style = #'vaticana_punctum
6870 Stem \set #'transparent = ##t
6880 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6881 \include "gregorian-init.ly"
6883 \notes \transpose c c' {
6885 \[ \stropha b \stropha b \stropha a \]
6892 \remove "Bar_number_engraver"
6896 \remove "Clef_engraver"
6897 \remove "Key_engraver"
6898 StaffSymbol \set #'transparent = ##t
6899 \remove "Time_signature_engraver"
6900 \remove "Bar_engraver"
6901 minimumVerticalExtent = ##f
6905 \remove Ligature_bracket_engraver
6906 \consists Vaticana_ligature_engraver
6907 NoteHead \set #'style = #'vaticana_punctum
6908 Stem \set #'transparent = ##t
6920 Unlike most other neumes notation systems, the input language for
6921 neumes does not necessarily reflect directly the typographical
6922 appearance, but is designed to solely focuse on musical meaning. For
6923 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6924 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6925 a Porrectus with a curved flexa shape and only a single Punctum head.
6926 There is no command to explicitly typeset the curved flexa shape; the
6927 decision of when to typeset a curved flexa shape is purely taken from
6928 the musical input. The idea of this approach is to separate the
6929 musical aspects of the input from the notation style of the output.
6930 This way, the same input can be reused to typeset the same music in a
6931 different style of Gregorian chant notation such as Hufnagel (also
6932 known as German gothic neumes) or Medicaea (kind of a very simple
6933 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6934 engraver and Medicaea ligature engraver will have been implemented, it
6935 will be as simple as replacing the ligature engraver in the
6936 @internalsref{Voice} context to get the desired notation style from
6939 The following table shows the code fragments that produce the
6940 ligatures in the above neumes table. The letter in the first column
6941 in each line of the below table indicates to which ligature in the
6942 above table it refers. The second column gives the name of the
6943 ligature. The third column shows the code fragment that produces this
6944 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6946 @multitable @columnfractions .1 .4 .5
6960 Punctum Inclinatum @tab
6961 @code{\[ \inclinatum b \]}
6965 Punctum Auctum Ascendens @tab
6966 @code{\[ \auctum \ascendens b \]}
6970 Punctum Auctum Descendens @tab
6971 @code{\[ \auctum \descendens b \]}
6975 Punctum Inclinatum Auctum @tab
6976 @code{\[ \inclinatum \auctum b \]}
6980 Punctum Inclinatum Parvum @tab
6981 @code{\[ \inclinatum \deminutum b \]}
6986 @code{\[ \virga b \]}
6991 @code{\[ \stropha b \]}
6996 @code{\[ \stropha \auctum b \]}
7001 @code{\[ \oriscus b \]}
7005 Clivis vel Flexa @tab
7006 @code{\[ b \flexa g \]}
7010 Clivis Aucta Descendens @tab
7011 @code{\[ b \flexa \auctum \descendens g \]}
7015 Clivis Aucta Ascendens @tab
7016 @code{\[ b \flexa \auctum \ascendens g \]}
7021 @code{\[ b \flexa \deminutum g \]}
7025 Podatus vel Pes @tab
7026 @code{\[ g \pes b \]}
7030 Pes Auctus Descendens @tab
7031 @code{\[ g \pes \auctum \descendens b \]}
7035 Pes Auctus Ascendens @tab
7036 @code{\[ g \pes \auctum \ascendens b \]}
7041 @code{\[ g \pes \deminutum b \]}
7046 @code{\[ \oriscus g \pes \virga b \]}
7050 Pes Quassus Auctus Descendens @tab
7051 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7056 @code{\[ \quilisma g \pes b \]}
7060 Quilisma Pes Auctus Descendens @tab
7061 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7065 Pes Initio Debilis @tab
7066 @code{\[ \deminutum g \pes b \]}
7070 Pes Auctus Descendens Initio Debilis @tab
7071 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7076 @code{\[ a \pes b \flexa g \]}
7080 Torculus Auctus Descendens @tab
7081 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7085 Torculus Deminutus @tab
7086 @code{\[ a \pes b \flexa \deminutum g \]}
7090 Torculus Initio Debilis @tab
7091 @code{\[ \deminutum a \pes b \flexa g \]}
7095 Torculus Auctus Descendens Initio Debilis @tab
7096 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7100 Torculus Deminutus Initio Debilis @tab
7101 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7106 @code{\[ a \flexa g \pes b \]}
7110 Porrectus Auctus Descendens @tab
7111 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7115 Porrectus Deminutus @tab
7116 @code{\[ a \flexa g \pes \deminutum b \]}
7121 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7125 Climacus Auctus @tab
7126 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7130 Climacus Deminutus @tab
7131 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7136 @code{\[ g \pes a \virga b \]}
7140 Scandicus Auctus Descendens @tab
7141 @code{\[ g \pes a \pes \auctum \descendens b \]}
7145 Scandicus Deminutus @tab
7146 @code{\[ g \pes a \pes \deminutum b \]}
7151 @code{\[ g \oriscus a \pes \virga b \]}
7155 Salicus Auctus Descendens @tab
7156 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7161 @code{\[ \stropha b \stropha b \stropha a \]}
7167 The following head prefixes are supported:
7169 @cindex @code{\virga}
7171 @cindex @code{\stropha}
7173 @cindex @code{\inclinatum}
7175 @cindex @code{\auctum}
7177 @cindex @code{\descendens}
7179 @cindex @code{\ascendens}
7181 @cindex @code{\oriscus}
7183 @cindex @code{\quilisma}
7185 @cindex @code{\deminutum}
7188 Head prefixes can be accumulated, though restrictions apply. For
7189 example, either @code{\descendens} or @code{\ascendens} can be applied
7190 to a head, but not both to the same head.
7193 @cindex @code{\flexa}
7194 Two adjacent heads can be tied together with the @code{\pes} and
7195 @code{\flexa} infix commands for a rising and falling line of melody,
7200 Trigonus: apply equal spacing, regardless of pitch.
7203 @subsection Figured bass
7205 @cindex Basso continuo
7207 @c TODO: musicological blurb about FB
7211 LilyPond has limited support for figured bass:
7213 @lilypond[verbatim,fragment]
7215 \context Voice \notes { \clef bass dis4 c d ais}
7216 \context FiguredBass
7218 < 6 >4 < 7 >8 < 6+ [_!] >
7224 The support for figured bass consists of two parts: there is an input
7225 mode, introduced by @code{\figures}, where you can enter bass figures
7226 as numbers, and there is a context called @internalsref{FiguredBass} that
7227 takes care of making @internalsref{BassFigure} objects.
7229 In figures input mode, a group of bass figures is delimited by
7230 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7235 \context FiguredBass
7239 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7246 \context FiguredBass
7247 \figures { <4- 6+ 7!> }
7250 Spaces or dashes may be inserted by using @code{_}. Brackets are
7251 introduced with @code{[} and @code{]}:
7257 \context FiguredBass
7258 \figures { < [4 6] 8 [_! 12]> }
7261 Although the support for figured bass may superficially resemble chord
7262 support, it works much simpler. The @code{\figures} mode simply
7263 stores the numbers , and @internalsref{FiguredBass} context prints
7264 them as entered. There is no conversion to pitches, and no
7265 realizations of the bass are played in the MIDI file.
7267 Internally, the code produces markup texts. You can use any of the
7268 markup text properties to override formatting. For example, the
7269 vertical spacing of the figures may be set with @code{baseline-skip}.
7273 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7274 and @internalsref{FiguredBass} context.
7278 Slash notation for alterations is not supported.
7281 @node Vaticana style contexts
7282 @subsection Vaticana style contexts
7284 @cindex VaticanaVoiceContext
7285 @cindex VaticanaStaffContext
7287 The predefined @code{VaticanaVoiceContext} and
7288 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7289 Gregorian Chant in the style of the Editio Vaticana. These contexts
7290 initialize all relevant context properties and grob properties to
7291 proper values. With these contexts, you can immediately go ahead
7292 entering the chant, as the following short excerpt demonstrates:
7294 @lilypond[raggedright,verbatim,noindent]
7295 \include "gregorian-init.ly"
7298 \context VaticanaVoice {
7299 \property Score.BarNumber \set #'transparent = ##t
7301 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7302 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7303 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7306 \context Lyrics \lyrics {
7307 San- ctus, San- ctus, San- ctus
7312 @node Contemporary notation
7313 @section Contemporary notation
7315 In the 20th century, composers have greatly expanded the musical
7316 vocabulary. With this expansion, many innovations in musical notation
7317 have been tried. The book by Stone (1980) gives a comprehensive
7318 overview (see @ref{Literature list}). In general, the use of new,
7319 innovative notation makes a piece harder to understand and perform and
7320 its use should therefore be avoided if possible. For this reason,
7321 support for contemporary notation in LilyPond is limited.
7330 @subsection Clusters
7334 In musical terminology, a @emph{cluster} denotes a range of
7335 simultaneously sounding pitches that may change over time. The set of
7336 available pitches to apply usually depends on the accoustic source.
7337 Thus, in piano music, a cluster typically consists of a continous range
7338 of the semitones as provided by the piano's fixed set of a chromatic
7339 scale. In choral music, each singer of the choir typically may sing an
7340 arbitrary pitch within the cluster's range that is not bound to any
7341 diatonic, chromatic or other scale. In electronic music, a cluster
7342 (theoretically) may even cover a continuous range of pitches, thus
7343 resulting in coloured noise, such as pink noise.
7345 Clusters can be denoted in the context of ordinary staff notation by
7346 engraving simple geometrical shapes that replace ordinary notation of
7347 notes. Ordinary notes as musical events specify starting time and
7348 duration of pitches; however, the duration of a note is expressed by the
7349 shape of the note head rather than by the horizontal graphical extent of
7350 the note symbol. In contrast, the shape of a cluster geometrically
7351 describes the development of a range of pitches (vertical extent) over
7352 time (horizontal extent). Still, the geometrical shape of a cluster
7353 covers the area in wich any single pitch contained in the cluster would
7354 be notated as an ordinary note. From this point of view, it is
7355 reasonable to specify a cluster as the envelope of a set of notes.
7359 A cluster is engraved as the envelope of a set of
7360 cluster-notes. Cluster notes are created by applying the function
7361 @code{notes-to-clusters} to a sequence of chords, e.g.
7363 @lilypond[relative 1,verbatim]
7364 \apply #notes-to-clusters { <c e > <b f'> }
7367 The following example (from
7368 @inputfileref{input/regression,cluster.ly}) shows what the result
7371 @lilypondfile[notexidoc]{cluster.ly}
7373 By default, @internalsref{Cluster_spanner_engraver} is in the
7374 @internalsref{Voice} context. This allows putting ordinary notes and
7375 clusters together in the same staff, even simultaneously. In such a
7376 case no attempt is made to automatically avoid collisions between
7377 ordinary notes and clusters.
7381 Internals: @internalsref{ClusterSpanner},
7382 @internalsref{ClusterSpannerBeacon},
7383 @internalsref{Cluster_spanner_engraver}, and
7384 @internalsref{ClusterNoteEvent}.
7386 Examples: @inputfileref{input/regression,cluster.ly}.
7390 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7391 accurately. Use @code{<g a>8 <e a>8} instead.
7396 @subsection Fermatas
7402 Contemporary music notation frequently uses special fermata symbols to
7403 indicate fermatas of differing lengths.
7407 The following are supported
7409 @lilypond[singleline]
7411 << \addlyrics \notes {
7431 \context Lyrics \lyrics {
7432 "shortfermata" "fermata" "longfermata" "verylongfermata"
7437 See @ref{Articulations} for general instructions how to apply scripts
7438 such as fermatas to a @code{\notes@{@}} block.
7441 @section Tuning output
7443 There are situations where default layout decisions are not
7444 sufficient. In this section we discuss ways to override these
7447 Formatting is internally done by manipulating so called objects
7448 (graphic objects). Each object carries with it a set of properties
7449 (object or layout properties) specific to that object. For example, a
7450 stem object has properties that specify its direction, length and
7453 The most direct way of tuning the output is by altering the values of
7454 these properties. There are two ways of doing that: first, you can
7455 temporarily change the definition of one type of object, thus
7456 affecting a whole set of objects. Second, you can select one specific
7457 object, and set a layout property in that object.
7459 Do not confuse layout properties with translation
7460 properties. Translation properties always use a mixed caps style
7461 naming, and are manipulated using @code{\property}:
7463 \property Context.propertyName = @var{value}
7465 Layout properties are use Scheme style variable naming, i.e. lower
7466 case words separated with dashes. They are symbols, and should always
7467 be quoted using @code{#'}. For example, this could be an imaginary
7468 layout property name:
7470 #'layout-property-name
7475 * Constructing a tweak::
7483 @node Tuning objects
7484 @subsection Tuning objects
7486 @cindex object description
7488 The definition of an object is a list of default object
7489 properties. For example, the definition of the Stem object (available
7490 in @file{scm/define-grobs.scm}), includes the following definitions
7491 for @internalsref{Stem}:
7495 (beamed-lengths . (0.0 2.5 2.0 1.5))
7496 (Y-extent-callback . ,Stem::height)
7501 Adding variables on top of this existing definition overrides the
7502 system default, and alters the resulting appearance of the layout
7508 Changing a variable for only one object is commonly achieved with
7512 \once \property @var{context}.@var{objectname}
7513 \override @var{symbol} = @var{value}
7515 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7516 and @var{objectname} is a string and @var{value} is a Scheme expression.
7517 This command applies a setting only during one moment in the score.
7519 In the following example, only one @internalsref{Stem} object is
7520 changed from its original setting:
7522 @lilypond[verbatim, fragment, relative=1]
7524 \once \property Voice.Stem \set #'thickness = #4
7528 @cindex @code{\once}
7530 For changing more objects, the same command, without @code{\once} can
7533 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7535 This command adds @code{@var{symbol} = @var{value}} to the definition
7536 of @var{objectname} in the context @var{context}, and this definition
7537 stays in place until it is removed.
7539 An existing definition may be removed by the following command:
7542 \property @var{context}.@var{objectname} \revert @var{symbol}
7545 All @code{\override} and @code{\revert} commands should be balanced.
7546 The @code{\set} shorthand performs a revert followed by an override,
7547 and is often more convenient to use
7550 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7554 @lilypond[verbatim,quote]
7555 c'4 \property Voice.Stem \override #'thickness = #4.0
7557 c'4 \property Voice.Stem \revert #'thickness
7561 The following example gives exactly the same result as the previous
7562 one (assuming the system default for stem thickness is 1.3):
7564 @lilypond[verbatim,quote]
7565 c'4 \property Voice.Stem \set #'thickness = #4.0
7567 c'4 \property Voice.Stem \set #'thickness = #1.3
7571 Reverting a setting which was not set in the first place has no
7572 effect. However, if the setting was set as a system default, this may
7573 remove the default value, and this may give surprising results,
7574 including crashes. In other words, @code{\override} and
7575 @code{\revert} must be carefully balanced. The following are examples
7576 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7580 a clumsy but correct form:
7582 \override \revert \override \revert \override \revert
7586 shorter version of the same:
7588 \override \set \set \revert
7592 a short form, using only @code{\set}. This requires you to know the
7595 \set \set \set \set @var{to default value}
7599 if there is no default (i.e. by default, the object property is unset),
7602 \set \set \set \revert
7606 The object description is an Scheme association list. Since a Scheme
7607 list is a singly linked list, we can treat it as a stack, and
7608 @code{\override} and @code{\revert} are push and pop operations. The
7609 association list is stored in a normal context property, hence
7611 \property Voice.NoteHead = #'()
7613 will effectively erase @internalsref{NoteHead}s from the current
7614 @internalsref{Voice}. Typically, this will blank the object. However,
7615 this mechanism should not be used: it may cause crashes or other
7620 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7621 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7622 @internalsref{All-layout-objects}.
7627 The backend is not very strict in type-checking object properties.
7628 Cyclic references in Scheme values for properties cause hangs and/or
7629 crashes. Reverting properties that are system defaults may also lead
7632 A property tweak of modifies a local copy of the object definition.
7633 After such a tweak, the definition is independent of the objects in
7634 enclosing contexts. For example
7637 \property Voice.Stem \set #'neutral-direction = #1
7639 \property Staff.Stem \set #'thickness = #4.0
7644 In this fragment, @code{neutral-direction} is tweaked. As a result,
7645 the current @internalsref{Voice} gets a private version of the
7646 @internalsref{Stem} object. The following tweak modifies the
7647 definition at @internalsref{Staff} level. Since it a different
7648 definition, the thickness of the @code{b'16} is unaffected. For the
7649 third note, a new Voice is created, which inherits the new definition,
7650 including the changed thickness, but excluding the new neutral
7656 * Constructing a tweak::
7662 @node Constructing a tweak
7663 @subsection Constructing a tweak
7666 @cindex internal documentation
7667 @cindex finding graphical objects
7668 @cindex graphical object descriptions
7670 @cindex @code{\override}
7672 @cindex internal documentation
7676 Three pieces of information are required to use @code{\override} and
7677 @code{\set}: the name of the layout object, the context and the name
7678 of the property. We demonstrate how to glean this information from
7679 the notation manual and the generated documentation.
7681 The generated documentation is a set of HTML pages which should be
7682 included if you installed a binary distribution, typically in
7683 @file{/usr/share/doc/lilypond}. They are also available on the web:
7684 go to the @uref{http://lilypond.org,LilyPond website}, click
7685 ``Documentation'', select the correct version, and click then
7686 ``Program reference.'' It is advisable to bookmark the local HTML
7687 files. They will load faster than the ones on the web. If you use the
7688 version from the web, you must check whether the documentation matches
7689 the program version: it is generated from the definitions that the
7690 program uses, and therefore it is strongly tied to the LilyPond
7694 @c [TODO: revise for new site.]
7696 Suppose we want to move the fingering indication in the fragment below:
7698 @lilypond[relative=2,verbatim]
7704 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7705 instructions}), you will notice that there is written:
7710 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7717 In other words, the fingerings once entered, are internally stored as
7718 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7719 layout object is created for every @code{FingerEvent}.
7721 The Fingering object has a number of different functions, and each of
7722 those is captured in an interface. The interfaces are listed under
7723 @internalsref{Fingering} in the program reference.
7727 The @code{Fingering} object has a fixed size
7728 (@internalsref{item-interface}), the symbol is a piece of text
7729 (@internalsref{text-interface}), whose font can be set
7730 (@internalsref{font-interface}). It is centered horizontally
7731 (@internalsref{self-alignment-interface}), it is placed next to other
7732 objects (@internalsref{side-position-interface}) vertically, and its
7733 placement is coordinated with other scripts
7734 (@internalsref{text-script-interface}). It also has the standard
7735 @internalsref{grob-interface} (grob stands for Graphical object)
7737 @cindex graphical object
7738 @cindex layout object
7739 @cindex object, layout
7740 with all the variables that come with
7741 it. Finally, it denotes a fingering instruction, so it has
7742 @internalsref{finger-interface}.
7744 For the vertical placement, we have to look under
7745 @code{side-position-interface}:
7747 @code{side-position-interface}
7749 Position a victim object (this one) next to other objects (the
7750 support). In this case, the property @code{direction} signifies where to put the
7751 victim object relative to the support (left or right, up or down?)
7756 below this description, the variable @code{padding} is described as
7760 (dimension, in staff space)
7762 add this much extra space between objects that are next to each
7763 other. Default value: @code{0.6}
7767 By increasing the value of @code{padding}, we can move away the
7768 fingering. The following command inserts 3 staff spaces of white
7769 between the note and the fingering:
7771 \once \property Voice.Fingering \set #'padding = #3
7774 Inserting this command before the Fingering object is created,
7775 i.e. before @code{c2}, yields the following result:
7777 @lilypond[relative=2,fragment,verbatim]
7778 \once \property Voice.Fingering
7785 The context name @code{Voice} in the example above can be determined
7786 as follows. In the documentation for @internalsref{Fingering}, it says
7788 Fingering grobs are created by: @internalsref{Fingering_engraver}
7791 Clicking @code{Fingering_engraver} shows the documentation of
7792 the module responsible for interpreting the fingering instructions and
7793 translating them to a @code{Fingering} object. Such a module is called
7794 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7797 Fingering_engraver is part of contexts: Voice
7799 so tuning the settings for Fingering should be done with
7801 \property Voice.Fingering \set @dots{}
7804 Of course, the tweak may also done in a larger context than
7805 @code{Voice}, for example, @internalsref{Staff} or
7806 @internalsref{Score}.
7810 Internals: the program reference also contains alphabetical lists of
7811 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7812 @internalsref{Music-expressions}, so you can also find which objects
7813 to tweak by browsing the internals document.
7817 @subsection Applyoutput
7819 The most versatile way of tuning an object is @code{\applyoutput}. Its
7822 \applyoutput @var{proc}
7826 where @var{proc} is a Scheme function, taking three arguments.
7828 When interpreted, the function @var{proc} is called for every layout
7829 object found in the context, with the following arguments:
7831 @item the layout object itself,
7832 @item the context where the layout object was created, and
7833 @item the context where @code{\applyoutput} is processed.
7837 In addition, the cause of the layout object, i.e. the music
7838 expression or object that was responsible for creating it, is in the
7839 object property @code{cause}. For example, for a note head, this is a
7840 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7841 this is a @internalsref{NoteHead} object.
7843 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7846 (define (blanker grob grob-origin context)
7847 (if (and (memq (ly:get-grob-property grob 'interfaces)
7848 note-head-interface)
7849 (eq? (ly:get-grob-property grob 'staff-position) 0))
7851 (ly:set-grob-property! grob 'transparent #t)))
7856 @node Font selection
7857 @subsection Font selection
7859 The most common thing to change about the appearance of fonts is their
7860 size. The font size of any context can be easily changed by setting
7861 the @code{fontSize} property for that context. Its value is a number:
7862 negative numbers make the font smaller, positive numbers larger. An
7863 example is given below:
7865 @lilypond[fragment,relative=1,verbatim,quote]
7866 c4 c4 \property Voice.fontSize = #-1
7869 This command will set @code{font-size} (see below), and does
7870 not change the size of variable symbols, such as beams or slurs.
7872 One of the uses of @code{fontSize} is to get smaller symbols for cue
7873 notes. An elaborate example of those is in
7874 @inputfileref{input/test,cue-notes.ly}.
7876 @cindex magnification
7879 The font used for printing a object can be selected by setting
7880 @code{font-name}, e.g.
7882 \property Staff.TimeSignature
7883 \set #'font-name = #"cmr17"
7887 Any font can be used, as long as it is available to @TeX{}. Possible
7888 fonts include foreign fonts or fonts that do not belong to the
7889 Computer Modern font family. The size of fonts selected in this way
7890 can be changed with the @code{font-magnification} property. For
7891 example, @code{2.0} blows up all letters by a factor 2 in both
7895 @cindex font magnification
7897 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7898 can also be adjusted with a more fine-grained mechanism. By setting
7899 the object properties described below, you can select a different font;
7900 all three mechanisms work for every object that supports
7901 @code{font-interface}:
7906 is a symbol indicating the general class of the typeface. Supported are
7907 @code{roman} (Computer Modern), @code{braces} (for piano staff
7908 braces), @code{music} (the standard music font, including ancient
7909 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7912 is a symbol indicating the shape of the font, there are typically several
7913 font shapes available for each font family. Choices are @code{italic},
7914 @code{caps} and @code{upright}.
7917 is a symbol indicating the series of the font. There are typically several
7918 font series for each font family and shape. Choices are @code{medium}
7923 For any of these properties, the value @code{*} (i.e. the symbol
7924 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7925 to override default setting, which are always present. For example:
7927 \property Lyrics . LyricText \override #'font-series = #'bold
7928 \property Lyrics . LyricText \override #'font-family = #'typewriter
7929 \property Lyrics . LyricText \override #'font-shape = #'*
7932 @cindex @code{font-style}
7934 The font size is set by modifying the @code{font-size} property. Its
7935 value is a number indicating the size relative to the standard size.
7936 Each step up is an increase of approximately 12% of the font size. Six
7937 steps is exactly a factor two. The Scheme function @code{magstep}
7938 converts a @code{font-size} number to a scaling factor.
7940 LilyPond has fonts in different design sizes: the music fonts for
7941 smaller sizes are chubbier, while the text fonts are relatively wider.
7942 Font size changes are achieved by scaling the design size that is
7943 closest to the desired size.
7945 The @code{font-size} mechanism does not work for fonts selected
7946 through @code{font-name}. These may be scaled with
7947 @code{font-magnification}.
7951 The following commands set @code{fontSize} for the current voice.
7953 @cindex @code{\tiny}
7955 @cindex @code{\small}
7957 @cindex @code{\normalsize}
7962 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
7967 There is no style sheet provided for other fonts besides the @TeX{}
7970 @cindex font selection
7971 @cindex font magnification
7972 @cindex @code{font-interface}
7976 @subsection Text markup
7981 @cindex typeset text
7983 LilyPond has an internal mechanism to typeset texts. You can access it
7984 with the keyword @code{\markup}. Within markup mode, you can enter texts
7985 similar to lyrics: simply enter them, surrounded by spaces:
7988 @lilypond[verbatim,fragment,relative=1]
7989 c1^\markup { hello }
7990 c1_\markup { hi there }
7991 c1^\markup { hi \bold there, is \italic anyone home? }
7994 @cindex font switching
7996 The markup in the example demonstrates font switching commands. The
7997 command @code{\bold} and @code{\italic} only apply to the first
7998 following word; enclose a set of texts with braces to apply a command
8001 \markup @{ \bold @{ hi there @} @}
8005 For clarity, you can also do this for single arguments, e.g.
8007 \markup @{ is \italic @{ anyone @} home @}
8010 @cindex font size, texts
8012 The following size commands set absolute sizes:
8014 @cindex @code{\teeny}
8015 @cindex @code{\tiny}
8016 @cindex @code{\small}
8017 @cindex @code{\large}
8018 @cindex @code{\huge}
8028 You can also make letter larger or smaller relative to their neighbors,
8029 with the commands @code{\larger} and @code{\smaller}.
8033 @cindex font style, for texts
8034 @cindex @code{\bold}
8035 @cindex @code{\dynamic}
8036 @cindex @code{\number}
8037 @cindex @code{\italic}
8039 The following font change commands are defined:
8042 changes to the font used in dynamic signs. This font does not
8043 contain all characters of the alphabet, so when producing ``piu f'',
8044 the ``piu'' should be done in a different font.
8048 changes to the font used in time signatures. It only contains
8049 numbers and a few punctuation marks.
8051 changes @code{font-shape} to @code{italic}.
8053 changes @code{font-series} to @code{bold}.
8056 @cindex raising text
8057 @cindex lowering text
8059 @cindex translating text
8062 @cindex @code{\super}
8064 Raising and lowering texts can be done with @code{\super} and
8067 @lilypond[verbatim,fragment,relative=1]
8068 c1^\markup { E "=" mc \super "2" }
8071 @cindex @code{\raise}
8073 If you want to give an explicit amount for lowering or raising, use
8074 @code{\raise}. This command takes a Scheme valued first argument, and
8075 a markup object as second argument:
8077 @lilypond[verbatim,fragment,relative=1,quote]
8078 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8080 The argument to @code{\raise} is the vertical displacement amount,
8081 measured in (global) staff spaces. @code{\raise} and @code{\super}
8082 raise objects in relation to their surrounding markups. They cannot be
8083 used to move a single text up or down, when it is above or below a
8084 note, since the mechanism that positions it next to the note cancels
8085 any vertical shift. For vertical positioning, use the @code{padding}
8086 and/or @code{extra-offset} properties.
8088 Other commands taking single arguments include
8091 @item \bracket, \hbracket
8092 Bracket the argument markup with normal and horizontal brackets
8096 @cindex @code{\musicglyph}
8097 This is converted to a musical symbol, e.g. @code{\musicglyph
8098 #"accidentals-0"} will select the natural sign from the music font.
8099 See @ref{The Feta font} for a complete listing of the possible glyphs.
8101 This produces a single character, e.g. @code{\char #65} produces the
8104 @item \note @var{log} @var{dots} @var{dir}
8105 @cindex @code{\note}
8107 This produces a note with a stem pointing in @var{dir} direction, with
8108 duration log @var{log} and @var{dots} augmentation dots. The duration
8109 log is the negative 2-logarithm of the duration denominator. For
8110 example, a quarter note has log 2, an eighth note 3 and a breve has
8113 @item \hspace #@var{amount}
8114 @cindex @code{\hspace}
8115 This produces a invisible object taking horizontal space.
8117 \markup @{ A \hspace #2.0 B @}
8119 will put extra space between A and B, on top of the space that is
8120 normally inserted before elements on a line.
8122 @item \fontsize #@var{size}
8123 @cindex @code{\fontsize}
8124 This sets the relative font size, eg.
8126 A \fontsize #2 @{ B C @} D
8130 This will enlarge the B and the C by two steps.
8131 @item \translate #(cons @var{x} @var{y})
8133 This translates an object. Its first argument is a cons of numbers
8135 A \translate #(cons 2 -3) @{ B C @} D
8137 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8138 surroundings. This command cannot be used to move isolated scripts
8139 vertically, for the same reason that @code{\raise} cannot be used for
8142 @item \magnify #@var{mag}
8143 @cindex @code{\magnify}
8144 This sets the font magnification for the its argument. In the following
8145 example, the middle A will be 10% larger:
8147 A \magnify #1.1 @{ A @} A
8151 @item \override #(@var{key} . @var{value})
8152 @cindex @code{\override}
8153 This overrides a formatting property for its argument. The argument
8154 should be a key/value pair, e.g.
8156 m \override #'(font-family . math) m m
8160 In markup mode you can compose expressions, similar to mathematical
8161 expressions, XML documents and music expressions. The braces group
8162 notes into horizontal lines. Other types of lists also exist: you can
8163 stack expressions grouped with @code{<}, and @code{>} vertically with
8164 the command @code{\column}. Similarly, @code{\center} aligns texts by
8167 @lilypond[verbatim,fragment,relative=1]
8168 c1^\markup { \column < a bbbb c > }
8169 c1^\markup { \center < a bbbb c > }
8170 c1^\markup { \line < a b c > }
8173 Markups can be stored in variables, and these variables
8174 may be attached to notes, like
8176 allegro = \markup { \bold \large { Allegro } }
8177 \notes { a^\allegro b c d }
8180 The markup mechanism is extensible. Refer to
8181 @file{scm/new-markup.scm} for more information.
8186 Internals: @internalsref{Markup-functions},
8188 Init files: @file{scm/new-markup.scm}.
8195 Text layout is ultimately done by @TeX{}, which does kerning of
8196 letters. LilyPond does not account for kerning, so texts will be
8197 spaced slightly too wide.
8199 Syntax errors for markup mode are confusing.
8201 Markup texts cannot be used in the titling of the @code{\header}
8202 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8209 @section Global layout
8211 The global layout determined by three factors: the page layout, the
8212 line breaks and the spacing. These all influence each other. The
8213 choice of spacing determines how densely each system of music is set,
8214 which influences where line breaks breaks are chosen, and thus
8215 ultimately how many pages a piece of music takes. This section
8216 explains how to tune the algorithm for spacing.
8218 Globally spoken, this procedure happens in three steps: first,
8219 flexible distances (``springs'') are chosen, based on durations. All
8220 possible line breaking combination are tried, and the one with the
8221 best results---a layout that has uniform density and requires as
8222 little stretching or cramping as possible---is chosen. When the score
8223 is processed by @TeX{}, each page is filled with systems, and page breaks
8224 are chosen whenever the page gets full.
8229 * Vertical spacing::
8230 * Horizontal spacing::
8237 @node Vertical spacing
8238 @subsection Vertical spacing
8240 @cindex vertical spacing
8241 @cindex distance between staves
8242 @cindex staff distance
8243 @cindex between staves, distance
8244 @cindex staffs per page
8245 @cindex space between staves
8247 The height of each system is determined automatically by LilyPond, to
8248 keep systems from bumping into each other, some minimum distances are
8249 set. By changing these, you can put staves closer together, and thus
8250 put more systems onto one page.
8252 Normally staves are stacked vertically. To make
8253 staves maintain a distance, their vertical size is padded. This is
8254 done with the property @code{minimumVerticalExtent}. It takes a pair
8255 of numbers, so if you want to make it smaller from its, then you could
8258 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8260 This sets the vertical size of the current staff to 4 staff spaces on
8261 either side of the center staff line. The argument of
8262 @code{minimumVerticalExtent} is interpreted as an interval, where the
8263 center line is the 0, so the first number is generally negative. The
8264 staff can be made larger at the bottom by setting it to @code{(-6
8267 The piano staves are handled a little differently: to make cross-staff
8268 beaming work correctly, it is necessary that the distance between staves
8269 is fixed beforehand. This is also done with a
8270 @internalsref{VerticalAlignment} object, created in
8271 @internalsref{PianoStaff}. In this object the distance between the
8272 staves is fixed by setting @code{forced-distance}. If you want to
8273 override this, use a @code{\translator} block as follows:
8277 VerticalAlignment \override #'forced-distance = #9
8280 This would bring the staves together at a distance of 9 staff spaces,
8281 measured from the center line of each staff.
8285 Internals: Vertical alignment of staves is handled by the
8286 @internalsref{VerticalAlignment} object.
8290 @node Horizontal spacing
8291 @subsection Horizontal Spacing
8293 The spacing engine translates differences in durations into
8294 stretchable distances (``springs'') of differing lengths. Longer
8295 durations get more space, shorter durations get less. The shortest
8296 durations get a fixed amount of space (which is controlled by
8297 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8298 /The longer the duration, the more space it gets: doubling a
8299 duration adds a fixed amount (this amount is controlled by
8300 @code{spacing-increment}) of space to the note.
8302 For example, the following piece contains lots of half, quarter and
8303 8th notes, the eighth note is followed by 1 note head width (NHW).
8304 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8305 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8309 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8310 width of a note head, and @code{shortest-duration-space} is set to
8311 2.0, meaning that the shortest note gets 2 NHW (2 times
8312 @code{shortest-duration-space}) of space. For normal notes, this space
8313 is always counted from the left edge of the symbol, so the shortest
8314 notes are generally followed by one NHW of space.
8316 If one would follow the above procedure exactly, then adding a single
8317 32th note to a score that uses 8th and 16th notes, would widen up the
8318 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8319 thus adding 1 NHW to every note. To prevent this, the
8320 shortest duration for spacing is not the shortest note in the score,
8321 but the most commonly found shortest note. Notes that are even
8322 shorter this are followed by a space that is proportional to their
8323 duration relative to the common shortest note. So if we were to add
8324 only a few 16th notes to the example above, they would be followed by
8327 @lilypond[fragment, verbatim, relative=2]
8328 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8331 The most common shortest duration is determined as follows: in every
8332 measure, the shortest duration is determined. The most common short
8333 duration, is taken as the basis for the spacing, with the stipulation
8334 that this shortest duration should always be equal to or shorter than
8335 1/8th note. The shortest duration is printed when you run lilypond
8336 with @code{--verbose}. These durations may also be customized. If you
8337 set the @code{common-shortest-duration} in
8338 @internalsref{SpacingSpanner}, then this sets the base duration for
8339 spacing. The maximum duration for this base (normally 1/8th), is set
8340 through @code{base-shortest-duration}.
8342 @cindex @code{common-shortest-duration}
8343 @cindex @code{base-shortest-duration}
8344 @cindex @code{stem-spacing-correction}
8345 @cindex @code{spacing}
8347 In the introduction it was explained that stem directions influence
8348 spacing. This is controlled with @code{stem-spacing-correction}
8349 property in @internalsref{NoteSpacing}, which are generated for every
8350 @internalsref{Voice} context. The @code{StaffSpacing} object
8351 (generated at @internalsref{Staff} context) contains the same property
8352 for controlling the stem/barline spacing. The following example
8353 shows these corrections, once with default settings, and once with
8354 exaggerated corrections:
8360 \property Staff.NoteSpacing \override #'stem-spacing-correction
8362 \property Staff.StaffSpacing \override #'stem-spacing-correction
8367 \paper { raggedright = ##t } }
8370 @cindex SpacingSpanner, overriding properties
8372 Properties of the @internalsref{SpacingSpanner} must be overridden
8373 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8374 created before any @code{\property} statements are interpreted.
8376 \paper @{ \translator @{
8378 SpacingSpanner \override #'spacing-increment = #3.0
8385 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8386 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8387 @internalsref{SeparatingGroupSpanner}.
8391 Spacing is determined on a score wide basis. If you have a score that
8392 changes its character (measured in durations) halfway during the
8393 score, the part containing the longer durations will be spaced too
8396 There is no convenient mechanism to manually override spacing.
8401 @subsection Font size
8402 @cindex font size, setting
8403 @cindex staff size, setting
8404 @cindex @code{paper} file
8406 The Feta font provides musical symbols at seven different sizes.
8407 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8408 26 point. The point size of a font is the height of the corresponding
8409 staff (excluding line thicknesses).
8411 Definitions for these sizes are the files @file{paperSZ.ly}, where
8412 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8413 of these files, the variables @code{paperEleven},
8414 @code{paperThirteen}, @code{paperSixteen},
8415 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8416 are defined respectively. The default @code{\paper} block is also
8417 set. These files should be imported at toplevel, i.e.
8419 \include "paper26.ly"
8423 The default font size settings for each staff heights are generated
8424 from the 20pt style sheet. For more details, see the file
8425 @file{scm/font.scm}.
8429 @subsection Line breaking
8432 @cindex breaking lines
8434 Line breaks are normally computed automatically. They are chosen such
8435 that lines look neither cramped nor loose, and that consecutive lines
8436 have similar density.
8438 Occasionally you might want to override the automatic breaks; you can
8439 do this by specifying @code{\break}. This will force a line break at
8440 this point. Line breaks can only occur at places where there are bar
8441 lines. If you want to have a line break where there is no bar line,
8442 you can force an invisible bar line by entering @code{\bar
8443 ""}. Similarly, @code{\noBreak} forbids a line break at a
8447 @cindex regular line breaks
8448 @cindex four bar music.
8450 For linebreaks at regular intervals use @code{\break} separated by
8451 skips and repeated with @code{\repeat}:
8453 << \repeat unfold 7 @{ s1 * 4 \break @}
8454 @emph{the real music}
8459 This makes the following 28 measures (assuming 4/4 time) be broken every
8464 Internals: @internalsref{BreakEvent}.
8468 @subsection Page layout
8471 @cindex breaking pages
8473 @cindex @code{indent}
8474 @cindex @code{linewidth}
8476 The most basic settings influencing the spacing are @code{indent} and
8477 @code{linewidth}. They are set in the @code{\paper} block. They
8478 control the indentation of the first line of music, and the lengths of
8481 If @code{raggedright} is set to true in the @code{\paper}
8482 block, then the lines are justified at their natural length. This
8483 useful for short fragments, and for checking how tight the natural
8487 @cindex vertical spacing
8489 The page layout process happens outside the LilyPond formatting
8490 engine: variables controlling page layout are passed to the output,
8491 and are further interpreted by @code{lilypond} wrapper program. It
8492 responds to the following variables in the @code{\paper} block. The
8493 variable @code{textheight} sets the total height of the music on each
8494 page. The spacing between systems is controlled with
8495 @code{interscoreline}, its default is 16pt. The distance between the
8496 score lines will stretch in order to fill the full page
8497 @code{interscorelinefill} is set to a positive number. In that case
8498 @code{interscoreline} specifies the minimum spacing.
8500 @cindex @code{textheight}
8501 @cindex @code{interscoreline}
8502 @cindex @code{interscorelinefill}
8504 If the variable @code{lastpagefill} is defined,
8505 @c fixme: this should only be done if lastpagefill == #t
8506 systems are evenly distributed vertically on the last page. This
8507 might produce ugly results in case there are not enough systems on the
8508 last page. The @command{lilypond-book} command ignores
8509 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8512 @cindex @code{lastpagefill}
8514 Page breaks are normally computed by @TeX{}, so they are not under
8515 direct control of LilyPond. However, you can insert a commands into
8516 the @file{.tex} output to instruct @TeX{} where to break pages. This
8517 is done by setting the @code{between-systems-strings} on the
8518 @internalsref{NonMusicalPaperColumn} where the system is broken.
8519 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8520 The predefined command @code{\newpage} also does this.
8524 @cindex @code{papersize}
8526 To change the paper size, you must first set the @code{papersize} paper
8527 variable variable as in the example below. Set it to
8528 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8529 specification, you must set the font as described above. If you want
8530 the default font, then use the 20 point font.
8533 \paper@{ papersize = "a4" @}
8534 \include "paper16.ly"
8537 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8538 will set the paper variables @code{hsize} and @code{vsize} (used by
8539 @code{lilypond-book} and @code{lilypond}).
8544 @cindex @code{\newpage}
8550 In this manual @ref{Invoking lilypond}
8552 Examples: @inputfileref{input/regression,between-systems.ly}
8554 Internals: @internalsref{NonMusicalPaperColumn}.
8558 LilyPond has no concept of page layout, which makes it difficult to
8559 reliably choose page breaks in longer pieces.
8568 Entered music can also be converted to MIDI output. The performance
8569 is good enough for proof-hearing the music for errors.
8571 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8572 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8573 marks translate to a fixed fraction of the available MIDI volume
8574 range, crescendi and decrescendi make the volume vary linearly between
8575 their two extremities. The fractions can be adjusted by
8576 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8577 For each type of MIDI instrument, a volume range can be defined. This
8578 gives a basic equalizer control, which can enhance the quality of
8579 the MIDI output remarkably. The equalizer can be controlled by
8580 setting @code{instrumentEqualizer}.
8584 Many musically interesting effects, such as swing, articulation,
8585 slurring, etc., are not translated to MIDI.
8590 * MIDI instrument names::
8595 @subsection MIDI block
8599 The MIDI block is analogous to the paper block, but it is somewhat
8600 simpler. The @code{\midi} block can contain:
8604 @item a @code{\tempo} definition, and
8605 @item context definitions.
8608 Assignments in the @code{\midi} block are not allowed.
8610 A number followed by a period is interpreted as a real number, so
8611 for setting the tempo for dotted notes, an extra space should be
8612 inserted, for example:
8615 \midi @{ \tempo 4 . = 120 @}
8619 @cindex context definition
8621 Context definitions follow precisely the same syntax as within the
8622 \paper block. Translation modules for sound are called performers.
8623 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8626 @node MIDI instrument names
8627 @subsection MIDI instrument names
8629 @cindex instrument names
8630 @cindex @code{Staff.midiInstrument}
8632 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8633 property. The instrument name should be chosen from the list in
8634 @ref{MIDI instruments}.
8638 If the selected string does not exactly match, then the default is
8639 used, which is the Grand Piano.