3 @c This file is part of lilypond.tely
5 @c A menu is needed before every deeper *section nesting of @node's; run
6 @c M-x texinfo-all-menus-update
7 @c to automagically fill in these menus before saving changes
9 @c FIXME: singular vs. plural: Beams/Beam
13 @chapter Notation manual
15 This chapter describes all the different types of notation supported
16 by LilyPond. It is intended as a reference for users that are already
17 somewhat familiar with using LilyPond.
21 * Easier music entry::
35 * Contemporary notation::
43 @c FIXME: Note entry vs Music entry at top level menu is confusing.
49 The basic elements of any piece of music are the notes. This section
50 is about basic notation elements notes, rests and related constructs,
51 such as stems, tuplets and ties.
56 * Chromatic alterations::
71 A note is printed by specifying its pitch and then its duration:
72 @footnote{Notes constitute the most basic elements of LilyPond input,
73 but they do not form valid input on their own without a @code{\score}
74 block. However, for the sake of brevity and simplicity we will
75 generally omit @code{\score} blocks and @code{\paper} declarations in
78 @lilypond[fragment,verbatim]
87 @cindex Note specification
89 @cindex entering notes
91 The most common syntax for pitch entry is used in @code{\chords} and
92 @code{\notes} mode. In Note and Chord mode, pitches may be designated
93 by names. The notes are specified by the letters @code{a} through
94 @code{g}, while the octave is formed with notes ranging from @code{c}
95 to @code{b}. The pitch @code{c} is an octave below middle C and the
96 letters span the octave above that C:
98 @lilypond[fragment,verbatim]
100 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
103 @cindex note names, Dutch
105 A sharp is formed by adding @code{-is} to the end of a pitch name and
106 a flat is formed by adding @code{-es}. Double sharps and double flats
107 are obtained by adding @code{-isis} or @code{-eses}. These
108 names are the Dutch note names. In Dutch, @code{aes} is contracted to
109 @code{as}, but both forms are accepted. Similarly, both
110 @code{es} and @code{ees} are accepted.
112 Half-flats and half-sharps are formed by adding @code{-eh} and
113 @code{-ih}; the following is a series of Cs with increasing pitches:
115 @cindex quarter tones
116 @cindex semi-flats, semi-sharps
118 @lilypond[verbatim,relative=2]
130 There are predefined sets of note names for various other languages.
131 To use them, include the language specific init file. For
132 example: @code{\include "english.ly"}. The available language files
133 and the note names they define are:
138 Note Names sharp flat
139 nederlands.ly c d e f g a bes b -is -es
140 english.ly c d e f g a bf b -s/-sharp -f/-flat
142 deutsch.ly c d e f g a b h -is -es
143 norsk.ly c d e f g a b h -iss/-is -ess/-es
144 svenska.ly c d e f g a b h -iss -ess
145 italiano.ly do re mi fa sol la sib si -d -b
146 catalan.ly do re mi fa sol la sib si -d/-s -b
147 espanol.ly do re mi fa sol la sib si -s -b
156 The optional octave specification takes the form of a series of
157 single quote (`@code{'}') characters or a series of comma
158 (`@code{,}') characters. Each @code{'} raises the pitch by one
159 octave; each @code{,} lowers the pitch by an octave:
161 @lilypond[fragment,verbatim,center]
162 c' c'' es' g' as' gisis' ais'
168 Notes can be hidden and unhidden with the following commands:
170 @cindex @code{\hideNotes}
172 @cindex @code{\unHideNotes}
178 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
180 @node Chromatic alterations
181 @subsection Chromatic alterations
183 Normally accidentals are printed automatically, but you may also
184 print them manually. A reminder accidental
185 @cindex reminder accidental
187 can be forced by adding an exclamation mark @code{!}
188 after the pitch. A cautionary accidental
189 @cindex cautionary accidental
190 @cindex parenthesized accidental
191 (i.e. an accidental within parentheses) can be obtained by adding the
192 question mark `@code{?}' after the pitch:
194 @lilypond[fragment,verbatim]
195 cis' cis' cis'! cis'?
199 The automatic production of accidentals can be tuned in many
200 ways. For more information, refer to @ref{Accidentals}.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
217 Rests are entered like notes, with the note name @code{r}:
219 @lilypond[raggedright,verbatim]
223 Whole bar rests, centered in middle of the bar,
224 must be done with multi measure rests. They are discussed in
225 @ref{Multi measure rests}.
228 A rest's vertical position may be explicitly specified by entering a
229 note with the @code{\rest} keyword appended. This makes manual
230 formatting in polyphonic music easier. Rest collision testing will
231 leave these rests alone:
233 @lilypond[raggedright,verbatim]
239 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
246 @cindex Invisible rest
249 An invisible rest (also called a `skip') can be entered like a note
250 with note name `@code{s}' or with @code{\skip @var{duration}}:
252 @lilypond[raggedright,verbatim]
256 The @code{s} syntax is only available in note mode and chord mode. In
257 other situations, you should use the @code{\skip} command:
259 @lilypond[raggedright,verbatim]
262 { \time 4/8 \skip 2 \time 4/4 }
263 \notes\relative c'' { a2 a1 }
268 The skip command is merely an empty musical placeholder. It does not
269 produce any output, not even transparent output.
271 The @code{s} skip command does create @internalsref{Staff} and
272 @internalsref{Voice} when necessary, similar to note and rest
273 commands. For example, the following results in an empty staff.
275 @lilypond[raggedright,verbatim]
276 \score { \notes { s4 } }
279 The same fragment using @code{\skip} results in an empty page.
283 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
288 @subsection Durations
294 In Note, Chord, and Lyrics mode, durations are designated by numbers
295 and dots: durations are entered as their reciprocal values. For example,
296 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
297 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
298 longer than a whole you must use variables:
302 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
304 r1 r2 r4 r8 r16 r32 r64 r64
309 \notes \relative c'' {
311 a1 a2 a4 a8 a16 a32 a64 a64
313 r1 r2 r4 r8 r16 r32 r64 r64
318 \remove "Clef_engraver"
319 StaffSymbol \set #'transparent = ##t
320 TimeSignature \set #'transparent = ##t
321 \consists "Pitch_squash_engraver"
328 If the duration is omitted then it is set to the previously entered
329 duration. The default for the first note is a quarter note. The duration
330 can be followed by dots (`@code{.}') in order to obtain dotted note
334 @lilypond[fragment,verbatim,center]
335 a' b' c''8 b' a'4 a'4. b'4.. c'8.
340 You can alter the length of duration by a fraction @var{N/M}
341 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
342 will not affect the appearance of the notes or rests produced.
343 In the following example, the first three notes take up exactly two
345 @lilypond[fragment,relative=2,verbatim]
347 a4*2/3 gis4*2/3 a4*2/3
354 Dots are normally moved up to avoid staff lines, except in polyphonic
355 situations. The following commands may be used to force a particular
358 @cindex @code{\dotsUp}
360 @cindex @code{\dotsDown}
362 @cindex @code{\dotsBoth}
367 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
372 Whenever a note is found, a @internalsref{Stem} object is created
373 automatically. For whole notes and rests, they are also created but
378 @cindex @code{\stemUp}
380 @cindex @code{\stemDown}
382 @cindex @code{\stemBoth}
393 A tie connects two adjacent note heads of the same pitch. The tie in
394 effect extends the length of a note. Ties should not be confused with
395 slurs, which indicate articulation, or phrasing slurs, which indicate
396 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
398 @lilypond[fragment,verbatim,center]
399 e' ~ e' <c' e' g'> ~ <c' e' g'>
402 When a tie is applied to a chord, all note heads whose pitches match
403 are connected. When no note heads match, no ties will be created.
405 In its meaning a tie is just a way of extending a note duration, similar
406 to the augmentation dot; in the following example there are two ways of
407 notating exactly the same concept:
409 @lilypond[fragment,raggedright,quote]
410 \time 3/4 c'2. c'2 ~ c'4
412 If you need to tie a lot of notes over bars, it may be easier to use automatic
413 note splitting (see @ref{Automatic note splitting}).
418 @cindex @code{\tieUp}
420 @cindex @code{\tieDown}
422 @cindex @code{\tieBoth}
424 @cindex @code{\tieDotted}
426 @cindex @code{\tieSolid}
431 In this manual: @ref{Automatic note splitting}.
433 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
436 Examples: if you want less ties created for a chord, see
437 @inputfileref{input/test,tie-sparse.ly}.
439 For tying only a subset of the note heads of a pair of chords, see
440 @inputfileref{input/regression,tie-chord-partial.ly}.
445 Switching staves when a tie is active will not produce a slanted tie.
447 Formatting of ties is a difficult subject. The results are often not
457 @cindex @code{\times}
459 Tuplets are made out of a music expression by multiplying all durations
462 @cindex @code{\times}
464 \times @var{fraction} @var{musicexpr}
468 The duration of @var{musicexpr} will be multiplied by the fraction.
469 The fraction's denominator will be printed over the notes, optionally
470 with a bracket. The most common tuplet is the triplet in which 3
471 notes have the length of 2, so the notes are 2/3 of their written
474 @lilypond[fragment,verbatim,center]
475 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
478 The property @code{tupletSpannerDuration} specifies how long each
479 bracket should last. With this, you can make lots of tuplets while
480 typing @code{\times} only once, saving lots of typing. In the next
481 example, there are two triplets shown, while @code{\times} was only
484 @lilypond[fragment,relative,raggedright,verbatim]
485 \set tupletSpannerDuration = #(ly:make-moment 1 4)
486 \times 2/3 { c'8 c c c c c }
489 The format of the number is determined by the property
490 @code{tupletNumberFormatFunction}. The default prints only the
491 denominator, but if it is set to the Scheme function
492 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
496 @cindex @code{tupletNumberFormatFunction}
497 @cindex tuplet formatting
502 @cindex @code{\tupletUp}
504 @cindex @code{\tupletDown}
506 @cindex @code{\tupletBoth}
511 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
513 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
517 Nested tuplets are not formatted automatically. In this case, outer
518 tuplet brackets should be moved manually, which is demonstrated in
519 @inputfileref{input/regression,tuplet-nest.ly}.
523 @node Easier music entry
524 @section Easier music entry
527 When entering music it is easy to introduce errors. This section deals
528 with tricks and features of the input language that were added solely
529 to help entering music, and find and correct mistakes.
531 It is also possible to use external programs, for example GUI
532 interfaces, or MIDI transcription programs, to enter or edit
533 music. Refer to the website for more information. Finally, there are
534 tools make debugging easier, by linking the input file and the output
535 shown on screen. See @ref{Point and click} for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or less
568 (; this distance is determined without regarding alterations: a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim,center]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim,center]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim,center]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the pitch as a note name, you have to be in note mode, so there must
604 be a surrounding @code{\notes} keyword (which is not
607 The relative conversion will not affect @code{\transpose},
608 @code{\chords} or @code{\relative} sections in its argument. If you
609 want to use relative within transposed music, you must place an
610 additional @code{\relative} inside the @code{\transpose}.
613 @subsection Octave check
616 Octave checks make octave errors easier to correct: a note may be
617 followed by @code{=}@var{quotes} which indicates what its absolute
618 octave should be. In the following example,
620 \relative c'' @{ c='' b=' d,='' @}
624 @c take care with @code, adds confusing quotes.
625 the d will generate a warning, because a d'' is expected, but a d' is
626 found. In the output, the octave is corrected this and the following
631 There is also a syntax that is separate from the notes.
636 This checks that @var{pitch} (without octave) yields @var{pitch} (with
637 octave) in \relative mode. If not, a warning is printed, and the
638 octave is corrected, for example, the first check is passed
639 successfully. The second check fails with an error message. The
640 octave is adjusted so the following notes are in the correct octave
651 The octave of a note following an octave check is determined with
652 respect to the note preceding it. In the next fragment, the last note
653 is a @code{a'}, above central C. Hence, the @code{\octave} check may
654 be deleted without changing the meaning of the piece.
656 @lilypond[verbatim,fragment]
665 @subsection Bar check
669 @cindex @code{barCheckSynchronize}
672 Bar checks help detect errors in the durations. A bar check is
673 entered using the bar symbol, `@code{|}'. Whenever it is encountered
674 during interpretation, it should fall on a measure boundary. If it
675 does not, a warning is printed. Depending on the value of
676 @code{barCheckSynchronize}, the beginning of the measure will be
679 In the next example, the second bar check will signal an error:
681 \time 3/4 c2 e4 | g2 |
684 Bar checks can also be used in lyrics, for example
689 Twin -- kle | Twin -- kle
694 @cindex skipTypesetting
696 Failed bar checks are caused by entering incorrect
697 durations. Incorrect durations often completely garble up the score,
698 especially if it is polyphonic, so you should start correcting the
699 score by scanning for failed bar checks and incorrect durations. To
700 speed up this process, you can use @code{skipTypesetting}, described
703 @node Skipping corrected music
704 @subsection Skipping corrected music
706 The property @code{Score.skipTypesetting} can be used to switch on and
707 off typesetting completely during the interpretation phase. When
708 typesetting is switched off, the music is processed much more quickly.
709 This can be used to skip over the parts of a score that have already
710 been checked for errors:
712 @lilypond[fragment,raggedright,verbatim]
714 \set Score.skipTypesetting = ##t
716 \set Score.skipTypesetting = ##f
720 @node Automatic note splitting
721 @subsection Automatic note splitting
723 Long notes can be converted automatically to tied notes. This is done
724 by replacing the @internalsref{Note_heads_engraver} by the
725 @internalsref{Completion_heads_engraver}.
726 In the following examples, notes crossing the barline are split and tied.
729 @lilypond[noindent,verbatim,relative=1]
731 \remove "Note_heads_engraver"
732 \consists "Completion_heads_engraver"
734 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
738 This engraver splits all running notes at the bar line, and inserts
739 ties. One of its uses is to debug complex scores: if the measures are
740 not entirely filled, then the ties exactly show how much each measure
745 Not all durations (especially those containing tuplets) can be
746 represented exactly; the engraver will not insert tuplets.
750 Examples: @inputfileref{input/regression,completion-heads.ly}.
752 Internals: @internalsref{Completion_heads_engraver}.
756 @section Staff notation
758 This section describes music notation that occurs on staff level,
759 such as keys, clefs and time signatures.
761 @cindex Staff notation
775 @subsection Staff symbol
777 @cindex adjusting staff symbol
778 @cindex StaffSymbol, using \property
780 Notes, dynamic signs, etc. are grouped
781 with a set of horizontal lines, into a staff (plural `staves'). In our
782 system, these lines are drawn using a separate layout object called
786 @cindex staff lines, setting number of
787 @cindex staff lines, setting thickness of
788 @cindex thickness of staff lines, setting
789 @cindex number of staff lines, setting
793 Internals: @internalsref{StaffSymbol}.
795 Examples: @inputfileref{input/test,staff-lines.ly},
796 @inputfileref{input/test,staff-size.ly}.
800 If a staff is ended halfway a piece, the staff symbol may not end
801 exactly on the barline.
805 @subsection Key signature
806 @cindex Key signature
810 The key signature indicates the scale in which a piece is played. It
811 is denoted by a set of alterations (flats or sharps) at the start of
816 Setting or changing the key signature is done with the @code{\key}
819 @code{\key} @var{pitch} @var{type}
822 @cindex @code{\minor}
823 @cindex @code{\major}
824 @cindex @code{\minor}
825 @cindex @code{\ionian}
826 @cindex @code{\locrian}
827 @cindex @code{\aeolian}
828 @cindex @code{\mixolydian}
829 @cindex @code{\lydian}
830 @cindex @code{\phrygian}
831 @cindex @code{\dorian}
833 Here, @var{type} should be @code{\major} or @code{\minor} to get
834 @var{pitch}-major or @var{pitch}-minor, respectively.
835 The standard mode names @code{\ionian},
836 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
837 @code{\phrygian}, and @code{\dorian} are also defined.
839 This command sets the context property
840 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
841 can be specified by setting this property directly.
843 Accidentals and key signatures often confuse new users, because
844 unaltered notes get natural signs depending on the keysignature. The
845 tutorial explains why this is so in @ref{More about pitches}.
849 The ordering of a key cancellation is wrong when it is combined with
850 repeat bar lines. The cancellation is also printed after a line break.
854 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
856 @cindex @code{keySignature}
863 The clef indicates which lines of the staff correspond to which
868 The clef can be set or changed with the @code{\clef} command:
869 @lilypond[fragment,verbatim]
870 \key f\major c''2 \clef alto g'2
873 Supported clef-names include:
874 @c Moved standard clefs to the top /MB
878 @item treble, violin, G, G2
891 G clef on 1st line, so-called French violin clef
896 @cindex mezzosoprano clef
899 @cindex baritone clef
902 @cindex varbaritone clef
911 By adding @code{_8} or @code{^8} to the clef name, the clef is
912 transposed one octave down or up, respectively, and @code{_15} and
913 @code{^15} transposes by two octaves. The argument @var{clefname}
914 must be enclosed in quotes when it contains underscores or digits. For
918 @cindex choral tenor clef
919 @lilypond[verbatim,fragment,relative]
923 This command is equivalent to setting @code{clefGlyph},
924 @code{clefPosition} (which controls the Y position of the clef),
925 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
926 when any of these properties are changed.
930 Internals: the object for this symbol is @internalsref{Clef}.
934 @node Ottava brackets
935 @subsection Ottava brackets
937 ``Ottava'' brackets introduce an extra transposition of an octave for
938 the staff. They are created by invoking the function
939 @code{set-octavation}:
945 @lilypond[verbatim,fragment]
954 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
955 (for 15ma) as arguments. Internally the function sets the properties
956 @code{ottavation} (eg. to @code{"8va"}) and
957 @code{centralCPosition}. For overriding the text of the bracket, set
958 @code{ottavation} after invoking @code{set-octavation}, i.e.,
962 \set Staff.ottavation = #"8"
967 Internals: @internalsref{OttavaBracket}.
969 Examples: @inputfileref{input/regression,ottava.ly},
970 @inputfileref{input/regression,ottava-broken.ly}.
974 @code{set-octavation} will get confused when clef changes happen
975 during an octavation bracket.
978 @subsection Time signature
979 @cindex Time signature
983 Time signature indicates the metrum of a piece: a regular pattern of
984 strong and weak beats. It is denoted by a fraction at the start of the
989 The time signature is set or changed by the @code{\time}
991 @lilypond[fragment,verbatim]
992 \time 2/4 c'2 \time 3/4 c'2.
995 The symbol that is printed can be customized with the @code{style}
996 property. Setting it to @code{#'()} uses fraction style for 4/4 and
997 2/2 time. There are many more options for its layout. See
998 @inputfileref{input/test,time.ly} for more examples.
1001 This command sets the property @code{timeSignatureFraction},
1002 @code{beatLength} and @code{measureLength} in the @code{Timing}
1003 context, which is normally aliased to @internalsref{Score}. The
1004 property @code{measureLength} determines where bar lines should be
1005 inserted, and how automatic beams should be generated. Changing the
1006 value of @code{timeSignatureFraction} also causes the symbol to be
1009 More options are available through the Scheme function
1010 @code{set-time-signature}. In combination with the
1011 @internalsref{Measure_grouping_engraver}, it will create
1012 @internalsref{MeasureGrouping} signs. Such signs ease reading
1013 rhythmically complex modern music. In the following example, the 9/8
1014 measure is subdivided in 2, 2, 2 and 3. This is passed to
1015 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1018 \score { \notes \relative c'' {
1019 #(set-time-signature 9 8 '(2 2 2 3))
1020 g8[ g] d[ d] g[ g] a8[( bes g]) |
1021 #(set-time-signature 5 8 '(3 2))
1026 \translator { \StaffContext
1027 \consists "Measure_grouping_engraver"
1033 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1038 Automatic beaming does not use measure grouping specified with
1039 @code{set-time-signature}.
1041 @node Partial measures
1042 @subsection Partial measures
1045 @cindex partial measure
1046 @cindex measure, partial
1047 @cindex shorten measures
1048 @cindex @code{\partial}
1050 Partial measures, for example in upsteps, are entered using the
1051 @code{\partial} command:
1052 @lilypond[fragment,verbatim,relative=1]
1053 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1056 The syntax for this command is
1058 \partial @var{duration}
1060 This is internally translated into
1062 \set Timing.measurePosition = -@var{length of duration}
1065 The property @code{measurePosition} contains a rational number
1066 indicating how much of the measure has passed at this point.
1068 @node Unmetered music
1069 @subsection Unmetered music
1071 Bar lines and bar numbers are calculated automatically. For unmetered
1072 music (e.g. cadenzas), this is not desirable. By setting
1073 @code{Score.timing} to false, this automatic timing can be switched
1079 @cindex @code{\cadenzaOn}
1081 @cindex @code{\cadenzaOff}
1085 @subsection Bar lines
1089 @cindex measure lines
1093 Bar lines delimit measures, but are also used to indicate repeats.
1094 Normally, they are inserted automatically. Line breaks may only
1100 of barlines can be forced with the @code{\bar} command:
1102 @lilypond[relative=1,fragment,verbatim]
1106 The following bar types are available:
1107 @lilypond[fragment,relative,raggedright,verbatim]
1120 For allowing linebreaks, there is a special command,
1124 This will insert an invisible barline, and allow linebreaks at this
1127 In scores with many staves, a @code{\bar} command in one staff is
1128 automatically applied to all staves. The resulting bar lines are
1129 connected between different staves of a @internalsref{StaffGroup}:
1131 @lilypond[fragment,verbatim]
1132 << \context StaffGroup <<
1136 \new Staff { \clef bass c4 g e g } >>
1137 \new Staff { \clef bass c2 c2 } >>
1141 The command @code{\bar @var{bartype}} is a short cut for doing
1142 @code{\set Score.whichBar = @var{bartype}} Whenever
1143 @code{whichBar} is set to a string, a bar line of that type is
1144 created. At the start of a measure it is set to
1145 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1146 to override default measure bars.
1148 Property @code{whichBar} can also be set directly, using @code{\property}
1149 or @code{\bar}. These settings take precedence over the automatic
1150 @code{whichBar} settings.
1153 @cindex repeatCommands
1154 @cindex defaultBarType
1156 You are encouraged to use @code{\repeat} for repetitions. See
1163 In this manual: @ref{Repeats}.
1166 Internals: the bar line objects that are created at
1167 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1168 lines that span staves are @internalsref{SpanBar}s.
1170 @cindex bar lines at start of system
1171 @cindex start of system
1173 The barlines at the start of each system are
1174 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1175 @internalsref{SystemStartBracket}. Only one of these types is created
1176 in every context, and that type is determined by the property
1177 @code{systemStartDelimiter}.
1179 Examples: @inputfileref{input/test,bar-lines.ly},
1185 The easiest way to enter fragments with more than one voice on a staff
1186 is to split chords using the separator @code{\\}. You can use it for
1187 small, short-lived voices or for single chords:
1189 @lilypond[verbatim,fragment]
1190 \context Staff \relative c'' {
1191 c4 << { f d e } \\ { b c2 } >>
1192 c4 << g' \\ b, \\ f' \\ d >>
1196 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1197 voices are sometimes called "layers" other notation packages}
1199 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1200 each of these contexts, vertical direction of slurs, stems, etc. is set
1203 @cindex @code{\voiceOne}
1204 @cindex @code{\voiceFour}
1206 This can also be done by instantiating @internalsref{Voice} contexts
1207 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1208 a stem directions and horizontal shift for each part:
1211 @lilypond[raggedright,verbatim]
1213 \context Staff << \new Voice { \voiceOne cis2 b }
1214 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1215 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1219 The command @code{\oneVoice} will revert back to the normal setting.
1220 @cindex @code{\oneVoice}
1223 Normally, note heads with a different number of dots are not merged, but
1224 when the object property @code{merge-differently-dotted} is set in
1225 the @internalsref{NoteCollision} object, they are merged:
1226 @lilypond[verbatim,fragment,raggedright]
1227 \relative c'' \context Voice << {
1229 \override Staff.NoteCollision
1230 #'merge-differently-dotted = ##t
1232 } \\ { g8.[ f16] g8.[ f16] }
1236 Similarly, you can merge half note heads with eighth notes, by setting
1237 @code{merge-differently-headed}:
1238 @lilypond[fragment,relative=2,verbatim]
1241 \override Staff.NoteCollision
1242 #'merge-differently-headed = ##t
1243 c8 c4. } \\ { c2 c2 } >>
1246 LilyPond also vertically shifts rests that are opposite of a stem:
1249 @lilypond[raggedright,fragment,verbatim]
1250 \context Voice << c''4 \\ r4 >>
1258 @cindex @code{\oneVoice}
1260 @cindex @code{\voiceOne}
1262 @cindex @code{\voiceTwo}
1264 @cindex @code{\voiceThree}
1266 @cindex @code{\voiceFour}
1270 The following commands specify in what chords of the current voice
1271 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1272 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1275 @cindex @code{\shiftOn}
1277 @cindex @code{\shiftOnn}
1279 @cindex @code{\shiftOnnn}
1281 @cindex @code{\shiftOff}
1288 Internals: the objects responsible for resolving collisions are
1289 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1291 Examples: See also example files
1292 @inputfileref{input/regression,collision-dots.ly},
1293 @inputfileref{input/regression,collision-head-chords.ly},
1294 @inputfileref{input/regression,collision-heads.ly},
1295 @inputfileref{input/regression,collision-mesh.ly}, and
1296 @inputfileref{input/regression,collisions.ly}.
1301 Resolving collisions is a intricate subject, and only a few situations
1302 are handled. When LilyPond cannot cope, the @code{force-hshift}
1303 property of the @internalsref{NoteColumn} object and pitched rests can
1304 be used to override typesetting decisions.
1306 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1307 note, and a downstem half note, the 8th note gets the wrong offset.
1309 There is no support for clusters where the same note occurs with
1310 different accidentals in the same chord. In this case, it is
1311 recommended to use enharmonic transcription, or to use special cluster
1312 notation (see @ref{Clusters}).
1317 Beams are used to group short notes into chunks that are aligned with
1318 the metrum. They are inserted automatically in most cases:
1320 @lilypond[fragment,verbatim,relative=2]
1321 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1324 When these automatic decisions are not good enough, beaming can be
1325 entered explicitly. It is also possible to define beaming patterns
1326 that differ from the defaults.
1330 Internals: @internalsref{Beam}.
1333 @cindex Automatic beams
1336 * Setting automatic beam behavior::
1340 @subsection Manual beams
1341 @cindex beams, manual
1345 In some cases it may be necessary to override the automatic beaming
1346 algorithm. For example, the auto beamer will not put beams over rests
1347 or bar lines. Such beams are specified by manually: the begin and end
1348 point are marked with @code{[} and @code{]}:
1350 @lilypond[fragment,relative,verbatim]
1352 r4 r8[ g' a r8] r8 g[ | a] r8
1356 @cindex @code{stemLeftBeamCount}
1358 Normally, beaming patterns within a beam are determined automatically.
1359 When this mechanism fouls up, the properties
1360 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1361 be used to control the beam subdivision on a stem. If either property
1362 is set, its value will be used only once, and then it is erased.
1364 @lilypond[fragment,relative,verbatim]
1367 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1370 @cindex @code{stemRightBeamCount}
1373 The property @code{subdivideBeams} can be set in order to subdivide
1374 all 16th or shorter beams at beat positions, as defined by the
1375 @code{beatLength} property . This accomplishes the same effect as
1376 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1377 but it take less typing:
1380 @lilypond[relative=1,verbatim,noindent]
1382 \set subdivideBeams = ##t
1384 \set Score.beatLength = #(ly:make-moment 1 8)
1387 @cindex subdivideBeams
1389 Kneed beams are inserted automatically, when a large gap is detected
1390 between the note heads. This behavior can be tuned through the object
1391 property @code{auto-knee-gap}.
1393 Normally, line breaks are forbidden when beams cross bar lines. This
1394 behavior can be changed by setting @code{allowBeamBreak}.
1396 @cindex @code{allowBeamBreak}
1397 @cindex beams and line breaks
1399 @cindex beams, kneed
1401 @cindex auto-knee-gap
1407 @cindex Frenched staves
1409 Automatically kneed beams cannot be used together with hidden staves.
1414 @node Setting automatic beam behavior
1415 @subsection Setting automatic beam behavior
1417 @cindex @code{autoBeamSettings}
1418 @cindex @code{(end * * * *)}
1419 @cindex @code{(begin * * * *)}
1420 @cindex automatic beams, tuning
1421 @cindex tuning automatic beaming
1423 @c [TODO: use \applycontext]
1425 In normal time signatures, automatic beams can start on any note but can
1426 only end in a few positions within the measure: beams can end on a beat,
1427 or at durations specified by the properties in
1428 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1429 are defined in @file{scm/auto-beam.scm}.
1431 The value of @code{autoBeamSettings} is changed using
1432 @code{\override} and restored with @code{\revert}:
1434 \override autoBeamSettings #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1435 \property autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1437 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1438 whether the rule applies to begin or end-points. The quantity
1439 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1440 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1441 signature (wildcards `@code{* *}' may be entered to designate all time
1444 For example, if automatic beams should end on every quarter note, use
1447 \override autoBeamSettings
1448 #'(end * * * *) = #(ly:make-moment 1 4)
1450 Since the duration of a quarter note is 1/4 of a whole note, it is
1451 entered as @code{(ly:make-moment 1 4)}.
1453 The same syntax can be used to specify beam starting points. In this
1454 example, automatic beams can only end on a dotted quarter note:
1456 \override autoBeamSettings
1457 #'(end * * * *) = #(ly:make-moment 3 8)
1459 In 4/4 time signature, this means that automatic beams could end only on
1460 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1461 3/8, has passed within the measure).
1463 Rules can also be restricted to specific time signatures. A rule that
1464 should only be applied in @var{N}/@var{M} time signature is formed by
1465 replacing the second asterisks by @var{N} and @var{M}. For example, a
1466 rule for 6/8 time exclusively looks like
1468 \override autoBeamSettings
1469 #'(begin * * 6 8) = ...
1472 If a rule should be to applied only to certain types of beams, use the
1473 first pair of asterisks. Beams are classified according to the
1474 shortest note they contain. For a beam ending rule that only applies
1475 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1478 If a score ends while an automatic beam has not been ended and is still
1479 accepting notes, this last beam will not be typeset at all.
1481 @cindex automatic beam generation
1483 @cindex @code{autoBeaming}
1486 For melodies that have lyrics, you may want to switch off
1487 automatic beaming. This is done by setting @code{autoBeaming} to
1492 @cindex @code{\autoBeamOff}
1493 @code{\autoBeamOff},
1494 @cindex @code{\autoBeamOn}
1500 The rules for ending a beam depend on the shortest note in a beam.
1501 So, while it is possible to have different ending rules for eight
1502 beams and sixteenth beams, a beam that contains both eight and
1503 sixteenth notes will use the rules for the sixteenth beam.
1505 In the example below, the autobeamer makes eight beams and sixteenth
1506 end at 3 eights; the third beam can only be corrected by specifying
1509 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1510 \override autoBeamSettings
1511 #'(end * * * *) = #(ly:make-moment 3 8)
1512 % rather show case where it goes wrong
1513 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1514 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1516 It is not possible to specify beaming parameters that act differently in
1517 different parts of a measure. This means that it is not possible to use
1518 automatic beaming in irregular meters such as @code{5/8}.
1521 @section Accidentals
1524 This section describes how to change the way that accidentals are
1525 inserted automatically before the running notes.
1529 * Using the predefined accidental variables::
1530 * Customized accidental rules::
1533 @node Using the predefined accidental variables
1534 @subsection Using the predefined accidental variables
1536 The constructs for describing the accidental typesetting rules are
1537 quite hairy, so non-experts should stick to the variables
1538 defined in @file{ly/property-init.ly}.
1539 @cindex @file{property-init.ly}
1541 The variables set properties in the ``@code{Current}'' context (see
1542 @ref{Context properties}). This means that the variables should
1543 normally be added right after the creation of the context in which the
1544 accidental typesetting described by the variable is to take
1545 effect. For example, if you want to use piano-accidentals in a piano
1546 staff then issue @code{\pianoAccidentals} first thing after the
1547 creation of the piano staff:
1550 \notes \relative c'' <<
1551 \new Staff @{ cis4 d e2 @}
1552 \context GrandStaff <<
1554 \new Staff @{ cis4 d e2 @}
1555 \new Staff @{ es2 c @}
1557 \new Staff @{ es2 c @}
1561 @lilypond[raggedright]
1563 \notes \relative c'' <<
1564 \new Staff { cis4 d e2 }
1565 \context GrandStaff <<
1567 \new Staff { cis4 d e2 }
1568 \new Staff { es2 c }
1570 \new Staff { es2 c }
1575 minimumVerticalExtent = #'(-4.0 . 4.0)
1583 @item \defaultAccidentals
1584 @cindex @code{\defaultAccidentals}
1585 This is the default typesetting behaviour. It should correspond
1586 to 18th century common practice: Accidentals are
1587 remembered to the end of the measure in which they occur and
1588 only on their own octave.
1590 @item \voiceAccidentals
1591 @cindex @code{\voiceAccidentals}
1593 The normal behaviour is to
1594 remember the accidentals on Staff-level. This variable, however,
1595 typesets accidentals individually for each voice. Apart from that the
1596 rule is similar to @code{\defaultAccidentals}.
1598 This leads to some weird and often unwanted results
1599 because accidentals from one voice do not get cancelled in other
1601 @lilypond[raggedright,relative,fragment,verbatim,quote]
1609 Hence you should only use @code{\voiceAccidentals} if the voices
1610 are to be read solely by individual musicians. If the staff is to be
1611 used by one musician (e.g. a conductor) then you use
1612 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1615 @item \modernAccidentals
1616 @cindex @code{\modernAccidentals}
1617 This rule corresponds to the common practice in the 20th
1619 The rule is more complex than @code{\defaultAccidentals}.
1620 You get all the same accidentals, but temporary
1621 accidentals also get cancelled in other octaves. Furthermore,
1622 in the same octave, they also get cancelled in the following measure:
1623 @lilypond[raggedright,fragment,verbatim]
1625 cis' c'' cis'2 | c'' c'
1628 @item \modernCautionaries
1629 @cindex @code{\modernCautionaries}
1630 This rule is similar to @code{\modernAccidentals}, but the
1631 ``extra'' accidentals (the ones not typeset by
1632 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1633 They are printed in reduced size or with parentheses:
1634 @lilypond[raggedright,fragment,verbatim]
1636 cis' c'' cis'2 | c'' c'
1639 @cindex @code{\modernVoiceAccidentals}
1640 @item \modernVoiceAccidentals
1641 is used for multivoice accidentals to be read both by musicians
1642 playing one voice and musicians playing all voices. Accidentals are
1643 typeset for each voice, but they @emph{are} cancelled across voices in
1644 the same @internalsref{Staff}.
1646 @cindex @code{\modernVoiceCautionaries}
1647 @item \modernVoiceCautionaries
1648 is the same as @code{\modernVoiceAccidentals}, but with the extra
1649 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1650 as cautionaries. Even though all accidentals typeset by
1651 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1652 some of them are typeset as cautionaries.
1654 @item \pianoAccidentals
1655 @cindex @code{\pianoAccidentals}
1656 20th century practice for piano notation. Very similar to
1657 @code{\modernAccidentals} but accidentals also get cancelled
1658 across the staves in the same @internalsref{GrandStaff} or
1659 @internalsref{PianoStaff}.
1661 @item \pianoCautionaries
1662 @cindex @code{\pianoCautionaries}
1663 As @code{\pianoAccidentals} but with the extra accidentals
1664 typeset as cautionaries.
1667 @cindex @code{\noResetKey}
1668 Same as @code{\defaultAccidentals} but with accidentals lasting
1669 ``forever'' and not only until the next measure:
1670 @lilypond[raggedright,fragment,verbatim,relative]
1675 @item \forgetAccidentals
1676 @cindex @code{\forgetAccidentals}
1677 This is sort of the opposite of @code{\noResetKey}: Accidentals
1678 are not remembered at all---and hence all accidentals are
1679 typeset relative to the key signature, regardless of what was
1680 before in the music:
1681 @lilypond[raggedright,fragment,verbatim,relative]
1683 \key d\major c4 c cis cis d d dis dis
1687 @node Customized accidental rules
1688 @subsection Customized accidental rules
1690 For determining when to print an accidental, several different rules
1691 are tried. The rule that gives the highest number of accidentals is
1692 used. Each rule consists of
1695 In which context is the rule applied. For example, if
1696 @var{context} is @internalsref{Score} then all staves share
1697 accidentals, and if @var{context} is @internalsref{Staff} then all
1698 voices in the same staff share accidentals, but staves do not.
1701 Whether the accidental changes all octaves or only the current
1702 octave. Valid choices are
1706 This is the default algorithm. Accidentals are typeset if the note changes
1707 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1708 and then as many measures as specified in the value. I.e. 1 means to the end
1709 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1711 Accidentals are typeset if the note is different from
1712 the previous note on the same pitch in any octave. The value has same meaning as in
1718 Over how many barlines the accidental lasts.
1719 If @var{lazyness} is @code{-1} then the accidental is forget
1720 immediately, and if @var{lazyness} is @code{#t} then the accidental
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[raggedright,fragment,verbatim]
1772 \set 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 \override Stem #'length = #5.5
1832 \override Slur #'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 \override Slur #'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 \override BreathingSign #'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 \override TextSpanner #'direction = #-1
1987 \override TextSpanner #'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[raggedright,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[]{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[]{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,raggedright,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 the thumb (e.g. in cello music):
2145 @lilypond[verbatim,raggedright,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,raggedright,fragment,relative=1]
2153 < c-1 e-2 g-3 b-5 > 4
2157 In this case, setting @code{fingeringOrientations} will put fingerings next
2160 @lilypond[verbatim,raggedright,fragment,relative=1]
2161 \set fingeringOrientations = #'(left down)
2162 <c-1 es-2 g-4 bes-5 > 4
2163 \set fingeringOrientations = #'(up right down)
2164 <c-1 es-2 g-4 bes-5 > 4
2167 By using single note chords, fingering instructions can be put close
2168 to note heads in monophonic music.
2172 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2174 Examples: @inputfileref{input/regression,finger-chords.ly}.
2177 @subsection Text scripts
2178 @cindex Text scripts
2180 @cindex text items, non-empty
2181 @cindex non-empty texts
2183 It is possible to place arbitrary strings of text or markup text (see
2184 @ref{Text markup}) above or below notes by using a string:
2185 @code{c^"text"}. By default, these indications do not influence the
2186 note spacing, but by using the command @code{\fatText}, the widths
2187 will be taken into account:
2189 @lilypond[fragment,raggedright,verbatim] \relative c' {
2190 c4^"longtext" \fatText c4_"longlongtext" c4 }
2193 It is possible to use @TeX{} commands in the strings, but this should
2194 be avoided because the exact dimensions of the string can then no
2199 @refcommand{fatText}, @refcommand{emptyText}.
2204 In this manual: @ref{Text markup}.
2206 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2212 @subsection Grace notes
2215 @c should have blurb about accaciatura / appogiatura
2217 @cindex @code{\grace}
2221 Grace notes are ornaments that are written out. The most common ones
2222 are acciaccatura, which should be played as very short. It is denoted
2223 by a slurred small note with a slashed stem. The appoggiatura is a
2224 grace note that takes a fixed fraction of the main note, is and
2225 denoted as a slurred note in small print without a slash.
2226 They are entered with the commands @code{\acciaccatura} and
2227 @code{\appoggiatura}, as demonstrated in the following example:
2230 @cindex appoggiatura
2231 @cindex acciaccatura
2233 @lilypond[relative=2,verbatim,fragment]
2234 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2235 \acciaccatura { g16[ f] } e4
2238 Both are special forms of the @code{\grace} command. By prefixing this
2239 keyword to a music expression, a new one is formed, which will be
2240 printed in a smaller font and takes up no logical time in a measure.
2241 @lilypond[relative=2,verbatim,fragment]
2243 \grace { c16[ d16] } c2 c4
2247 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2248 @code{\grace} command does not start a slur.
2250 Internally, timing for grace notes is done using a second, `grace'
2251 time. Every point in time consists of two rational numbers: one
2252 denotes the logical time, one denotes the grace timing. The above
2253 example is shown here with timing tuples:
2255 @lilypond[raggedright]
2258 c4 \grace c16 c4 \grace {
2261 \new Lyrics \lyrics {
2264 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2265 \markup { (\fraction 1 4 , 0 ) } 4
2267 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2268 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2270 \markup { ( \fraction 2 4 , 0 ) }
2275 The placement of grace notes is synchronized between different staves.
2276 In the following example, there are two sixteenth graces notes for
2277 every eighth grace note:
2279 @lilypond[relative=2,verbatim,fragment]
2280 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2281 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2286 If you want to end a note with a grace, then the standard trick
2287 is to put the grace notes after a ``space note'', e.g.
2288 @lilypond[fragment,verbatim,relative=2]
2291 { s2 \grace { c16[ d] } } >>
2297 By adjusting the duration of the skip note (here it is a half-note),
2298 the space between the main-note and the grace is adjusted.
2301 A @code{\grace} section will introduce special typesetting settings,
2302 for example, to produce smaller type, and set directions. Hence, when
2303 introducing layout tweaks, they should be inside the grace section,
2305 @lilypond[fragment,verbatim,relative=1]
2308 \override Stem #'direction = #-1
2310 \revert Stem #'direction
2317 The overrides should also be reverted inside the grace section.
2319 If the layout of grace sections must be changed throughout the music,
2320 then this can be accomplished through the function
2321 @code{add-grace-property}. The following example
2322 undefines the Stem direction grace section, so stems do not always
2327 #(add-grace-property "Voice" Stem direction '())
2333 Another option is to change the variables @code{startGraceMusic},
2334 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2335 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2336 @code{stopAppoggiaturaMusic}. More information is in the file
2337 @file{ly/grace-init.ly}
2342 Internals: @internalsref{GraceMusic}.
2346 A score that starts with an @code{\grace} section needs an explicit
2347 @code{\context Voice} declaration, otherwise the main note and grace
2348 note end up on different staves.
2350 Grace note synchronization can also lead to surprises. Staff notation,
2351 such as key signatures, barlines, etc. are also synchronized. Take
2352 care when you mix staves with grace notes and staves without, for example,
2354 @lilypond[relative=2,verbatim,fragment]
2355 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2356 \new Staff { c4 \bar "|:" d4 } >>
2359 Grace sections should only be used within sequential music
2360 expressions. Nesting or juxtaposing grace sections is not supported,
2361 and might produce crashes or other errors.
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,raggedright,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 \override Staff.Hairpin #'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 \set crescendoText = \markup { \italic "cresc. poco" }
2468 \set 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 \set Score.repeatCommands = #'((volta "93") end-repeat)
2656 \set 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,raggedright]
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,raggedright]
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{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,raggedright]
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
2761 * Showing melody rhythms::
2762 * Entering percussion::
2763 * Percussion staves::
2767 @node Showing melody rhythms
2768 @subsection Showing melody rhythms
2770 Sometimes you might want to show only the rhythm of a melody. This
2771 can be done with the rhythmic staff. All pitches of notes on such a
2772 staff are squashed, and the staff itself has a single line:
2774 @lilypond[fragment,relative,verbatim]
2775 \context RhythmicStaff {
2777 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2783 Internals: @internalsref{RhythmicStaff}.
2785 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2788 @node Entering percussion
2789 @subsection Entering percussion
2796 Percussion notes may be entered in @code{\drums} mode, which is
2797 similar to @code{notes}. Each piece of percussion has a full name and
2798 an abbreviated name, and both be used in input files:
2800 @lilypond[raggedright]
2801 \drums { hihat4 hh4 }
2804 The complete list of drum names is in the init file
2805 @file{ly/drumpitch-init.ly}.
2806 @c TODO: properly document this.
2810 Internals: @internalsref{DrumNoteEvent}.
2812 @node Percussion staves
2813 @subsection Percussion staves
2817 A percussion part for more than one instrument typically uses a
2818 multiline staff where each position in the staff refers to one piece
2822 To typeset the music, the notes must be interpreted in a
2823 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2826 @lilypond[raggedright,verbatim,quote]
2827 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2828 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2831 << \new DrumVoice { \voiceOne \up }
2832 \new DrumVoice { \voiceTwo \down }
2836 There are also other layout possibilities. To use these, set the
2837 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2838 The following variables have been predefined:
2842 is the default. It typesets a typical drum kit on a five-line staff
2845 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2846 bd sn ss tomh tommh tomml toml tomfh tomfl }
2847 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2848 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2850 << \new DrumStaff\with {
2851 \remove Bar_engraver
2852 \remove Time_signature_engraver
2853 Stem \set #'transparent = ##t
2854 Stem \set #'Y-extent-callback = ##f
2855 minimumVerticalExtent = #'(-4.0 . 5.0)
2857 \context Lyrics \nam
2860 %% need to do this, because of indented @itemize
2862 \translator { \ScoreContext
2863 BarNumber \set #'transparent =##T
2867 The drum scheme supports six different toms. When there fewer toms, simply
2868 select the toms that produce the desired result, i.e. to get toms on
2869 the three middle lines you use @code{tommh}, @code{tomml} and
2872 @item timbales-style
2873 to typeset timbales on a two line staff:
2875 @lilypond[raggedright]
2876 nam = \lyrics { timh ssh timl ssl cb }
2877 mus = \drums { timh ssh timl ssl cb s16 }
2880 \context DrumStaff \with {
2881 \remove Bar_engraver
2882 \remove Time_signature_engraver
2883 Stem \set #'transparent = ##t
2884 Stem \set #'Y-extent-callback = ##f
2885 StaffSymbol \override #'line-count = #2
2886 StaffSymbol \override #'staff-space = #2
2887 minimumVerticalExtent = #'(-3.0 . 4.0)
2888 drumStyleTable = #timbales-style
2890 \context Lyrics \nam
2895 to typeset congas on a two line staff:
2897 @lilypond[raggedright]
2898 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2899 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2902 \context DrumStaff\with {
2903 \remove Bar_engraver
2904 \remove Time_signature_engraver
2905 drumStyleTable = #congas-style
2906 StaffSymbol \override #'line-count = #2
2908 %% this sucks; it will lengthen stems.
2909 StaffSymbol \override #'staff-space = #2
2910 Stem \set #'transparent = ##t
2911 Stem \set #'Y-extent-callback = ##f
2913 \context Lyrics \nam
2918 to typeset bongos on a two line staff:
2920 @lilypond[raggedright]
2921 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2922 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2925 \context DrumStaff\with {
2926 \remove Bar_engraver
2927 \remove Time_signature_engraver
2928 StaffSymbol \override #'line-count = #2
2929 drumStyleTable = #bongos-style
2931 %% this sucks; it will lengthen stems.
2932 StaffSymbol \override #'staff-space = #2
2933 Stem \set #'transparent = ##t
2934 Stem \set #'Y-extent-callback = ##f
2936 \context Lyrics \nam
2941 @item percussion-style
2942 to typeset all kinds of simple percussion on one line staves:
2943 @lilypond[raggedright]
2944 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2945 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2948 \context DrumStaff\with{
2949 \remove Bar_engraver
2950 drumStyleTable = #percussion-style
2951 StaffSymbol \override #'line-count = #1
2952 \remove Time_signature_engraver
2953 Stem \set #'transparent = ##t
2954 Stem \set #'Y-extent-callback = ##f
2956 \context Lyrics \nam
2962 If you do not like any of the predefined lists you can define your own
2963 list at the top of your file:
2965 @lilypond[raggedright,verbatim]
2967 (bassdrum default #f -1)
2968 (snare default #f 0)
2970 (pedalhihat xcircle "stopped" 2)
2971 (lowtom diamond #f 3)
2973 up = \drums { hh8 hh hh hh hhp4 hhp }
2974 down = \drums { bd4 sn bd toml8 toml }
2977 \set DrumStaff.drumStyleTable
2978 = #(alist->hash-table mydrums)
2979 \new DrumVoice { \voiceOne \up }
2980 \new DrumVoice { \voiceTwo \down }
2988 Init files: @file{ly/drumpitch-init.ly}.
2990 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2994 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2995 work for @internalsref{DrumVoices}.
2997 Because general MIDI does not contain rimshots the sidestick is used
2998 for this purpose instead.
3001 @section Piano music
3003 Piano staves are two normal staves coupled with a brace. The staves
3004 are largely independent, but sometimes voices can cross between the
3005 two staves. The same notation is also used for harps and other key
3006 instruments. The @internalsref{PianoStaff} is especially built to
3007 handle this cross-staffing behavior. In this section we discuss the
3008 @internalsref{PianoStaff} and some other pianistic peculiarities.
3012 * Automatic staff changes::
3013 * Manual staff switches::
3016 * Staff switch lines::
3021 There is no support for putting chords across staves. You can get
3022 this result by increasing the length of the stem in the lower stave so
3023 it reaches the stem in the upper stave, or vice versa. An example is
3024 included with the distribution as
3025 @inputfileref{input/test,stem-cross-staff.ly}.
3027 Dynamics are not centered, but kludges do exist. See
3028 @inputfileref{input/template,piano-dynamics.ly}.
3030 @cindex cross staff stem
3031 @cindex stem, cross staff
3034 @c fixme: should have hyperlinks as well.
3040 @node Automatic staff changes
3041 @subsection Automatic staff changes
3042 @cindex Automatic staff changes
3044 Voices can switch automatically between the top and the bottom
3045 staff. The syntax for this is
3047 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3049 The two staffs of the piano staff must be named @code{up} and
3052 The autochanger switches on basis of pitch (central C is the turning
3053 point), and it looks ahead skipping over rests to switch in
3054 advance. Here is a practical example:
3056 @lilypond[verbatim,raggedright,quote]
3057 \score { \notes \context PianoStaff <<
3058 \context Staff = "up" {
3059 \autochange \new Voice \relative c' {
3060 g4 a b c d r4 a g } }
3061 \context Staff = "down" {
3068 In this example, spacer rests are used to prevent the bottom staff from
3069 terminating too soon.
3074 In this manual: @ref{Manual staff switches}.
3076 Internals: @internalsref{AutoChangeMusic}.
3082 The staff switches often do not end up in optimal places. For high
3083 quality output, staff switches should be specified manually.
3087 @node Manual staff switches
3088 @subsection Manual staff switches
3090 @cindex manual staff switches
3091 @cindex staff switch, manual
3093 Voices can be switched between staves manually, using the following command:
3095 \change Staff = @var{staffname} @var{music}
3099 The string @var{staffname} is the name of the staff. It switches the
3100 current voice from its current staff to the Staff called
3101 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3110 Pianos have pedals that alter the way sound are produced. Generally, a
3111 piano has three pedals, sustain, una corda, and sostenuto.
3115 Piano pedal instruction can be expressed by attaching
3116 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3117 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3120 @lilypond[fragment,verbatim]
3121 c'4\sustainDown c'4\sustainUp
3124 What is printed can be modified by setting @code{pedal@var{X}Strings},
3125 where @var{X} is one of the pedal types: @code{Sustain},
3126 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3127 documentation of @internalsref{SustainPedal} for more information.
3129 Pedals can also be indicated by a sequence of brackets, by setting the
3130 @code{pedalSustainStyle} property to @code{bracket} objects:
3132 @lilypond[fragment,verbatim]
3133 \set Staff.pedalSustainStyle = #'bracket
3134 c''4\sustainDown d''4 e''4
3135 a'4\sustainUp\sustainDown
3136 f'4 g'4 a'4\sustainUp
3139 A third style of pedal notation is a mixture of text and brackets,
3140 obtained by setting the @code{pedalSustainStyle} style property to
3143 @lilypond[fragment,verbatim]
3144 \set Staff.pedalSustainStyle = #'mixed
3145 c''4\sustainDown d''4 e''4
3146 c'4\sustainUp\sustainDown
3147 f'4 g'4 a'4\sustainUp
3150 The default `*Ped' style for sustain and damper pedals corresponds to
3151 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3154 @lilypond[fragment,verbatim]
3155 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3158 For fine-tuning of the appearance of a pedal bracket, the properties
3159 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3160 @code{PianoPedalBracket} objects (see
3161 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3162 bracket may be extended to the end of the note head:
3164 @lilypond[fragment,verbatim]
3165 \override Staff.PianoPedalBracket
3166 #'shorten-pair = #'(0 . -1.0)
3167 c''4\sostenutoDown d''4 e''4 c'4
3168 f'4 g'4 a'4\sostenutoUp
3172 @subsection Arpeggio
3175 @cindex broken arpeggio
3176 @cindex @code{\arpeggio}
3178 You can specify an arpeggio sign on a chord by attaching an
3179 @code{\arpeggio} to a chord:
3182 @lilypond[fragment,relative,verbatim]
3186 When an arpeggio crosses staves, you attach an arpeggio to the chords
3187 in both staves, and set
3188 @internalsref{PianoStaff}.@code{connectArpeggios}:
3190 @lilypond[fragment,relative,verbatim]
3191 \context PianoStaff <<
3192 \set PianoStaff.connectArpeggios = ##t
3193 \new Staff { <c' e g c>\arpeggio }
3194 \new Staff { \clef bass <c,, e g>\arpeggio }
3198 The direction of the arpeggio is sometimes denoted by adding an
3199 arrowhead to the wiggly line. This can be typeset by setting
3200 @code{arpeggio-direction}:
3202 @lilypond[fragment,relative,verbatim]
3204 \override Arpeggio #'arpeggio-direction = #1
3206 \override Arpeggio #'arpeggio-direction = #-1
3211 A square bracket on the left indicates that the player should not
3212 arpeggiate the chord. To draw these brackets, set the
3213 @code{print-function} property of @code{Arpeggio} or
3214 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3215 @code{\arpeggio} statements within the chords as before:
3217 @lilypond[fragment,relative,verbatim]
3218 \override PianoStaff.Arpeggio
3219 #'print-function = \arpeggioBracket
3225 @cindex @code{\arpeggioBracket}
3226 @code{\arpeggioBracket},
3227 @cindex @code{\arpeggio}
3232 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3233 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3234 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3238 It is not possible to mix connected arpeggios and unconnected
3239 arpeggios in one @internalsref{PianoStaff} at the same time.
3241 @node Staff switch lines
3242 @subsection Staff switch lines
3245 @cindex follow voice
3246 @cindex staff switching
3249 @cindex @code{followVoice}
3251 Whenever a voice switches to another staff a line connecting the notes
3252 can be printed automatically. This is enabled if the property
3253 @code{PianoStaff.followVoice} is set to true:
3255 @lilypond[fragment,relative,verbatim]
3256 \context PianoStaff <<
3257 \set PianoStaff.followVoice = ##t
3258 \context Staff \context Voice {
3263 \context Staff=two { \clef bass \skip 1*2 }
3267 The associated object is @internalsref{VoiceFollower}.
3271 @cindex @code{\showStaffSwitch}
3272 @code{\showStaffSwitch},
3273 @cindex @code{\hideStaffSwitch}
3274 @code{\hideStaffSwitch}.
3278 @section Vocal music
3280 This section discusses how to enter and print lyrics.
3284 * The Lyrics context::
3289 @node Entering lyrics
3290 @subsection Entering lyrics
3294 @cindex @code{\lyrics}
3297 Lyrics are entered in a special input mode. This mode is is introduced
3298 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3299 punctuation and accents without any hassle. Syllables are entered like
3300 notes, but with pitches replaced by text. For example,
3302 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3305 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3306 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3307 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3308 any 8-bit character with ASCII code over 127, or a two-character
3309 combination of a backslash followed by one of @code{`}, @code{'},
3310 @code{"}, or @code{^}.
3312 Subsequent characters of a word can be any character that is not a digit
3313 and not white space. One important consequence of this is that a word
3314 can end with @code{@}}. The following example is usually a bug. The
3315 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3317 \lyrics @{ twinkle@}
3320 @cindex @code{\property}, in @code{\lyrics}
3321 Similarly, a period following a alphabetic sequence, is included in the
3322 resulting string. As a consequence, spaces must be inserted around
3323 @code{\property} commands:
3325 \override Lyrics .LyricText #'font-shape = #'italic
3329 @cindex spaces, in lyrics
3330 @cindex quotes, in lyrics
3332 Any @code{_} character which appears in an unquoted word is converted
3333 to a space. This provides a mechanism for introducing spaces into words
3334 without using quotes. Quoted words can also be used in Lyrics mode to
3335 specify words that cannot be written with the above rules:
3338 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3342 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3347 These will be attached to the end of the first syllable.
3349 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3350 as a separate word between syllables. The hyphen will have variable
3351 length depending on the space between the syllables and it will be
3352 centered between the syllables.
3357 When a lyric is sung over many notes (this is called a melisma), this is
3358 indicated with a horizontal line centered between a syllable and the
3359 next one. Such a line is called an extender line, and it is entered as
3364 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3365 @internalsref{ExtenderEvent}.
3367 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3371 The definition of lyrics mode is too complex.
3375 @node The Lyrics context
3376 @subsection The Lyrics context
3378 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3380 \context Lyrics \lyrics @dots{}
3383 @cindex automatic syllable durations
3384 @cindex @code{\lyricsto}
3385 @cindex lyrics and melodies
3387 This will place the lyrics according to the durations that were
3388 entered. The lyrics can also be aligned under a given melody
3389 automatically. In this case, it is no longer necessary to enter the
3390 correct duration for each syllable. This is achieved by combining the
3391 melody and the lyrics with the @code{\lyricsto} expression:
3393 \lyricsto @var{name} \new Lyrics @dots{}
3396 This aligns the lyrics to the
3398 notes of the @internalsref{Voice} context called @var{name}, which has
3399 to exist. Therefore, normally the @code{Voice} is specified first, and
3400 then the lyrics are specified with @code{\lyricsto}.
3402 For different or more complex orderings, the best way is to setup the
3403 hierarchy of staves and lyrics first, e.g.
3405 \context ChoirStaff \notes <<
3406 \context Lyrics = sopranoLyrics @{ s1 @}
3407 \context Voice = soprano @{ @emph{music} @}
3408 \context Lyrics = tenor @{ s1 @}
3409 \context Voice = tenorLyrics @{ @emph{music} @}
3412 and then combine the appropriate melodies and lyric lines:
3414 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3418 The final input would resemble
3421 << \context ChoirStaff \notes << @emph{setup the music} >>
3422 \lyricsto "soprano" @emph{etc}
3423 \lyricsto "alto" @emph{etc}
3429 The @code{\lyricsto} command detects melismata: it only puts one
3430 syllable under a tied or slurred group of notes. If you want to force
3431 an unslurred group of notes to be a melisma, then insert
3432 @code{\melisma} after the first note of the group, and
3433 @code{\melismaEnd} after the last one, e.g.
3435 @lilypond[relative=1,raggedright,fragment,verbatim]
3436 << \context Voice = "lala" { \time 3/4
3442 \lyricsto "lala" \new Lyrics \lyrics {
3447 In addition, notes are considered a melisma if they are manually
3448 beamed, and automatic beaming (see @ref{Setting automatic beam
3449 behavior}) is switched off. The criteria for deciding melismata
3450 can be tuned with the property @code{melismaBusyProperties}. See
3451 @internalsref{Melisma_engraver} for more information.
3453 When multiple stanzas are put on the same melody, it can happen that
3454 two stanzas have melismata in different locations. This can be
3455 remedied by switching off melismata for one
3456 @internalsref{Lyrics}. This is achieved by setting
3457 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3458 in @inputfileref{input/regression,lyric-combine-new.ly}.
3461 @cindex choral score
3463 A complete example of a SATB score setup is in the file
3464 @inputfileref{input/template,satb.ly}.
3469 @code{\melisma}, @code{\melismaEnd}
3470 @cindex @code{\melismaEnd}
3471 @cindex @code{\melisma}
3475 Internals: Music expressions: @internalsref{LyricCombineMusic},
3476 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_engraver}.
3478 Examples: @inputfileref{input/template,satb.ly},
3479 @inputfileref{input/regression,lyric-combine-new.ly}.
3483 Melismata are not detected automatically, and extender lines must be
3487 For proper processing of extender lines, the
3488 @internalsref{Lyrics} and @internalsref{Voice} should be
3489 linked. This can be achieved either by using @code{\lyricsto} or by
3490 setting corresponding names for both contexts. The latter is explained
3491 in @ref{More stanzas}.
3494 @subsection More stanzas
3496 @cindex phrasing, in lyrics
3499 The lyrics should be aligned with the note heads of the melody. To
3500 achieve this, each line of lyrics should be marked to correspond with
3501 the melodic line. This is done automatically when @code{\lyricsto},
3502 but it can also be done manually.
3504 To this end, give the @internalsref{Voice} context an identity:
3506 \context Voice = duet @{
3511 Then set the @internalsref{Lyrics} contexts to names starting with
3512 that identity followed by a dash. In the preceding example, the
3513 @internalsref{Voice} identity is @code{duet}, so the identities of the
3514 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3516 \context Lyrics = "duet-1" @{
3517 Hi, my name is bert. @}
3518 \context Lyrics = "duet-2" @{
3519 Ooooo, ch\'e -- ri, je t'aime. @}
3522 The complete example is shown here:
3523 @lilypond[raggedright,verbatim]
3525 << \notes \relative c'' \context Voice = duet { \time 3/4
3527 \lyrics << \lyricsto "duet" \new Lyrics {
3529 Hi, my name is bert. }
3530 \lyricsto "duet" \new Lyrics {
3532 Ooooo, ch\'e -- ri, je t'aime. }
3537 @cindex stanza number
3538 @cindex singer's names
3539 @cindex name of singer
3541 Stanza numbers can be added by setting @code{stanza}, e.g.
3544 \set stanza = "Bert"
3546 \set stanza = "Ernie"
3549 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3550 prevent @code{stanza} being interpreted as a single
3553 Names of the singers should be added using @code{Lyrics
3554 . vocalName} and @code{Lyrics . vocNam}, analogous to instrument
3555 annotations for staves.
3557 To make empty spaces in lyrics, use @code{\skip}.
3562 Internals: Layout objects @internalsref{LyricText}
3563 @internalsref{VocalName}. Music expressions:
3564 @internalsref{LyricEvent}.
3570 Input for lyrics introduces a syntactical ambiguity:
3577 is interpreted as assigning a string identifier @code{\foo} such that
3578 it contains @code{"bar"}. However, it could also be interpreted as
3579 making or a music identifier @code{\foo} containing the syllable
3580 `bar'. The force the latter interpretation, use
3590 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3591 for a given voice in a part of music. It also may denote the pitch
3592 range that a musical instrument is capable of playing. Most musical
3593 instruments have their ambitus standardized (or at least there is
3594 agreement upon the minimal ambitus of a particular type of
3595 instrument), such that a composer or arranger of a piece of music can
3596 easily meet the ambitus constraints of the targeted instrument.
3597 However, the ambitus of the human voice depends on individual
3598 physiological state, including education and training of the voice.
3599 Therefore, a singer potentially has to check for each piece of music
3600 if the ambitus of that piece meets his individual capabilities. This
3601 is why the ambitus of a piece may be of particular value to vocal
3604 The ambitus is typically notated on a per-voice basis at the very
3605 beginning of a piece, e.g. nearby the initial clef or time signature of
3606 each staff. The range is graphically specified by two noteheads, that
3607 represent the minimum and maximum pitch. Some publishers use a textual
3608 notation: they put the range in words in front of the corresponding
3609 staff. LilyPond only supports the graphical ambitus notation.
3611 To apply, add the @internalsref{Ambitus_engraver} to the
3612 @internalsref{Voice} context, i.e.
3618 \consists Ambitus_engraver
3623 This results in the following output:
3625 @lilypond[raggedright]
3626 upper = \notes \relative c {
3629 as'' c e2 bes f cis d4 e f2 g
3631 lower = \notes \relative c {
3634 e'4 b g a c es fis a cis b a g f e d2
3637 \context ChoirStaff {
3639 \new Staff { \upper }
3640 \new Staff { \lower }
3646 \consists Ambitus_engraver
3652 If you have multiple voices in a single staff, and you want a single
3653 ambitus per staff rather than per each voice, then add the
3654 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3655 rather than to the @internalsref{Voice} context.
3657 It is possible to tune individual ambituses for multiple voices on a
3658 single staff, for example by erasing or shifting them horizontally. An
3659 example is in @inputfileref{input/test,ambitus-mixed.ly}
3663 Internals: @internalsref{Ambitus}.
3665 Examples: @inputfileref{input/regression,ambitus.ly},
3666 @inputfileref{input/test,ambitus-mixed.ly}.
3670 There is no collision handling in the case of multiple per-voice
3676 Tablature notation is used for notating music for plucked string
3677 instruments. It notates pitches not by using note heads, but by
3678 indicating on which string and fret a note must be played. LilyPond
3679 offers limited support for tablature.
3682 * Tablatures basic::
3683 * Non-guitar tablatures::
3686 @node Tablatures basic
3687 @subsection Tablatures basic
3688 @cindex Tablatures basic
3690 The string number associated to a note is given as a backslash
3691 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3692 string. By default, string 1 is the highest one, and the tuning
3693 defaults to the standard guitar tuning (with 6 strings). The notes
3694 are printed as tablature, by using @internalsref{TabStaff} and
3695 @internalsref{TabVoice} contexts:
3697 @lilypond[fragment,verbatim]
3698 \notes \context TabStaff {
3706 When no string is specified, the first string that does not give a
3707 fret number less than @code{minimumFret} is selected. The default
3708 value for @code{minimumFret} is 0:
3712 e8 fis gis a b cis' dis' e'
3713 \set TabStaff.minimumFret = #8
3714 e8 fis gis a b cis' dis' e'
3719 e8 fis gis a b cis' dis' e'
3720 \set TabStaff.minimumFret = #8
3721 e8 fis gis a b cis' dis' e'
3724 \context StaffGroup <<
3725 \context Staff { \clef "G_8" \frag }
3726 \context TabStaff { \frag }
3733 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3734 @internalsref{StringNumberEvent}.
3738 Chords are not handled in a special way, and hence the automatic
3739 string selector may easily select the same string to two notes in a
3743 @node Non-guitar tablatures
3744 @subsection Non-guitar tablatures
3745 @cindex Non-guitar tablatures
3747 You can change the number of strings, by setting the number of lines
3748 in the @internalsref{TabStaff}.
3750 You can change the tuning of the strings. A string tuning is given as
3751 a Scheme list with one integer number for each string, the number
3752 being the pitch (measured in semitones relative to central C) of an
3753 open string. The numbers specified for @code{stringTuning} are the
3754 numbers of semitones to subtract or add, starting the specified pitch
3755 by default middle C, in string order. Thus, the notes are e, a, d, and
3758 @lilypond[fragment,verbatim]
3759 \context TabStaff <<
3760 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3763 a,4 c' a e' e c' a e'
3768 It is possible to change the Scheme function to format the tablature
3769 note text. The default is @code{fret-number-tablature-format}, which
3770 uses the fret number. For instruments that do not use this notation,
3771 you can create a special tablature formatting function. This function
3772 takes three argument: string number, string tuning and note pitch.
3776 No guitar special effects have been implemented.
3781 @section Chord names
3784 LilyPond has support for both printing chord names. Chords may be
3785 entered in musical chord notation, i.e. @code{< .. >}, but they can
3786 also be entered by name. Internally, the chords are represented as a
3787 set of pitches, so they can be transposed:
3790 @lilypond[verbatim,raggedright]
3791 twoWays = \notes \transpose c c' {
3801 << \context ChordNames \twoWays
3802 \context Voice \twoWays >> }
3805 This example also shows that the chord printing routines do not try to
3806 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3812 * Printing chord names::
3817 @subsection Chords mode
3820 Chord mode is a mode where you can input sets of pitches using common
3821 names. It is introduced by the keyword @code{\chords}.
3822 In chords mode, a chord is entered by the root, which is entered
3823 like a common pitch:
3824 @lilypond[fragment,verbatim,quote,relative=1]
3825 \chords { es4. d8 c2 }
3830 Other chords may be entered by suffixing a colon, and introducing a
3831 modifier, and optionally, a number:
3833 @lilypond[fragment,verbatim,quote]
3834 \chords { e1:m e1:7 e1:m7 }
3836 The first number following the root is taken to be the `type' of the
3837 chord, thirds are added to the root until it reaches the specified
3839 @lilypond[fragment,verbatim]
3840 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3843 @cindex root of chord
3844 @cindex additions, in chords
3845 @cindex removals, in chords
3847 More complex chords may also be constructed adding separate steps
3848 to a chord. Additions are added after the number following
3849 the colon, and are separated by dots:
3851 @lilypond[verbatim,fragment,quote]
3852 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3854 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3856 @lilypond[verbatim,fragment,quote]
3857 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3859 Removals are specified similarly, and are introduced by a caret. They
3860 must come after the additions:
3861 @lilypond[verbatim,fragment]
3862 \chords { c^3 c:7^5 c:9^3.5 }
3865 Modifiers can be used to change pitches. The following modifiers are
3869 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3871 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3874 is the augmented chord. This modifier raises the 5th step.
3876 is the major 7th chord. This modifier raises the 7th step if present.
3878 is the suspended 4th or 2nd. This modifier removes the 3rd
3879 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3882 Modifiers can be mixed with additions:
3883 @lilypond[verbatim,fragment]
3884 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3887 @cindex modifiers, in chords.
3894 Since an unaltered 11 does not sound good when combined with an
3895 unaltered 13, the 11 is removed in this case (unless it is added
3898 @lilypond[fragment,verbatim]
3899 \chords { c:13 c:13.11 c:m13 }
3904 An inversion (putting one pitch of the chord on the bottom), as well
3905 as bass notes, can be specified by appending
3906 @code{/}@var{pitch} to the chord:
3907 @lilypond[fragment,verbatim,center]
3908 \chords { c1 c/g c/f }
3912 A bass note can be added instead of transposed out of the chord,
3913 by using @code{/+}@var{pitch}.
3915 @lilypond[fragment,verbatim,center]
3916 \chords { c1 c/+g c/+f }
3919 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3920 of the commands continue to work, for example, @code{r} and
3921 @code{\skip} can be used to insert rests and spaces, and
3922 @code{\property} may be used to change various settings.
3928 Each step can only be present in a chord once. The following
3929 simply produces the augmented chord, since @code{5+} is interpreted
3932 @lilypond[verbatim,fragment]
3933 \chords { c:5.5-.5+ }
3937 @node Printing chord names
3938 @subsection Printing chord names
3940 @cindex printing chord names
3944 For displaying printed chord names, use the @internalsref{ChordNames} context.
3945 The chords may be entered either using the notation
3946 described above, or directly using @code{<} and @code{>}:
3948 @lilypond[verbatim,raggedright]
3950 \chords {a1 b c} <d' f' a'> <e' g' b'>
3954 \context ChordNames \scheme
3955 \context Staff \scheme
3960 You can make the chord changes stand out by setting
3961 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3962 display chord names when there is a change in the chords scheme and at
3963 the start of a new line:
3965 @lilypond[verbatim,linewidth=9\cm]
3967 c1:m c:m \break c:m c:m d
3971 \context ChordNames {
3972 \set chordChanges = ##t
3974 \context Staff \transpose c c' \scheme
3979 The default chord name layout is a system for Jazz music, proposed by
3980 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3981 following properties:
3984 @cindex chordNameExceptions
3985 @item chordNameExceptions
3986 This is a list that contains the chords that have special formatting.
3988 @inputfileref{input/regression,chord-name-exceptions.ly}.
3989 @cindex exceptions, chord names.
3992 @cindex majorSevenSymbol
3993 @item majorSevenSymbol
3994 This property contains the markup object used for the 7th step, when
3995 it is major. Predefined options are @code{whiteTriangleMarkup} and
3996 @code{blackTriangleMarkup}. See
3997 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3999 @cindex chordNameSeparator
4000 @item chordNameSeparator
4001 Different parts of a chord name are normally separated by a
4002 slash. By setting @code{chordNameSeparator}, you can specify other
4004 @lilypond[fragment,verbatim]
4005 \context ChordNames \chords {
4007 \set chordNameSeparator
4008 = \markup { \typewriter "|" }
4012 @cindex chordRootNamer
4013 @item chordRootNamer
4014 The root of a chord is usually printed as a letter with an optional
4015 alteration. The transformation from pitch to letter is done by this
4016 function. Special note names (for example, the German ``H'' for a
4017 B-chord) can be produced by storing a new function in this property.
4019 The pre-defined variables @code{\germanChords},
4020 @code{\semiGermanChords} set these variables.
4023 @cindex chordNoteNamer
4024 @item chordNoteNamer
4025 The default is to print single pitch, e.g. the bass note, using the
4026 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4027 to a specialized function to change this behavior. For example, the
4028 base can be printed in lower case.
4033 There are also two other chord name schemes implemented: an alternate
4034 Jazz chord notation, and a systematic scheme called Banter chords. The
4035 alternate jazz notation is also shown on the chart in @ref{Chord name
4036 chart}. Turning on these styles is described in the input file
4037 @inputfileref{input/test,chord-names-jazz.ly}.
4041 @cindex chords, jazz
4046 @cindex @code{\germanChords}
4047 @code{\germanChords},
4048 @cindex @code{\semiGermanChords}
4049 @code{\semiGermanChords}.
4056 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4057 @inputfileref{input/regression,chord-name-exceptions.ly},
4058 @inputfileref{input/test,chord-names-jazz.ly},
4059 @inputfileref{input/test,chord-names-german.ly}.
4061 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4066 Chord names are determined solely from the list of pitches. Chord
4067 inversions are not identified, and neither are added bass notes. This
4068 may result in strange chord names when chords are entered with the
4069 @code{< .. >} syntax.
4074 @node Orchestral music
4075 @section Orchestral music
4077 @cindex Writing parts
4079 Orchestral music involves some special notation, both in the full
4080 score and the individual parts. This section explains how to tackle
4081 some common problems in orchestral music.
4086 * Multiple staff contexts::
4089 * Instrument names::
4091 * Multi measure rests::
4092 * Automatic part combining::
4094 * Different editions from one source::
4095 * Sound output for transposing instruments::
4098 @node Multiple staff contexts
4099 @subsection Multiple staff contexts
4101 Polyphonic scores consist of many staves. These staves can be
4102 constructed in three different ways:
4104 @item The group is started with a brace at the left. This is done with the
4105 @internalsref{GrandStaff} context.
4106 @item The group is started with a bracket. This is done with the
4107 @internalsref{StaffGroup} context
4108 @item The group is started with a vertical line. This is the default
4112 @cindex Staff, multiple
4113 @cindex bracket, vertical
4114 @cindex brace, vertical
4121 @node Rehearsal marks
4122 @subsection Rehearsal marks
4123 @cindex Rehearsal marks
4125 @cindex @code{\mark}
4127 To print a rehearsal mark, use the @code{\mark} command:
4128 @lilypond[fragment,verbatim]
4139 (The letter I is skipped in accordance with engraving traditions.)
4141 The mark is incremented automatically if you use @code{\mark
4142 \default}, but you can also use an integer argument to set the mark
4143 manually. The value to use is stored in the property
4144 @code{rehearsalMark}.
4146 The style is defined by the property @code{markFormatter}. It is a
4147 function taking the current mark (an integer) and the current context
4148 as argument. It should return a markup object. In the following
4149 example, @code{markFormatter} is set to a canned procedure. After a
4150 few measures, it is set to function that produces a boxed number.
4152 @lilypond[verbatim,fragment,relative=1]
4153 \set Score.markFormatter = #format-mark-numbers
4156 \set Score.markFormatter
4157 = #(lambda (mark context)
4158 (make-bold-markup (make-box-markup (number->string mark))))
4163 The file @file{scm/translation-functions.scm} contains the definitions
4164 of @code{format-mark-numbers} (the default format) and
4165 @code{format-mark-letters}. They can be used as inspiration for other
4166 formatting functions.
4169 @cindex coda on bar line
4170 @cindex segno on bar line
4171 @cindex fermata on bar line
4172 @cindex bar lines, symbols on
4174 The @code{\mark} command can also be used to put signs like coda,
4175 segno and fermatas on a barline. Use @code{\markup} to
4176 to access the appropriate symbol:
4178 @lilypond[fragment,verbatim,relative=1]
4179 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4183 In this case, during line breaks, marks must also be printed at the
4184 end of the line, and not at the beginning. Use the following to force
4187 \override Score.RehearsalMark
4188 #'break-visibility = #begin-of-line-invisible
4194 @cindex barlines, putting symbols on
4198 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4200 Init files: @file{scm/translation-functions.scm} contains the
4201 definition of @code{format-mark-numbers} and
4202 @code{format-mark-letters}. They can be used as inspiration for other
4203 formatting functions.
4205 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4206 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4210 @subsection Bar numbers
4214 @cindex measure numbers
4215 @cindex currentBarNumber
4217 Bar numbers are printed by default at the start of the line. The
4218 number itself is stored in the
4219 @code{currentBarNumber} property,
4220 which is normally updated automatically for every measure.
4222 Bar numbers can be typeset at regular intervals instead of at the
4223 beginning of each line. This is illustrated in the following example,
4224 whose source is available as
4225 @inputfileref{input/test,bar-number-regular-interval.ly}:
4227 @lilypondfile[]{bar-number-regular-interval.ly}
4232 Internals: @internalsref{BarNumber}.
4234 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4235 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4239 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4240 there is one at the top. To solve this, the
4241 @code{padding} property of @internalsref{BarNumber} can be
4242 used to position the number correctly.
4244 @node Instrument names
4245 @subsection Instrument names
4247 In an orchestral score, instrument names are printed left side of the
4250 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4251 and @internalsref{Staff}.@code{instr}. This will print a string before
4252 the start of the staff. For the first start, @code{instrument} is
4253 used, for the next ones @code{instr} is used:
4256 @lilypond[verbatim,raggedright]
4257 \set Staff.instrument = "ploink " { c''4 }
4261 You can also use markup texts to construct more complicated instrument
4265 @lilypond[fragment,verbatim,raggedright]
4267 \set Staff.instrument = \markup {
4268 \column < "Clarinetti"
4270 \smaller \musicglyph #"accidentals--1"
4281 Internals: @internalsref{InstrumentName}.
4285 When you put a name on a grand staff or piano staff the width of the
4286 brace is not taken into account. You must add extra spaces to the end of
4287 the name to avoid a collision.
4290 @subsection Transpose
4292 @cindex transposition of pitches
4293 @cindex @code{\transpose}
4295 A music expression can be transposed with @code{\transpose}. The syntax
4298 \transpose @var{from} @var{to} @var{musicexpr}
4301 This means that @var{musicexpr} is transposed by the interval between
4302 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4303 is changed to @code{to}.
4306 For example, consider a piece written in the key of D major. If
4307 this piece is a little too low for its performer, it can be
4308 transposed up to E major with
4310 \tranpose d e @dots{}
4313 Consider a part written for violin (a C instrument). If
4314 this part is to be played on the A clarinet, the following
4315 transposition will produce the appropriate part
4318 \transpose a c @dots{}
4321 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4322 inside a @code{\notes} section. @code{\transpose} distinguishes
4323 between enharmonic pitches: both @code{\transpose c cis} or
4324 @code{\transpose c des} will transpose up half a tone. The first
4325 version will print sharps and the second version will print flats:
4327 @lilypond[raggedright,verbatim]
4328 mus =\notes { \key d \major cis d fis g }
4329 \score { \notes \context Staff {
4332 \transpose c g' \mus
4333 \transpose c f' \mus
4340 Internals: @internalsref{TransposedMusic}, and
4341 @internalsref{UntransposableMusic}.
4345 If you want to use both @code{\transpose} and @code{\relative}, then
4346 you must put @code{\transpose} outside of @code{\relative}, since
4347 @code{\relative} will have no effect music that appears inside a
4353 @node Multi measure rests
4354 @subsection Multi measure rests
4355 @cindex multi measure rests
4356 @cindex Rests, multi measure
4360 Multi measure rests are entered using `@code{R}'. It is specifically
4361 meant for full bar rests and for entering parts: the rest can expand
4362 to fill a score with rests, or it can be printed as a single
4363 multimeasure rest. This expansion is controlled by the property
4364 @code{Score.skipBars}. If this is set to true, empty measures will not
4365 be expanded, and the appropriate number is added automatically:
4367 @lilypond[fragment,verbatim]
4368 \time 4/4 r1 | R1 | R1*2
4369 \set Score.skipBars = ##t R1*17 R1*4
4372 The @code{1} in @code{R1} is similar to the duration notation used for
4373 notes. Hence, for time signatures other than 4/4, you must enter other
4374 durations. This can be done with augmentation dots or fractions:
4376 @lilypond[fragment,verbatim]
4377 \set Score.skipBars = ##t
4385 An @code{R} spanning a single measure is printed as either a whole rest
4386 or a breve, centered in the measure regardless of the time signature.
4388 @cindex text on multi-measure rest
4389 @cindex script on multi-measure rest
4390 @cindex fermata on multi-measure rest
4392 Texts can be added to multi-measure rests by using the
4393 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4394 replaced. If you need both texts and the number, you must add the
4395 number by hand. A variable (@code{\fermataMarkup}) is provided for
4399 @lilypond[verbatim,fragment]
4401 R2._\markup { "Ad lib" }
4405 If you want to have a text on the left end of a multi-measure rest,
4406 attach the text to a zero-length skip note, i.e.
4414 @cindex whole rests for a full measure
4418 Internals: @internalsref{MultiMeasureRestEvent},
4419 @internalsref{MultiMeasureTextEvent},
4420 @internalsref{MultiMeasureRestMusicGroup}, and
4421 @internalsref{MultiMeasureRest}.
4423 The layout object @internalsref{MultiMeasureRestNumber} is for the
4424 default number, and @internalsref{MultiMeasureRestText} for user
4429 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4430 over multi-measure rests.
4432 @cindex condensing rests
4434 There is no way to automatically condense multiple rests into a single
4435 multimeasure rest. Multi measure rests do not take part in rest
4438 Be careful when entering multimeasure rests followed by whole
4439 notes. The following will enter two notes lasting four measures each:
4443 When @code{skipBars} is set, then the result will look OK, but the
4444 bar numbering will be off.
4446 @node Automatic part combining
4447 @subsection Automatic part combining
4448 @cindex automatic part combining
4449 @cindex part combiner
4452 Automatic part combining is used to merge two parts of music onto a
4453 staff. It is aimed at typesetting orchestral scores. When the two
4454 parts are identical for a period of time, only one is shown. In
4455 places where the two parts differ, they are typeset as separate
4456 voices, and stem directions are set automatically. Also, solo and
4457 @emph{a due} parts are identified and can be marked.
4461 The syntax for part combining is
4464 \partcombine @var{musicexpr1} @var{musicexpr2}
4467 The music expressions will be interpreted as @internalsref{Voice}
4470 The following example demonstrates the basic functionality of the part
4471 combiner: putting parts on one staff, and setting stem directions and
4474 @lilypond[verbatim,raggedright,fragment,relative=1]
4475 \new Staff \partcombine
4484 The first @code{g} appears only once, although it was
4485 specified twice (once in each part). Stem, slur and tie directions are
4486 set automatically, depending whether there is a solo or unisono. The
4487 first part (with context called @code{one}) always gets up stems, and
4488 `solo', while the second (called @code{two}) always gets down stems and
4491 If you just want the merging parts, and not the textual markings, you
4492 may set the property @var{soloADue} to false:
4494 @lilypond[verbatim,raggedright,fragment]
4496 \set Staff.soloADue = ##f
4508 Internals: @internalsref{PartCombineMusic},
4509 @internalsref{SoloOneEvent}, and
4510 @internalsref{SoloTwoEvent}, and
4511 @internalsref{UnisonoEvent}.
4515 In @code{soloADue} mode, when the two voices play the same notes on and
4516 off, the part combiner may typeset @code{a2} more than once in a
4519 @code{\partcombine} can not be inside @code{\times}.
4524 @subsection Hiding staves
4526 @cindex Frenched scores
4527 @cindex Hiding staves
4529 In orchestral scores, staff lines that only have rests are usually
4530 removed. This saves some space. This style is called `French Score'.
4531 For @internalsref{Lyrics}, @internalsref{Lyrics},
4532 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4533 switched on by default. When these line of these contexts turn out
4534 empty after the line-breaking process, they are removed.
4536 For normal staves, a specialized @internalsref{Staff} context is
4537 available, which does the same: staves containing nothing (or only
4538 multi measure rests) are removed. The context definition is stored in
4539 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4540 in this example disappears in the second line:
4545 \notes \relative c' <<
4546 \new Staff { e4 f g a \break c1 }
4547 \new Staff { c4 d e f \break R1 }
4551 \translator { \RemoveEmptyStaffContext }
4556 The first page shows all staffs in full. If they should be removed
4557 from the first page too, set @code{remove-first} to false
4558 in @internalsref{RemoveEmptyVerticalGroup}.
4560 @node Different editions from one source
4561 @subsection Different editions from one source
4563 The @code{\tag} command marks music expressions with a name. These
4564 tagged expressions can be filtered out later. With this mechanism it
4565 is possible to make different versions of the same music source.
4567 In the following example, we see two versions of a piece of music, one
4568 for the full score, and one with cue notes for the instrumental part:
4584 The same can be applied to articulations, texts, etc.: they are
4587 -\tag #@var{your-tag}
4589 to an articulation, for example,
4594 This defines a note with a conditional fingering indication.
4596 By applying the @code{remove-tag} function, tagged expressions can be
4597 filtered. For example,
4601 \apply #(remove-tag 'score) @var{the music}
4602 \apply #(remove-tag 'part) @var{the music}
4607 @lilypondfile[]{tag-filter.ly}
4609 The argument of the @code{\tag} command should be a symbol, or a list
4610 of symbols, for example,
4612 \tag #'(original-part transposed-part) @dots{}
4617 Examples: @inputfileref{input/regression,tag-filter.ly}.
4620 @node Sound output for transposing instruments
4621 @subsection Sound output for transposing instruments
4623 When you want to make a MIDI file from a score containing transposed
4624 and untransposed instruments, you have to instruct LilyPond the pitch
4625 offset (in semitones) for the transposed instruments. This is done
4626 using the @code{transposing} property. It does not affect printed
4629 @cindex @code{transposing}
4632 \set Staff.instrument = #"Cl. in B-flat"
4633 \set Staff.transposing = #-2
4637 @node Ancient notation
4638 @section Ancient notation
4640 @cindex Vaticana, Editio
4641 @cindex Medicaea, Editio
4646 @c [TODO: write more comprehensive introduction on ancient notation]
4648 Support for ancient notation is still under heavy development.
4649 Regardless of all of the current limitations (see the bugs section
4650 below for details), it includes features for mensural
4651 notation and Gregorian Chant notation. There is also limited support
4652 for figured bass notation.
4654 Many graphical objects provide a @code{style} property, see
4655 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4656 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4657 signatures}. By manipulating such a grob property, the typographical
4658 appearance of the affected graphical objects can be accomodated for a
4659 specific notation flavour without need for introducing any new
4663 Other aspects of ancient notation can not that easily be expressed as
4664 in terms of just changing a style property of a graphical object.
4665 Therefore, some notational concepts are introduced specifically for
4666 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4667 @ref{Ligatures}, and @ref{Figured bass}.
4671 * Ancient note heads::
4672 * Ancient accidentals::
4676 * Ancient time signatures::
4681 * Vaticana style contexts::
4684 If this all is way too much of documentation for you, and you just
4685 want to dive into typesetting without worrying too much about the
4686 details on how to customize a context, then you may have a look at the
4687 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4688 set up predefined style-specific voice and staff contexts, and
4689 directly go ahead with the note entry.
4693 Ligatures need special spacing that has not yet been implemented. As
4694 a result, there is too much space between ligatures most of the time,
4695 and line breaking often is unsatisfactory. Also, lyrics do not
4696 correctly align with ligatures.
4698 Accidentals must not be printed within a ligature, but instead need to
4699 be collected and printed in front of it.
4701 Augmentum dots within ligatures are not handled correctly.
4704 @node Ancient note heads
4705 @subsection Ancient note heads
4711 For ancient notation, a note head style other than the @code{default}
4712 style may be chosen. This is accomplished by setting the @code{style}
4713 property of the NoteHead object to the desired value (@code{baroque},
4714 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4715 differs from the @code{default} style only in using a square shape for
4716 @code{\breve} note heads. The @code{neo_mensural} style differs from
4717 the @code{baroque} style in that it uses rhomboidal heads for whole
4718 notes and all smaller durations. Stems are centered on the note
4719 heads. This style is in particular useful when transcribing mensural
4720 music, e.g. for the incipit. The @code{mensural} style finally
4721 produces note heads that mimick the look of note heads in historic
4722 printings of the 16th century.
4724 The following example demonstrates the @code{neo_mensural} style:
4726 @lilypond[fragment,raggedright,verbatim]
4727 \override NoteHead #'style = #'neo_mensural
4728 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4731 When typesetting a piece in Gregorian Chant notation, a Gregorian
4732 ligature engraver will automatically select the proper note heads,
4733 such there is no need to explicitly set the note head style. Still,
4734 the note head style can be set e.g. to @code{vaticana_punctum} to
4735 produce punctum neumes. Similarly, a mensural ligature engraver is
4736 used to automatically assemble mensural ligatures. See
4737 @ref{Ligatures} for how ligature engravers work.
4742 @ref{Percussion staves} use note head styles of their own that are
4743 frequently used in contemporary music notation.
4745 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4746 overview over all available note head styles.
4749 @node Ancient accidentals
4750 @subsection Ancient accidentals
4756 Use the @code{style} property of grob @internalsref{Accidental} to
4757 select ancient accidentals. Supported styles are
4758 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4760 @lilypond[raggedright,staffsize=26]
4768 { " " \musicglyph #"accidentals-vaticana-1"
4769 " " \musicglyph #"accidentals-vaticana0" }
4773 { " " \musicglyph #"accidentals-medicaea-1" }
4777 { " " \musicglyph #"accidentals-hufnagel-1" }
4781 { " " \musicglyph #"accidentals-mensural-1"
4782 " " \musicglyph #"accidentals-mensural1" }
4791 \remove "Bar_number_engraver"
4795 \remove "Clef_engraver"
4796 \remove "Key_engraver"
4797 \remove "Time_signature_engraver"
4798 \remove "Staff_symbol_engraver"
4799 minimumVerticalExtent = ##f
4805 As shown, not all accidentals are supported by each style. When
4806 trying to access an unsupported accidental, LilyPond will switch to a
4807 different style, as demonstrated in
4808 @inputfileref{input/test,ancient-accidentals.ly}.
4810 Similarly to local accidentals, the style of the key signature can be
4811 controlled by the @code{style} property of the
4812 @internalsref{KeySignature} grob.
4816 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4817 @ref{Accidentals} give a general introduction into the use of
4818 accidentals. @ref{Key signature} gives a general introduction into
4819 the use of key signatures.
4821 Internals: @internalsref{KeySignature}.
4823 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4826 @subsection Ancient rests
4832 Use the @code{style} property of grob @internalsref{Rest} to select
4833 ancient accidentals. Supported styles are @code{classical},
4834 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4835 from the @code{default} style only in that the quarter rest looks like
4836 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4837 well for e.g. the incipit of a transcribed mensural piece of music.
4838 The @code{mensural} style finally mimicks the appearance of rests as
4839 in historic prints of the 16th century.
4841 The following example demonstrates the @code{neo_mensural} style:
4843 @lilypond[fragment,raggedright,verbatim]
4844 \override Rest #'style = #'neo_mensural
4845 r\longa r\breve r1 r2 r4 r8 r16
4848 There are no 32th and 64th rests specifically for the mensural or
4849 neo-mensural style. Instead, the rests from the default style will be
4850 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4853 There are no rests in Gregorian Chant notation; instead, it uses
4858 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4862 @subsection Ancient clefs
4868 LilyPond supports a variety of clefs, many of them ancient.
4870 The following table shows all ancient clefs that are supported via the
4871 @code{\clef} command. Some of the clefs use the same glyph, but
4872 differ only with respect to the line they are printed on. In such
4873 cases, a trailing number in the name is used to enumerate these clefs.
4874 Still, you can manually force a clef glyph to be typeset on an
4875 arbitrary line, as described in @ref{Clef}. The note printed to the
4876 right side of each clef in the example column denotes the @code{c'}
4877 with respect to that clef.
4879 @multitable @columnfractions .3 .3 .3 .1
4883 @b{Description} @tab
4884 @b{Supported Clefs} @tab
4888 @code{clefs-neo_mensural_c} @tab
4889 modern style mensural C clef @tab
4890 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4891 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4892 @lilypond[relative,notime]
4893 \override Staff.TimeSignature #'transparent = ##t
4894 \clef "neo_mensural_c2" c
4898 @code{clefs-petrucci_c1}
4899 @code{clefs-petrucci_c2}
4900 @code{clefs-petrucci_c3}
4901 @code{clefs-petrucci_c4}
4902 @code{clefs-petrucci_c5}
4905 petrucci style mensural C clefs, for use on different stafflines
4906 (the examples shows the 2nd staffline C clef).
4916 @lilypond[relative,notime]
4917 \override Staff.TimeSignature #'transparent = ##t
4918 \clef "petrucci_c2" c
4922 @code{clefs-petrucci_f} @tab
4923 petrucci style mensural F clef @tab
4924 @code{petrucci_f} @tab
4925 @lilypond[relative,notime]
4926 \override Staff.TimeSignature #'transparent = ##t
4927 \clef "petrucci_f" c
4931 @code{clefs-petrucci_g} @tab
4932 petrucci style mensural G clef @tab
4933 @code{petrucci_g} @tab
4934 @lilypond[relative,notime]
4935 \override Staff.TimeSignature #'transparent = ##t
4936 \clef "petrucci_g" c
4940 @code{clefs-mensural_c} @tab
4941 historic style mensural C clef @tab
4942 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4943 @code{mensural_c4} @tab
4944 @lilypond[relative,notime]
4945 \override Staff.TimeSignature #'transparent = ##t
4946 \clef "mensural_c2" c
4950 @code{clefs-mensural_f} @tab
4951 historic style mensural F clef @tab
4952 @code{mensural_f} @tab
4953 @lilypond[relative,notime]
4954 \override Staff.TimeSignature #'transparent = ##t
4955 \clef "mensural_f" c
4959 @code{clefs-mensural_g} @tab
4960 historic style mensural G clef @tab
4961 @code{mensural_g} @tab
4962 @lilypond[relative,notime]
4963 \override Staff.TimeSignature #'transparent = ##t
4964 \clef "mensural_g" c
4968 @code{clefs-vaticana_do} @tab
4969 Editio Vaticana style do clef @tab
4970 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4971 @lilypond[relative,notime]
4972 \override Staff.StaffSymbol #'line-count = #4
4973 \override Staff.TimeSignature #'transparent = ##t
4974 \clef "vaticana_do2" c
4978 @code{clefs-vaticana_fa} @tab
4979 Editio Vaticana style fa clef @tab
4980 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4981 @lilypond[relative,notime]
4982 \override Staff.StaffSymbol #'line-count = #4
4983 \override Staff.TimeSignature #'transparent = ##t
4984 \clef "vaticana_fa2" c
4988 @code{clefs-medicaea_do} @tab
4989 Editio Medicaea style do clef @tab
4990 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4991 @lilypond[relative,notime]
4992 \override Staff.StaffSymbol #'line-count = #4
4993 \override Staff.TimeSignature #'transparent = ##t
4994 \clef "medicaea_do2" c
4998 @code{clefs-medicaea_fa} @tab
4999 Editio Medicaea style fa clef @tab
5000 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5001 @lilypond[relative,notime]
5002 \override Staff.StaffSymbol #'line-count = #4
5003 \override Staff.TimeSignature #'transparent = ##t
5004 \clef "medicaea_fa2" c
5008 @code{clefs-hufnagel_do} @tab
5009 historic style hufnagel do clef @tab
5010 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5011 @lilypond[relative,notime]
5012 \override Staff.StaffSymbol #'line-count = #4
5013 \override Staff.TimeSignature #'transparent = ##t
5014 \clef "hufnagel_do2" c
5018 @code{clefs-hufnagel_fa} @tab
5019 historic style hufnagel fa clef @tab
5020 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5021 @lilypond[relative,notime]
5022 \override Staff.StaffSymbol #'line-count = #4
5023 \override Staff.TimeSignature #'transparent = ##t
5024 \clef "hufnagel_fa2" c
5028 @code{clefs-hufnagel_do_fa} @tab
5029 historic style hufnagel combined do/fa clef @tab
5030 @code{hufnagel_do_fa} @tab
5031 @lilypond[relative,notime]
5032 \override Staff.TimeSignature #'transparent = ##t
5033 \clef "hufnagel_do_fa" c
5038 @c --- This should go somewhere else: ---
5039 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5042 @c @code{percussion}
5044 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5046 @c @item modern style tab clef (glyph: @code{clefs-tab})
5051 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5053 @emph{Modern style} means ``as is typeset in contemporary editions of
5054 transcribed mensural music''.
5056 @emph{Petrucci style} means ``inspired by printings published by the
5057 famous engraver Petrucci (1466-1539)''.
5059 @emph{Historic style} means ``as was typeset or written in historic
5060 editions (other than those of Petrucci)''.
5062 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5064 Petrucci used C clefs with differently balanced left-side vertical
5065 beams, depending on which staffline it is printed.
5069 In this manual: for the percussion clef, see @ref{Percussion staves}.
5070 For the @code{TAB} clef, see @ref{Tablatures}.
5072 Internals: for modern clefs, see @ref{Clef}.
5076 The mensural g clef is temporarily mapped to the Petrucci g clef,
5077 until a new mensural g clef will have been implemented.
5082 @subsection Ancient flags
5088 Use the @code{flag-style} property of grob @internalsref{Stem} to
5089 select ancient flags. Besides the @code{default} flag style,
5090 only @code{mensural} style is supported:
5092 @lilypond[fragment,raggedright,verbatim]
5093 \override Stem #'flag-style = #'mensural
5094 \override Stem #'thickness = #1.0
5095 \override NoteHead #'style = #'mensural
5097 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
5098 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5101 Note that the innermost flare of each mensural flag always is
5102 vertically aligned with a staff line. If you do not like this
5103 behaviour, you can set the @code{adjust-if-on-staffline} property of
5104 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5105 of the end of each flare is different between notes on staff lines and
5106 notes between staff lines:
5108 @lilypond[fragment,raggedright]
5109 \override Stem #'flag-style = #'mensural
5110 \override Stem #'thickness = #1.0
5111 \override Stem #'adjust-if-on-staffline = ##f
5112 \override NoteHead #'style = #'mensural
5114 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
5115 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5118 There is no particular flag style for neo-mensural notation. Hence,
5119 when typesetting e.g. the incipit of a transcibed piece of mensural
5120 music, the default flag style should be used. There are no flags in
5121 Gregorian Chant notation.
5124 @node Ancient time signatures
5125 @subsection Ancient time signatures
5127 @cindex time signatures
5131 There is limited support for mensural time signatures. The
5132 glyphs are hard-wired to particular time fractions. In other words,
5133 to get a particular mensural signature glyph with the @code{\time n/m}
5134 command, @code{n} and @code{m} have to be chosen according to the
5140 \set Score.timing = ##f
5141 \set Score.barAlways = ##t
5142 s_\markup { "$\\backslash$time 4/4" }
5143 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5145 s_\markup { "$\\backslash$time 2/2" }
5146 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5148 s_\markup { "$\\backslash$time 6/4" }
5149 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5151 s_\markup { "$\\backslash$time 6/8" }
5152 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5154 s_\markup { "$\\backslash$time 3/2" }
5155 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5157 s_\markup { "$\\backslash$time 3/4" }
5158 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5160 s_\markup { "$\\backslash$time 9/4" }
5161 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5163 s_\markup { "$\\backslash$time 9/8" }
5164 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5166 s_\markup { "$\\backslash$time 4/8" }
5167 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5169 s_\markup { "$\\backslash$time 2/4" }
5170 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5178 \remove Staff_symbol_engraver
5179 \remove Clef_engraver
5180 \remove Time_signature_engraver
5186 Use the @code{style} property of grob @internalsref{TimeSignature} to
5187 select ancient time signatures. Supported styles are
5188 @code{neo_mensural} and @code{mensural}. The above table uses the
5189 @code{neo_mensural} style. This style is appropriate e.g. for the
5190 incipit of transcriptions of mensural pieces. The @code{mensural}
5191 style mimicks the look of historical printings of the 16th century.
5193 @inputfileref{input/test,time.ly} gives an overview over all available
5194 ancient and modern styles.
5198 Internals: @ref{Time signature} gives a general introduction into the use of time
5203 Mensural signature glyphs are mapped to time fractions in a
5204 hard-wired way. This mapping is sensible, but still arbitrary: given
5205 a mensural time signature, the time fraction represents a modern meter
5206 that usually will be a good choice when transcribing a mensural piece
5207 of music. For a particular piece of mensural music, however, the
5208 mapping may be unsatisfactory. In particular, the mapping assumes a
5209 fixed transcription of durations (e.g. brevis = half note in 2/2,
5210 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5211 are not at all accessible through the @code{\time} command.
5213 Mensural time signatures are supported typographically, but not yet
5214 musically. The internal representation of durations is
5215 based on a purely binary system; a ternary division such as 1 brevis =
5216 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5217 prolatione maiori) is not correctly handled: event times in ternary
5218 modes will be badly computed, resulting e.g. in horizontally
5219 misaligned note heads, and bar checks are likely to erroneously fail.
5221 The syntax and semantics of the @code{\time} command for mensural
5222 music is subject to change.
5225 @subsection Custodes
5230 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5231 symbol that appears at the end of a staff. It anticipates the pitch
5232 of the first note(s) of the following line and thus helps the player
5233 or singer to manage line breaks during performance, thus enhancing
5234 readability of a score.
5236 Custodes were frequently used in music notation until the 17th
5237 century. Nowadays, they have survived only in a few particular forms
5238 of musical notation such as contemporary editions of Gregorian chant
5239 like the @emph{editio vaticana}. There are different custos glyphs
5240 used in different flavours of notational style.
5244 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5245 @internalsref{Staff} context when declaring the @code{\paper} block,
5246 as shown in the following example:
5252 \consists Custos_engraver
5253 Custos \override #'style = #'mensural
5258 The result looks like this:
5264 \override Staff.Custos #'style = #'mensural
5271 \consists Custos_engraver
5278 The custos glyph is selected by the @code{style} property. The styles
5279 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5280 @code{mensural}. They are demonstrated in the following fragment:
5290 { " " \musicglyph #"custodes-vaticana-u0" }
5294 { " " \musicglyph #"custodes-medicaea-u0" }
5298 { " " \musicglyph #"custodes-hufnagel-u0" }
5302 { " " \musicglyph #"custodes-mensural-u0" }
5311 \remove "Bar_number_engraver"
5315 \remove "Clef_engraver"
5316 \remove "Key_engraver"
5317 \remove "Time_signature_engraver"
5318 \remove "Staff_symbol_engraver"
5319 minimumVerticalExtent = ##f
5325 If the boolean property @code{adjust-if-on-staffline} is set to
5326 @code{#t} (which it is by default), lily typesets slightly different
5327 variants of the custos glyph, depending on whether the custos, is
5328 typeset on or between stafflines. The glyph will
5329 optically fit well into the staff, with the appendage on the right of
5330 the custos always ending at the same vertical position between two
5331 stafflines regardless of the pitch. If you set
5332 @code{adjust-if-on-staffline} to @code{#f}, then
5333 a compromise between both forms is used.
5335 Just like stems can be attached to noteheads in two directions
5336 @emph{up} and @emph{down}, each custos glyph is available with its
5337 appendage pointing either up or down. If the pitch of a custos is
5338 above a selectable position, the appendage will point downwards; if
5339 the pitch is below this position, the appendage will point upwards.
5340 Use property @code{neutral-position} to select this position. By
5341 default, it is set to @code{0}, such that the neutral position is the
5342 center of the staff. Use property @code{neutral-direction} to control
5343 what happens if a custos is typeset on the neutral position itself.
5344 By default, this property is set to @code{-1}, such that the appendage
5345 will point downwards. If set to @code{1}, the appendage will point
5346 upwards. Other values such as @code{0} are reserved for future
5347 extensions and should not be used.
5351 Internals: @internalsref{Custos}.
5353 Examples: @inputfileref{input/regression,custos.ly}.
5357 @subsection Divisiones
5363 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5364 `division') is a staff context symbol that is used to structure
5365 Gregorian music into phrases and sections. The musical meaning of
5366 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5367 can be characterized as short, medium and long pause, somewhat like
5368 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5369 a chant, but is also frequently used within a single
5370 antiphonal/responsorial chant to mark the end of each section.
5374 To use divisiones, include the file @code{gregorian-init.ly}. It
5375 contains definitions that you can apply by just inserting
5376 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5377 and @code{\finalis} at proper places in the input. Some editions use
5378 @emph{virgula} or @emph{caesura} instead of divisio minima.
5379 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5382 @lilypondfile[]{divisiones.ly}
5386 @cindex @code{\virgula}
5388 @cindex @code{\caesura}
5390 @cindex @code{\divisioMinima}
5391 @code{\divisioMinima},
5392 @cindex @code{\divisioMaior}
5393 @code{\divisioMaior},
5394 @cindex @code{\divisioMaxima}
5395 @code{\divisioMaxima},
5396 @cindex @code{\finalis}
5401 In this manual: @ref{Breath marks}.
5403 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5405 Examples: @inputfileref{input/test,divisiones.ly}.
5408 @subsection Ligatures
5412 @c TODO: Should double check if I recalled things correctly when I wrote
5413 @c down the following paragraph by heart.
5415 In musical terminology, a ligature is a coherent graphical symbol that
5416 represents at least two distinct notes. Ligatures originally appeared
5417 in the manuscripts of Gregorian chant notation roughly since the 9th
5418 century as an allusion to the accent symbols of greek lyric poetry to
5419 denote ascending or descending sequences of notes. Both, the shape
5420 and the exact meaning of ligatures changed tremendously during the
5421 following centuries: In early notation, ligatures were used for
5422 monophonic tunes (Gregorian chant) and very soon denoted also the way
5423 of performance in the sense of articulation. With upcoming
5424 multiphony, the need for a metric system arised, since multiple voices
5425 of a piece have to be synchronized some way. New notation systems
5426 were invented that used the manifold shapes of ligatures to now denote
5427 rhythmical patterns (e.g. black mensural notation, mannered notation,
5428 ars nova). With the invention of the metric system of the white
5429 mensural notation, the need for ligatures to denote such patterns
5430 disappeared. Nevertheless, ligatures were still in use in the
5431 mensural system for a couple of decades until they finally disappeared
5432 during the late 16th / early 17th century. Still, ligatures have
5433 survived in contemporary editions of Gregorian chant such as the
5434 Editio Vaticana from 1905/08.
5438 Syntactically, ligatures are simply enclosed by @code{\[} and
5439 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5440 additional input syntax specific for this particular type of ligature.
5441 By default, the @internalsref{LigatureBracket} engraver just puts a
5442 square bracket above the ligature:
5444 @lilypond[raggedright,verbatim]
5446 \notes \transpose c c' {
5454 To select a specific style of ligatures, a proper ligature engraver
5455 has to be added to the @internalsref{Voice} context, as explained in
5456 the following subsections. Only white mensural ligatures
5457 are supported with certain limitations. Support for Editio Vaticana
5458 will be added in the future.
5461 * White mensural ligatures::
5462 * Gregorian square neumes ligatures::
5465 @node White mensural ligatures
5466 @subsubsection White mensural ligatures
5468 @cindex Mensural ligatures
5469 @cindex White mensural ligatures
5471 There is limited support for white mensural ligatures. The
5472 implementation is still experimental; it may output strange
5473 warnings or even crash in some cases or produce weird results on more
5478 To engrave white mensural ligatures, in the paper block the
5479 @internalsref{Mensural_ligature_engraver} has to be put into the
5480 @internalsref{Voice} context, and remove the
5481 @internalsref{Ligature_bracket_engraver}:
5487 \remove Ligature_bracket_engraver
5488 \consists Mensural_ligature_engraver
5493 There is no additional input language to describe the shape of a
5494 white mensural ligature. The shape is rather determined solely from
5495 the pitch and duration of the enclosed notes. While this approach may
5496 take a new user a while to get accustomed, it has the great advantage
5497 that the full musical information of the ligature is known internally.
5498 This is not only required for correct MIDI output, but also allows for
5499 automatic transcription of the ligatures.
5504 \set Score.timing = ##f
5505 \set Score.defaultBarType = "empty"
5506 \override NoteHead #'style = #'neo_mensural
5507 \override Staff.TimeSignature #'style = #'neo_mensural
5509 \[ g\longa c\breve a\breve f\breve d'\longa \]
5511 \[ e1 f1 a\breve g\longa \]
5513 @lilypond[raggedright]
5515 \notes \transpose c c' {
5516 \set Score.timing = ##f
5517 \set Score.defaultBarType = "empty"
5518 \override NoteHead #'style = #'neo_mensural
5519 \override Staff.TimeSignature #'style = #'neo_mensural
5521 \[ g\longa c\breve a\breve f\breve d'\longa \]
5523 \[ e1 f1 a\breve g\longa \]
5528 \remove Ligature_bracket_engraver
5529 \consists Mensural_ligature_engraver
5535 Without replacing @internalsref{Ligature_bracket_engraver} with
5536 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5539 @lilypond[raggedright]
5541 \notes \transpose c c' {
5542 \set Score.timing = ##f
5543 \set Score.defaultBarType = "empty"
5544 \override NoteHead #'style = #'neo_mensural
5545 \override Staff.TimeSignature #'style = #'neo_mensural
5547 \[ g\longa c\breve a\breve f\breve d'\longa \]
5549 \[ e1 f1 a\breve g\longa \]
5555 @node Gregorian square neumes ligatures
5556 @subsubsection Gregorian square neumes ligatures
5558 @cindex Square neumes ligatures
5559 @cindex Gregorian square neumes ligatures
5561 Gregorian square neumes notation (following the style of the Editio
5562 Vaticana) is under heavy development, but not yet really usable for
5563 production purposes. Core ligatures can already be typeset, but
5564 essential issues for serious typesetting are still under development,
5565 such as (among others) horizontal alignment of multiple ligatures,
5566 lyrics alignment and proper accidentals handling. Still, this section
5567 gives a sneak preview of what Gregorian chant may look like once it
5570 The following table contains the extended neumes table of the 2nd
5571 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5572 1983 by the monks of Solesmes.
5574 @multitable @columnfractions .4 .2 .2 .2
5577 @b{Neuma aut@*Neumarum Elementa} @tab
5578 @b{Figurae@*Rectae} @tab
5579 @b{Figurae@*Liquescentes Auctae} @tab
5580 @b{Figurae@*Liquescentes Deminutae}
5582 @c TODO: \paper block is identical in all of the below examples.
5583 @c Therefore, it should somehow be included rather than duplicated all
5586 @c why not make identifiers in ly/engraver-init.ly? --hwn
5588 @c Because it's just used to typeset plain notes without
5589 @c a staff for demonstration purposes rather than something
5590 @c special of Gregorian chant notation. --jr
5595 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5596 \include "gregorian-init.ly"
5598 \notes \transpose c c' {
5601 \noBreak s^\markup {"a"} \noBreak
5603 % Punctum Inclinatum
5605 \noBreak s^\markup {"b"}
5611 \remove "Bar_number_engraver"
5615 \remove "Clef_engraver"
5616 \remove "Key_engraver"
5617 StaffSymbol \set #'transparent = ##t
5618 \remove "Time_signature_engraver"
5619 \remove "Bar_engraver"
5620 minimumVerticalExtent = ##f
5624 \remove Ligature_bracket_engraver
5625 \consists Vaticana_ligature_engraver
5626 NoteHead \set #'style = #'vaticana_punctum
5627 Stem \set #'transparent = ##t
5633 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5634 \include "gregorian-init.ly"
5636 \notes \transpose c c' {
5637 % Punctum Auctum Ascendens
5638 \[ \auctum \ascendens b \]
5639 \noBreak s^\markup {"c"} \noBreak
5641 % Punctum Auctum Descendens
5642 \[ \auctum \descendens b \]
5643 \noBreak s^\markup {"d"} \noBreak
5645 % Punctum Inclinatum Auctum
5646 \[ \inclinatum \auctum b \]
5647 \noBreak s^\markup {"e"}
5653 \remove "Bar_number_engraver"
5657 \remove "Clef_engraver"
5658 \remove "Key_engraver"
5659 StaffSymbol \set #'transparent = ##t
5660 \remove "Time_signature_engraver"
5661 \remove "Bar_engraver"
5662 minimumVerticalExtent = ##f
5666 \remove Ligature_bracket_engraver
5667 \consists Vaticana_ligature_engraver
5668 NoteHead \set #'style = #'vaticana_punctum
5669 Stem \set #'transparent = ##t
5675 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5676 \include "gregorian-init.ly"
5678 \notes \transpose c c' {
5679 % Punctum Inclinatum Parvum
5680 \[ \inclinatum \deminutum b \]
5681 \noBreak s^\markup {"f"}
5687 \remove "Bar_number_engraver"
5691 \remove "Clef_engraver"
5692 \remove "Key_engraver"
5693 StaffSymbol \set #'transparent = ##t
5694 \remove "Time_signature_engraver"
5695 \remove "Bar_engraver"
5696 minimumVerticalExtent = ##f
5700 \remove Ligature_bracket_engraver
5701 \consists Vaticana_ligature_engraver
5702 NoteHead \set #'style = #'vaticana_punctum
5703 Stem \set #'transparent = ##t
5712 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5713 \include "gregorian-init.ly"
5715 \notes \transpose c c' {
5718 \noBreak s^\markup {"g"}
5724 \remove "Bar_number_engraver"
5728 \remove "Clef_engraver"
5729 \remove "Key_engraver"
5730 StaffSymbol \set #'transparent = ##t
5731 \remove "Time_signature_engraver"
5732 \remove "Bar_engraver"
5733 minimumVerticalExtent = ##f
5737 \remove Ligature_bracket_engraver
5738 \consists Vaticana_ligature_engraver
5739 NoteHead \set #'style = #'vaticana_punctum
5740 Stem \set #'transparent = ##t
5749 @code{3. Apostropha vel Stropha}
5751 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5752 \include "gregorian-init.ly"
5754 \notes \transpose c c' {
5757 \noBreak s^\markup {"h"}
5763 \remove "Bar_number_engraver"
5767 \remove "Clef_engraver"
5768 \remove "Key_engraver"
5769 StaffSymbol \set #'transparent = ##t
5770 \remove "Time_signature_engraver"
5771 \remove "Bar_engraver"
5772 minimumVerticalExtent = ##f
5776 \remove Ligature_bracket_engraver
5777 \consists Vaticana_ligature_engraver
5778 NoteHead \set #'style = #'vaticana_punctum
5779 Stem \set #'transparent = ##t
5785 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5786 \include "gregorian-init.ly"
5788 \notes \transpose c c' {
5790 \[ \stropha \auctum b \]
5791 \noBreak s^\markup {"i"}
5797 \remove "Bar_number_engraver"
5801 \remove "Clef_engraver"
5802 \remove "Key_engraver"
5803 StaffSymbol \set #'transparent = ##t
5804 \remove "Time_signature_engraver"
5805 \remove "Bar_engraver"
5806 minimumVerticalExtent = ##f
5810 \remove Ligature_bracket_engraver
5811 \consists Vaticana_ligature_engraver
5812 NoteHead \set #'style = #'vaticana_punctum
5813 Stem \set #'transparent = ##t
5823 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5824 \include "gregorian-init.ly"
5826 \notes \transpose c c' {
5829 \noBreak s^\markup {"j"}
5835 \remove "Bar_number_engraver"
5839 \remove "Clef_engraver"
5840 \remove "Key_engraver"
5841 StaffSymbol \set #'transparent = ##t
5842 \remove "Time_signature_engraver"
5843 \remove "Bar_engraver"
5844 minimumVerticalExtent = ##f
5848 \remove Ligature_bracket_engraver
5849 \consists Vaticana_ligature_engraver
5850 NoteHead \set #'style = #'vaticana_punctum
5851 Stem \set #'transparent = ##t
5860 @code{5. Clivis vel Flexa}
5862 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5863 \include "gregorian-init.ly"
5865 \notes \transpose c c' {
5874 \remove "Bar_number_engraver"
5878 \remove "Clef_engraver"
5879 \remove "Key_engraver"
5880 StaffSymbol \set #'transparent = ##t
5881 \remove "Time_signature_engraver"
5882 \remove "Bar_engraver"
5883 minimumVerticalExtent = ##f
5887 \remove Ligature_bracket_engraver
5888 \consists Vaticana_ligature_engraver
5889 NoteHead \set #'style = #'vaticana_punctum
5890 Stem \set #'transparent = ##t
5896 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5897 \include "gregorian-init.ly"
5899 \notes \transpose c c' {
5900 % Clivis Aucta Descendens
5901 \[ b \flexa \auctum \descendens g \]
5902 \noBreak s^\markup {"l"} \noBreak
5904 % Clivis Aucta Ascendens
5905 \[ b \flexa \auctum \ascendens g \]
5906 \noBreak s^\markup {"m"}
5912 \remove "Bar_number_engraver"
5916 \remove "Clef_engraver"
5917 \remove "Key_engraver"
5918 StaffSymbol \set #'transparent = ##t
5919 \remove "Time_signature_engraver"
5920 \remove "Bar_engraver"
5921 minimumVerticalExtent = ##f
5925 \remove Ligature_bracket_engraver
5926 \consists Vaticana_ligature_engraver
5927 NoteHead \set #'style = #'vaticana_punctum
5928 Stem \set #'transparent = ##t
5934 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5935 \include "gregorian-init.ly"
5937 \notes \transpose c c' {
5939 \[ b \flexa \deminutum g \]
5946 \remove "Bar_number_engraver"
5950 \remove "Clef_engraver"
5951 \remove "Key_engraver"
5952 StaffSymbol \set #'transparent = ##t
5953 \remove "Time_signature_engraver"
5954 \remove "Bar_engraver"
5955 minimumVerticalExtent = ##f
5959 \remove Ligature_bracket_engraver
5960 \consists Vaticana_ligature_engraver
5961 NoteHead \set #'style = #'vaticana_punctum
5962 Stem \set #'transparent = ##t
5969 @code{6. Podatus vel Pes}
5971 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5972 \include "gregorian-init.ly"
5974 \notes \transpose c c' {
5983 \remove "Bar_number_engraver"
5987 \remove "Clef_engraver"
5988 \remove "Key_engraver"
5989 StaffSymbol \set #'transparent = ##t
5990 \remove "Time_signature_engraver"
5991 \remove "Bar_engraver"
5992 minimumVerticalExtent = ##f
5996 \remove Ligature_bracket_engraver
5997 \consists Vaticana_ligature_engraver
5998 NoteHead \set #'style = #'vaticana_punctum
5999 Stem \set #'transparent = ##t
6005 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6006 \include "gregorian-init.ly"
6008 \notes \transpose c c' {
6009 % Pes Auctus Descendens
6010 \[ g \pes \auctum \descendens b \]
6011 \noBreak s^\markup {"p"} \noBreak
6013 % Pes Auctus Ascendens
6014 \[ g \pes \auctum \ascendens b \]
6015 \noBreak s^\markup {"q"}
6021 \remove "Bar_number_engraver"
6025 \remove "Clef_engraver"
6026 \remove "Key_engraver"
6027 StaffSymbol \set #'transparent = ##t
6028 \remove "Time_signature_engraver"
6029 \remove "Bar_engraver"
6030 minimumVerticalExtent = ##f
6034 \remove Ligature_bracket_engraver
6035 \consists Vaticana_ligature_engraver
6036 NoteHead \set #'style = #'vaticana_punctum
6037 Stem \set #'transparent = ##t
6043 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6044 \include "gregorian-init.ly"
6046 \notes \transpose c c' {
6048 \[ g \pes \deminutum b \]
6055 \remove "Bar_number_engraver"
6059 \remove "Clef_engraver"
6060 \remove "Key_engraver"
6061 StaffSymbol \set #'transparent = ##t
6062 \remove "Time_signature_engraver"
6063 \remove "Bar_engraver"
6064 minimumVerticalExtent = ##f
6068 \remove Ligature_bracket_engraver
6069 \consists Vaticana_ligature_engraver
6070 NoteHead \set #'style = #'vaticana_punctum
6071 Stem \set #'transparent = ##t
6078 @code{7. Pes Quassus}
6080 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6081 \include "gregorian-init.ly"
6083 \notes \transpose c c' {
6085 \[ \oriscus g \pes \virga b \]
6092 \remove "Bar_number_engraver"
6096 \remove "Clef_engraver"
6097 \remove "Key_engraver"
6098 StaffSymbol \set #'transparent = ##t
6099 \remove "Time_signature_engraver"
6100 \remove "Bar_engraver"
6101 minimumVerticalExtent = ##f
6105 \remove Ligature_bracket_engraver
6106 \consists Vaticana_ligature_engraver
6107 NoteHead \set #'style = #'vaticana_punctum
6108 Stem \set #'transparent = ##t
6114 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6115 \include "gregorian-init.ly"
6117 \notes \transpose c c' {
6118 % Pes Quassus Auctus Descendens
6119 \[ \oriscus g \pes \auctum \descendens b \]
6126 \remove "Bar_number_engraver"
6130 \remove "Clef_engraver"
6131 \remove "Key_engraver"
6132 StaffSymbol \set #'transparent = ##t
6133 \remove "Time_signature_engraver"
6134 \remove "Bar_engraver"
6135 minimumVerticalExtent = ##f
6139 \remove Ligature_bracket_engraver
6140 \consists Vaticana_ligature_engraver
6141 NoteHead \set #'style = #'vaticana_punctum
6142 Stem \set #'transparent = ##t
6150 @code{8. Quilisma Pes}
6152 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6153 \include "gregorian-init.ly"
6155 \notes \transpose c c' {
6157 \[ \quilisma g \pes b \]
6164 \remove "Bar_number_engraver"
6168 \remove "Clef_engraver"
6169 \remove "Key_engraver"
6170 StaffSymbol \set #'transparent = ##t
6171 \remove "Time_signature_engraver"
6172 \remove "Bar_engraver"
6173 minimumVerticalExtent = ##f
6177 \remove Ligature_bracket_engraver
6178 \consists Vaticana_ligature_engraver
6179 NoteHead \set #'style = #'vaticana_punctum
6180 Stem \set #'transparent = ##t
6186 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6187 \include "gregorian-init.ly"
6189 \notes \transpose c c' {
6190 % Quilisma Pes Auctus Descendens
6191 \[ \quilisma g \pes \auctum \descendens b \]
6198 \remove "Bar_number_engraver"
6202 \remove "Clef_engraver"
6203 \remove "Key_engraver"
6204 StaffSymbol \set #'transparent = ##t
6205 \remove "Time_signature_engraver"
6206 \remove "Bar_engraver"
6207 minimumVerticalExtent = ##f
6211 \remove Ligature_bracket_engraver
6212 \consists Vaticana_ligature_engraver
6213 NoteHead \set #'style = #'vaticana_punctum
6214 Stem \set #'transparent = ##t
6222 @code{9. Podatus Initio Debilis}
6224 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6225 \include "gregorian-init.ly"
6227 \notes \transpose c c' {
6228 % Pes Initio Debilis
6229 \[ \deminutum g \pes b \]
6236 \remove "Bar_number_engraver"
6240 \remove "Clef_engraver"
6241 \remove "Key_engraver"
6242 StaffSymbol \set #'transparent = ##t
6243 \remove "Time_signature_engraver"
6244 \remove "Bar_engraver"
6245 minimumVerticalExtent = ##f
6249 \remove Ligature_bracket_engraver
6250 \consists Vaticana_ligature_engraver
6251 NoteHead \set #'style = #'vaticana_punctum
6252 Stem \set #'transparent = ##t
6258 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6259 \include "gregorian-init.ly"
6261 \notes \transpose c c' {
6262 % Pes Auctus Descendens Initio Debilis
6263 \[ \deminutum g \pes \auctum \descendens b \]
6270 \remove "Bar_number_engraver"
6274 \remove "Clef_engraver"
6275 \remove "Key_engraver"
6276 StaffSymbol \set #'transparent = ##t
6277 \remove "Time_signature_engraver"
6278 \remove "Bar_engraver"
6279 minimumVerticalExtent = ##f
6283 \remove Ligature_bracket_engraver
6284 \consists Vaticana_ligature_engraver
6285 NoteHead \set #'style = #'vaticana_punctum
6286 Stem \set #'transparent = ##t
6296 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6297 \include "gregorian-init.ly"
6299 \notes \transpose c c' {
6301 \[ a \pes b \flexa g \]
6308 \remove "Bar_number_engraver"
6312 \remove "Clef_engraver"
6313 \remove "Key_engraver"
6314 StaffSymbol \set #'transparent = ##t
6315 \remove "Time_signature_engraver"
6316 \remove "Bar_engraver"
6317 minimumVerticalExtent = ##f
6321 \remove Ligature_bracket_engraver
6322 \consists Vaticana_ligature_engraver
6323 NoteHead \set #'style = #'vaticana_punctum
6324 Stem \set #'transparent = ##t
6330 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6331 \include "gregorian-init.ly"
6333 \notes \transpose c c' {
6334 % Torculus Auctus Descendens
6335 \[ a \pes b \flexa \auctum \descendens g \]
6342 \remove "Bar_number_engraver"
6346 \remove "Clef_engraver"
6347 \remove "Key_engraver"
6348 StaffSymbol \set #'transparent = ##t
6349 \remove "Time_signature_engraver"
6350 \remove "Bar_engraver"
6351 minimumVerticalExtent = ##f
6355 \remove Ligature_bracket_engraver
6356 \consists Vaticana_ligature_engraver
6357 NoteHead \set #'style = #'vaticana_punctum
6358 Stem \set #'transparent = ##t
6364 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6365 \include "gregorian-init.ly"
6367 \notes \transpose c c' {
6368 % Torculus Deminutus
6369 \[ a \pes b \flexa \deminutum g \]
6376 \remove "Bar_number_engraver"
6380 \remove "Clef_engraver"
6381 \remove "Key_engraver"
6382 StaffSymbol \set #'transparent = ##t
6383 \remove "Time_signature_engraver"
6384 \remove "Bar_engraver"
6385 minimumVerticalExtent = ##f
6389 \remove Ligature_bracket_engraver
6390 \consists Vaticana_ligature_engraver
6391 NoteHead \set #'style = #'vaticana_punctum
6392 Stem \set #'transparent = ##t
6399 @code{11. Torculus Initio Debilis}
6401 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6402 \include "gregorian-init.ly"
6404 \notes \transpose c c' {
6405 % Torculus Initio Debilis
6406 \[ \deminutum a \pes b \flexa g \]
6413 \remove "Bar_number_engraver"
6417 \remove "Clef_engraver"
6418 \remove "Key_engraver"
6419 StaffSymbol \set #'transparent = ##t
6420 \remove "Time_signature_engraver"
6421 \remove "Bar_engraver"
6422 minimumVerticalExtent = ##f
6426 \remove Ligature_bracket_engraver
6427 \consists Vaticana_ligature_engraver
6428 NoteHead \set #'style = #'vaticana_punctum
6429 Stem \set #'transparent = ##t
6435 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6436 \include "gregorian-init.ly"
6438 \notes \transpose c c' {
6439 % Torculus Auctus Descendens Initio Debilis
6440 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6447 \remove "Bar_number_engraver"
6451 \remove "Clef_engraver"
6452 \remove "Key_engraver"
6453 StaffSymbol \set #'transparent = ##t
6454 \remove "Time_signature_engraver"
6455 \remove "Bar_engraver"
6456 minimumVerticalExtent = ##f
6460 \remove Ligature_bracket_engraver
6461 \consists Vaticana_ligature_engraver
6462 NoteHead \set #'style = #'vaticana_punctum
6463 Stem \set #'transparent = ##t
6469 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6470 \include "gregorian-init.ly"
6472 \notes \transpose c c' {
6473 % Torculus Deminutus Initio Debilis
6474 \[ \deminutum a \pes b \flexa \deminutum g \]
6481 \remove "Bar_number_engraver"
6485 \remove "Clef_engraver"
6486 \remove "Key_engraver"
6487 StaffSymbol \set #'transparent = ##t
6488 \remove "Time_signature_engraver"
6489 \remove "Bar_engraver"
6490 minimumVerticalExtent = ##f
6494 \remove Ligature_bracket_engraver
6495 \consists Vaticana_ligature_engraver
6496 NoteHead \set #'style = #'vaticana_punctum
6497 Stem \set #'transparent = ##t
6504 @code{12. Porrectus}
6506 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6507 \include "gregorian-init.ly"
6509 \notes \transpose c c' {
6511 \[ a \flexa g \pes b \]
6518 \remove "Bar_number_engraver"
6522 \remove "Clef_engraver"
6523 \remove "Key_engraver"
6524 StaffSymbol \set #'transparent = ##t
6525 \remove "Time_signature_engraver"
6526 \remove "Bar_engraver"
6527 minimumVerticalExtent = ##f
6531 \remove Ligature_bracket_engraver
6532 \consists Vaticana_ligature_engraver
6533 NoteHead \set #'style = #'vaticana_punctum
6534 Stem \set #'transparent = ##t
6540 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6541 \include "gregorian-init.ly"
6543 \notes \transpose c c' {
6544 % Porrectus Auctus Descendens
6545 \[ a \flexa g \pes \auctum \descendens b \]
6552 \remove "Bar_number_engraver"
6556 \remove "Clef_engraver"
6557 \remove "Key_engraver"
6558 StaffSymbol \set #'transparent = ##t
6559 \remove "Time_signature_engraver"
6560 \remove "Bar_engraver"
6561 minimumVerticalExtent = ##f
6565 \remove Ligature_bracket_engraver
6566 \consists Vaticana_ligature_engraver
6567 NoteHead \set #'style = #'vaticana_punctum
6568 Stem \set #'transparent = ##t
6574 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6575 \include "gregorian-init.ly"
6577 \notes \transpose c c' {
6578 % Porrectus Deminutus
6579 \[ a \flexa g \pes \deminutum b \]
6586 \remove "Bar_number_engraver"
6590 \remove "Clef_engraver"
6591 \remove "Key_engraver"
6592 StaffSymbol \set #'transparent = ##t
6593 \remove "Time_signature_engraver"
6594 \remove "Bar_engraver"
6595 minimumVerticalExtent = ##f
6599 \remove Ligature_bracket_engraver
6600 \consists Vaticana_ligature_engraver
6601 NoteHead \set #'style = #'vaticana_punctum
6602 Stem \set #'transparent = ##t
6611 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6612 \include "gregorian-init.ly"
6614 \notes \transpose c c' {
6616 \[ \virga b \inclinatum a \inclinatum g \]
6623 \remove "Bar_number_engraver"
6627 \remove "Clef_engraver"
6628 \remove "Key_engraver"
6629 StaffSymbol \set #'transparent = ##t
6630 \remove "Time_signature_engraver"
6631 \remove "Bar_engraver"
6632 minimumVerticalExtent = ##f
6636 \remove Ligature_bracket_engraver
6637 \consists Vaticana_ligature_engraver
6638 NoteHead \set #'style = #'vaticana_punctum
6639 Stem \set #'transparent = ##t
6645 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6646 \include "gregorian-init.ly"
6648 \notes \transpose c c' {
6650 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6657 \remove "Bar_number_engraver"
6661 \remove "Clef_engraver"
6662 \remove "Key_engraver"
6663 StaffSymbol \set #'transparent = ##t
6664 \remove "Time_signature_engraver"
6665 \remove "Bar_engraver"
6666 minimumVerticalExtent = ##f
6670 \remove Ligature_bracket_engraver
6671 \consists Vaticana_ligature_engraver
6672 NoteHead \set #'style = #'vaticana_punctum
6673 Stem \set #'transparent = ##t
6679 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6680 \include "gregorian-init.ly"
6682 \notes \transpose c c' {
6683 % Climacus Deminutus
6684 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6691 \remove "Bar_number_engraver"
6695 \remove "Clef_engraver"
6696 \remove "Key_engraver"
6697 StaffSymbol \set #'transparent = ##t
6698 \remove "Time_signature_engraver"
6699 \remove "Bar_engraver"
6700 minimumVerticalExtent = ##f
6704 \remove Ligature_bracket_engraver
6705 \consists Vaticana_ligature_engraver
6706 NoteHead \set #'style = #'vaticana_punctum
6707 Stem \set #'transparent = ##t
6714 @code{14. Scandicus}
6716 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6717 \include "gregorian-init.ly"
6719 \notes \transpose c c' {
6721 \[ g \pes a \virga b \]
6728 \remove "Bar_number_engraver"
6732 \remove "Clef_engraver"
6733 \remove "Key_engraver"
6734 StaffSymbol \set #'transparent = ##t
6735 \remove "Time_signature_engraver"
6736 \remove "Bar_engraver"
6737 minimumVerticalExtent = ##f
6741 \remove Ligature_bracket_engraver
6742 \consists Vaticana_ligature_engraver
6743 NoteHead \set #'style = #'vaticana_punctum
6744 Stem \set #'transparent = ##t
6750 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6751 \include "gregorian-init.ly"
6753 \notes \transpose c c' {
6754 % Scandicus Auctus Descendens
6755 \[ g \pes a \pes \auctum \descendens b \]
6762 \remove "Bar_number_engraver"
6766 \remove "Clef_engraver"
6767 \remove "Key_engraver"
6768 StaffSymbol \set #'transparent = ##t
6769 \remove "Time_signature_engraver"
6770 \remove "Bar_engraver"
6771 minimumVerticalExtent = ##f
6775 \remove Ligature_bracket_engraver
6776 \consists Vaticana_ligature_engraver
6777 NoteHead \set #'style = #'vaticana_punctum
6778 Stem \set #'transparent = ##t
6784 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6785 \include "gregorian-init.ly"
6787 \notes \transpose c c' {
6788 % Scandicus Deminutus
6789 \[ g \pes a \pes \deminutum b \]
6796 \remove "Bar_number_engraver"
6800 \remove "Clef_engraver"
6801 \remove "Key_engraver"
6802 StaffSymbol \set #'transparent = ##t
6803 \remove "Time_signature_engraver"
6804 \remove "Bar_engraver"
6805 minimumVerticalExtent = ##f
6809 \remove Ligature_bracket_engraver
6810 \consists Vaticana_ligature_engraver
6811 NoteHead \set #'style = #'vaticana_punctum
6812 Stem \set #'transparent = ##t
6821 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6822 \include "gregorian-init.ly"
6824 \notes \transpose c c' {
6826 \[ g \oriscus a \pes \virga b \]
6833 \remove "Bar_number_engraver"
6837 \remove "Clef_engraver"
6838 \remove "Key_engraver"
6839 StaffSymbol \set #'transparent = ##t
6840 \remove "Time_signature_engraver"
6841 \remove "Bar_engraver"
6842 minimumVerticalExtent = ##f
6846 \remove Ligature_bracket_engraver
6847 \consists Vaticana_ligature_engraver
6848 NoteHead \set #'style = #'vaticana_punctum
6849 Stem \set #'transparent = ##t
6855 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6856 \include "gregorian-init.ly"
6858 \notes \transpose c c' {
6859 % Salicus Auctus Descendens
6860 \[ g \oriscus a \pes \auctum \descendens b \]
6867 \remove "Bar_number_engraver"
6871 \remove "Clef_engraver"
6872 \remove "Key_engraver"
6873 StaffSymbol \set #'transparent = ##t
6874 \remove "Time_signature_engraver"
6875 \remove "Bar_engraver"
6876 minimumVerticalExtent = ##f
6880 \remove Ligature_bracket_engraver
6881 \consists Vaticana_ligature_engraver
6882 NoteHead \set #'style = #'vaticana_punctum
6883 Stem \set #'transparent = ##t
6893 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6894 \include "gregorian-init.ly"
6896 \notes \transpose c c' {
6898 \[ \stropha b \stropha b \stropha a \]
6905 \remove "Bar_number_engraver"
6909 \remove "Clef_engraver"
6910 \remove "Key_engraver"
6911 StaffSymbol \set #'transparent = ##t
6912 \remove "Time_signature_engraver"
6913 \remove "Bar_engraver"
6914 minimumVerticalExtent = ##f
6918 \remove Ligature_bracket_engraver
6919 \consists Vaticana_ligature_engraver
6920 NoteHead \set #'style = #'vaticana_punctum
6921 Stem \set #'transparent = ##t
6933 Unlike most other neumes notation systems, the input language for
6934 neumes does not necessarily reflect directly the typographical
6935 appearance, but is designed to solely focuse on musical meaning. For
6936 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6937 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6938 a Porrectus with a curved flexa shape and only a single Punctum head.
6939 There is no command to explicitly typeset the curved flexa shape; the
6940 decision of when to typeset a curved flexa shape is purely taken from
6941 the musical input. The idea of this approach is to separate the
6942 musical aspects of the input from the notation style of the output.
6943 This way, the same input can be reused to typeset the same music in a
6944 different style of Gregorian chant notation such as Hufnagel (also
6945 known as German gothic neumes) or Medicaea (kind of a very simple
6946 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6947 engraver and Medicaea ligature engraver will have been implemented, it
6948 will be as simple as replacing the ligature engraver in the
6949 @internalsref{Voice} context to get the desired notation style from
6952 The following table shows the code fragments that produce the
6953 ligatures in the above neumes table. The letter in the first column
6954 in each line of the below table indicates to which ligature in the
6955 above table it refers. The second column gives the name of the
6956 ligature. The third column shows the code fragment that produces this
6957 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6959 @multitable @columnfractions .1 .4 .5
6973 Punctum Inclinatum @tab
6974 @code{\[ \inclinatum b \]}
6978 Punctum Auctum Ascendens @tab
6979 @code{\[ \auctum \ascendens b \]}
6983 Punctum Auctum Descendens @tab
6984 @code{\[ \auctum \descendens b \]}
6988 Punctum Inclinatum Auctum @tab
6989 @code{\[ \inclinatum \auctum b \]}
6993 Punctum Inclinatum Parvum @tab
6994 @code{\[ \inclinatum \deminutum b \]}
6999 @code{\[ \virga b \]}
7004 @code{\[ \stropha b \]}
7009 @code{\[ \stropha \auctum b \]}
7014 @code{\[ \oriscus b \]}
7018 Clivis vel Flexa @tab
7019 @code{\[ b \flexa g \]}
7023 Clivis Aucta Descendens @tab
7024 @code{\[ b \flexa \auctum \descendens g \]}
7028 Clivis Aucta Ascendens @tab
7029 @code{\[ b \flexa \auctum \ascendens g \]}
7034 @code{\[ b \flexa \deminutum g \]}
7038 Podatus vel Pes @tab
7039 @code{\[ g \pes b \]}
7043 Pes Auctus Descendens @tab
7044 @code{\[ g \pes \auctum \descendens b \]}
7048 Pes Auctus Ascendens @tab
7049 @code{\[ g \pes \auctum \ascendens b \]}
7054 @code{\[ g \pes \deminutum b \]}
7059 @code{\[ \oriscus g \pes \virga b \]}
7063 Pes Quassus Auctus Descendens @tab
7064 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7069 @code{\[ \quilisma g \pes b \]}
7073 Quilisma Pes Auctus Descendens @tab
7074 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7078 Pes Initio Debilis @tab
7079 @code{\[ \deminutum g \pes b \]}
7083 Pes Auctus Descendens Initio Debilis @tab
7084 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7089 @code{\[ a \pes b \flexa g \]}
7093 Torculus Auctus Descendens @tab
7094 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7098 Torculus Deminutus @tab
7099 @code{\[ a \pes b \flexa \deminutum g \]}
7103 Torculus Initio Debilis @tab
7104 @code{\[ \deminutum a \pes b \flexa g \]}
7108 Torculus Auctus Descendens Initio Debilis @tab
7109 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7113 Torculus Deminutus Initio Debilis @tab
7114 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7119 @code{\[ a \flexa g \pes b \]}
7123 Porrectus Auctus Descendens @tab
7124 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7128 Porrectus Deminutus @tab
7129 @code{\[ a \flexa g \pes \deminutum b \]}
7134 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7138 Climacus Auctus @tab
7139 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7143 Climacus Deminutus @tab
7144 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7149 @code{\[ g \pes a \virga b \]}
7153 Scandicus Auctus Descendens @tab
7154 @code{\[ g \pes a \pes \auctum \descendens b \]}
7158 Scandicus Deminutus @tab
7159 @code{\[ g \pes a \pes \deminutum b \]}
7164 @code{\[ g \oriscus a \pes \virga b \]}
7168 Salicus Auctus Descendens @tab
7169 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7174 @code{\[ \stropha b \stropha b \stropha a \]}
7180 The following head prefixes are supported:
7182 @cindex @code{\virga}
7184 @cindex @code{\stropha}
7186 @cindex @code{\inclinatum}
7188 @cindex @code{\auctum}
7190 @cindex @code{\descendens}
7192 @cindex @code{\ascendens}
7194 @cindex @code{\oriscus}
7196 @cindex @code{\quilisma}
7198 @cindex @code{\deminutum}
7201 Head prefixes can be accumulated, though restrictions apply. For
7202 example, either @code{\descendens} or @code{\ascendens} can be applied
7203 to a head, but not both to the same head.
7206 @cindex @code{\flexa}
7207 Two adjacent heads can be tied together with the @code{\pes} and
7208 @code{\flexa} infix commands for a rising and falling line of melody,
7213 Trigonus: apply equal spacing, regardless of pitch.
7216 @subsection Figured bass
7218 @cindex Basso continuo
7220 @c TODO: musicological blurb about FB
7224 LilyPond has limited support for figured bass:
7226 @lilypond[verbatim,fragment]
7228 \context Voice \notes { \clef bass dis4 c d ais}
7229 \context FiguredBass
7231 < 6 >4 < 7 >8 < 6+ [_!] >
7237 The support for figured bass consists of two parts: there is an input
7238 mode, introduced by @code{\figures}, where you can enter bass figures
7239 as numbers, and there is a context called @internalsref{FiguredBass} that
7240 takes care of making @internalsref{BassFigure} objects.
7242 In figures input mode, a group of bass figures is delimited by
7243 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7248 \context FiguredBass
7252 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7259 \context FiguredBass
7260 \figures { <4- 6+ 7!> }
7263 Spaces or dashes may be inserted by using @code{_}. Brackets are
7264 introduced with @code{[} and @code{]}:
7270 \context FiguredBass
7271 \figures { < [4 6] 8 [_! 12]> }
7274 Although the support for figured bass may superficially resemble chord
7275 support, it works much simpler. The @code{\figures} mode simply
7276 stores the numbers , and @internalsref{FiguredBass} context prints
7277 them as entered. There is no conversion to pitches, and no
7278 realizations of the bass are played in the MIDI file.
7280 Internally, the code produces markup texts. You can use any of the
7281 markup text properties to override formatting. For example, the
7282 vertical spacing of the figures may be set with @code{baseline-skip}.
7286 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7287 and @internalsref{FiguredBass} context.
7291 Slash notation for alterations is not supported.
7294 @node Vaticana style contexts
7295 @subsection Vaticana style contexts
7297 @cindex VaticanaVoiceContext
7298 @cindex VaticanaStaffContext
7300 The predefined @code{VaticanaVoiceContext} and
7301 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7302 Gregorian Chant in the style of the Editio Vaticana. These contexts
7303 initialize all relevant context properties and grob properties to
7304 proper values. With these contexts, you can immediately go ahead
7305 entering the chant, as the following short excerpt demonstrates:
7307 @lilypond[raggedright,verbatim,noindent]
7308 \include "gregorian-init.ly"
7311 \context VaticanaVoice = "cantus" {
7312 \override Score.BarNumber #'transparent = ##t
7314 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7315 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7316 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7319 \lyricsto "cantus" \new Lyrics \lyrics {
7320 San- ctus, San- ctus, San- ctus
7326 @node Contemporary notation
7327 @section Contemporary notation
7329 In the 20th century, composers have greatly expanded the musical
7330 vocabulary. With this expansion, many innovations in musical notation
7331 have been tried. The book by Stone (1980) gives a comprehensive
7332 overview (see @ref{Literature list}). In general, the use of new,
7333 innovative notation makes a piece harder to understand and perform and
7334 its use should therefore be avoided if possible. For this reason,
7335 support for contemporary notation in LilyPond is limited.
7344 @subsection Clusters
7348 In musical terminology, a @emph{cluster} denotes a range of
7349 simultaneously sounding pitches that may change over time. The set of
7350 available pitches to apply usually depends on the accoustic source.
7351 Thus, in piano music, a cluster typically consists of a continous range
7352 of the semitones as provided by the piano's fixed set of a chromatic
7353 scale. In choral music, each singer of the choir typically may sing an
7354 arbitrary pitch within the cluster's range that is not bound to any
7355 diatonic, chromatic or other scale. In electronic music, a cluster
7356 (theoretically) may even cover a continuous range of pitches, thus
7357 resulting in coloured noise, such as pink noise.
7359 Clusters can be denoted in the context of ordinary staff notation by
7360 engraving simple geometrical shapes that replace ordinary notation of
7361 notes. Ordinary notes as musical events specify starting time and
7362 duration of pitches; however, the duration of a note is expressed by the
7363 shape of the note head rather than by the horizontal graphical extent of
7364 the note symbol. In contrast, the shape of a cluster geometrically
7365 describes the development of a range of pitches (vertical extent) over
7366 time (horizontal extent). Still, the geometrical shape of a cluster
7367 covers the area in wich any single pitch contained in the cluster would
7368 be notated as an ordinary note. From this point of view, it is
7369 reasonable to specify a cluster as the envelope of a set of notes.
7373 A cluster is engraved as the envelope of a set of
7374 cluster-notes. Cluster notes are created by applying the function
7375 @code{notes-to-clusters} to a sequence of chords, e.g.
7377 @lilypond[relative=1,verbatim]
7378 \apply #notes-to-clusters { <c e > <b f'> }
7381 The following example (from
7382 @inputfileref{input/regression,cluster.ly}) shows what the result
7385 @lilypondfile[]{cluster.ly}
7387 By default, @internalsref{Cluster_spanner_engraver} is in the
7388 @internalsref{Voice} context. This allows putting ordinary notes and
7389 clusters together in the same staff, even simultaneously. In such a
7390 case no attempt is made to automatically avoid collisions between
7391 ordinary notes and clusters.
7395 Internals: @internalsref{ClusterSpanner},
7396 @internalsref{ClusterSpannerBeacon},
7397 @internalsref{Cluster_spanner_engraver}, and
7398 @internalsref{ClusterNoteEvent}.
7400 Examples: @inputfileref{input/regression,cluster.ly}.
7404 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7405 accurately. Use @code{<g a>8 <e a>8} instead.
7410 @subsection Fermatas
7416 Contemporary music notation frequently uses special fermata symbols to
7417 indicate fermatas of differing lengths.
7421 The following are supported
7423 @lilypond[raggedright]
7425 << \addlyrics \notes {
7445 \context Lyrics \lyrics {
7446 "shortfermata" "fermata" "longfermata" "verylongfermata"
7451 See @ref{Articulations} for general instructions how to apply scripts
7452 such as fermatas to a @code{\notes@{@}} block.
7455 @node Special notation
7456 @section Special notation
7460 * Easy Notation note heads::
7464 @subsection Balloon help
7466 Elements of notation can be marked and named with the help of a square
7467 balloon. The primary purpose of this feature is to explain notation.
7469 The following example demonstrates its use.
7471 @lilypond[verbatim,fragment,raggedright,relative=1]
7474 #(add-balloon-text 'NoteHead "heads, or tails?"
7480 The function @code{add-balloon-text} takes the name of a grob, the
7481 label to print and where to put the label relative to the object. In
7482 the above example, the text ``heads or tails?'' ends 3 spaces below
7486 @cindex notation, explaining
7490 Internals: @internalsref{text-balloon-interface}.
7492 Examples: @inputfileref{input/regression,balloon.ly}.
7494 @node Easy Notation note heads
7495 @subsection Easy Notation note heads
7497 @cindex easy notation
7500 The `easy play' note head includes a note name inside the head. It is
7501 used in music aimed at beginners:
7503 @lilypond[raggedright,verbatim,staffsize=26]
7505 \notes { c'2 e'4 f' | g'1 }
7506 \paper { \translator { \EasyNotation } }
7510 The @code{EasyNotation} variable overrides a @internalsref{Score}
7511 context. To make the letters readable, it has to be printed in a
7512 large font size. To print with a larger font, see @ref{Font Size}.
7517 If you view the result with Xdvi, then staff lines may show through
7518 the letters. Printing the PostScript file obtained does produce the
7524 @section Tuning output
7526 There are situations where default layout decisions are not
7527 sufficient. In this section we discuss ways to override these
7530 Formatting is internally done by manipulating so called objects
7531 (graphic objects). Each object carries with it a set of properties
7532 (object or layout properties) specific to that object. For example, a
7533 stem object has properties that specify its direction, length and
7536 The most direct way of tuning the output is by altering the values of
7537 these properties. There are two ways of doing that: first, you can
7538 temporarily change the definition of one type of object, thus
7539 affecting a whole set of objects. Second, you can select one specific
7540 object, and set a layout property in that object.
7542 Do not confuse layout properties with translation
7543 properties. Translation properties always use a mixed caps style
7544 naming, and are manipulated using @code{\property}:
7546 \set Context.propertyName = @var{value}
7549 Layout properties are use Scheme style variable naming, i.e. lower
7550 case words separated with dashes. They are symbols, and should always
7551 be quoted using @code{#'}. For example, this could be an imaginary
7552 layout property name:
7554 #'layout-property-name
7559 The introduction of the @ref{Technical manual} gives a more in-depth
7560 treatment of the difference between translation and layout.
7564 * Constructing a tweak::
7571 @node Tuning objects
7572 @subsection Tuning objects
7574 @cindex object description
7576 The definition of an object is a list of default object
7577 properties. For example, the definition of the Stem object (available
7578 in @file{scm/define-grobs.scm}), includes the following definitions
7579 for @internalsref{Stem}:
7583 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7584 (Y-extent-callback . ,Stem::height)
7589 Adding variables on top of this existing definition overrides the
7590 system default, and alters the resulting appearance of the layout
7596 Changing a variable for only one object is commonly achieved with
7600 \once \override @var{context}.@var{objectname}
7601 @var{symbol} = @var{value}
7603 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7604 and @var{objectname} is a string and @var{value} is a Scheme expression.
7605 This command applies a setting only during one moment in the score.
7607 In the following example, only one @internalsref{Stem} object is
7608 changed from its original setting:
7610 @lilypond[verbatim,fragment,relative=1]
7612 \once \override Stem #'thickness = #4
7616 @cindex @code{\once}
7618 For changing more objects, the same command, without @code{\once} can
7621 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7623 This command adds @code{@var{symbol} = @var{value}} to the definition
7624 of @var{objectname} in the context @var{context}, and this definition
7625 stays in place until it is removed.
7627 An existing definition may be removed by the following command:
7630 \property @var{context}.@var{objectname} \revert @var{symbol}
7633 All @code{\override} and @code{\revert} commands should be balanced.
7634 The @code{\set} shorthand performs a revert followed by an override,
7635 and is often more convenient to use
7638 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7642 @lilypond[verbatim,quote]
7643 c'4 \override Stem #'thickness = #4.0
7645 c'4 \revert Stem #'thickness
7649 The following example gives exactly the same result as the previous
7650 one (assuming the system default for stem thickness is 1.3):
7652 @lilypond[verbatim,quote]
7653 c'4 \override Stem #'thickness = #4.0
7655 c'4 \override Stem #'thickness = #1.3
7659 Reverting a setting which was not set in the first place has no
7660 effect. However, if the setting was set as a system default, this may
7661 remove the default value, and this may give surprising results,
7662 including crashes. In other words, @code{\override} and
7663 @code{\revert} must be carefully balanced. The following are examples
7664 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7668 a clumsy but correct form:
7670 \override \revert \override \revert \override \revert
7674 shorter version of the same:
7676 \override \set \set \revert
7680 a short form, using only @code{\set}. This requires you to know the
7683 \set \set \set \set @var{to default value}
7687 if there is no default (i.e. by default, the object property is unset),
7690 \set \set \set \revert
7694 The object description is an Scheme association list. Since a Scheme
7695 list is a singly linked list, we can treat it as a stack, and
7696 @code{\override} and @code{\revert} are push and pop operations. The
7697 association list is stored in a normal context property, hence
7699 \set NoteHead = #'()
7701 will effectively erase @internalsref{NoteHead}s from the current
7702 @internalsref{Voice}. Typically, this will blank the object. However,
7703 this mechanism should not be used: it may cause crashes or other
7708 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7709 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7710 @internalsref{All-layout-objects}.
7715 The backend is not very strict in type-checking object properties.
7716 Cyclic references in Scheme values for properties cause hangs and/or
7717 crashes. Reverting properties that are system defaults may also lead
7721 * Constructing a tweak::
7727 @node Constructing a tweak
7728 @subsection Constructing a tweak
7731 @cindex internal documentation
7732 @cindex finding graphical objects
7733 @cindex graphical object descriptions
7735 @cindex @code{\override}
7737 @cindex internal documentation
7741 Three pieces of information are required to use @code{\override} and
7742 @code{\set}: the name of the layout object, the context and the name
7743 of the property. We demonstrate how to glean this information from
7744 the notation manual and the generated documentation.
7746 The generated documentation is a set of HTML pages which should be
7747 included if you installed a binary distribution, typically in
7748 @file{/usr/share/doc/lilypond}. They are also available on the web:
7749 go to the @uref{http://lilypond.org,LilyPond website}, click
7750 ``Documentation'', select the correct version, and click then
7751 ``Program reference.'' It is advisable to bookmark the local HTML
7752 files. They will load faster than the ones on the web. If you use the
7753 version from the web, you must check whether the documentation matches
7754 the program version: it is generated from the definitions that the
7755 program uses, and therefore it is strongly tied to the LilyPond
7759 @c [TODO: revise for new site.]
7761 Suppose we want to move the fingering indication in the fragment below:
7763 @lilypond[relative=2,verbatim]
7769 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7770 instructions}), you will notice that there is written:
7775 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7782 In other words, the fingerings once entered, are internally stored as
7783 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7784 layout object is created for every @code{FingerEvent}.
7786 The Fingering object has a number of different functions, and each of
7787 those is captured in an interface. The interfaces are listed under
7788 @internalsref{Fingering} in the program reference.
7792 The @code{Fingering} object has a fixed size
7793 (@internalsref{item-interface}), the symbol is a piece of text
7794 (@internalsref{text-interface}), whose font can be set
7795 (@internalsref{font-interface}). It is centered horizontally
7796 (@internalsref{self-alignment-interface}), it is placed next to other
7797 objects (@internalsref{side-position-interface}) vertically, and its
7798 placement is coordinated with other scripts
7799 (@internalsref{text-script-interface}). It also has the standard
7800 @internalsref{grob-interface} (grob stands for Graphical object)
7802 @cindex graphical object
7803 @cindex layout object
7804 @cindex object, layout
7805 with all the variables that come with
7806 it. Finally, it denotes a fingering instruction, so it has
7807 @internalsref{finger-interface}.
7809 For the vertical placement, we have to look under
7810 @code{side-position-interface}:
7812 @code{side-position-interface}
7814 Position a victim object (this one) next to other objects (the
7815 support). In this case, the property @code{direction} signifies where to put the
7816 victim object relative to the support (left or right, up or down?)
7821 below this description, the variable @code{padding} is described as
7825 (dimension, in staff space)
7827 add this much extra space between objects that are next to each
7828 other. Default value: @code{0.6}
7832 By increasing the value of @code{padding}, we can move away the
7833 fingering. The following command inserts 3 staff spaces of white
7834 between the note and the fingering:
7836 \once \override Fingering #'padding = #3
7839 Inserting this command before the Fingering object is created,
7840 i.e. before @code{c2}, yields the following result:
7842 @lilypond[relative=2,fragment,verbatim]
7843 \once \override Fingering
7850 The context name @code{Voice} in the example above can be determined
7851 as follows. In the documentation for @internalsref{Fingering}, it says
7853 Fingering grobs are created by: @internalsref{Fingering_engraver}
7856 Clicking @code{Fingering_engraver} shows the documentation of
7857 the module responsible for interpreting the fingering instructions and
7858 translating them to a @code{Fingering} object. Such a module is called
7859 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7862 Fingering_engraver is part of contexts: Voice
7864 so tuning the settings for Fingering should be done with
7866 \override Fingering @dots{}
7869 Of course, the tweak may also done in a larger context than
7870 @code{Voice}, for example, @internalsref{Staff} or
7871 @internalsref{Score}.
7875 Internals: the program reference also contains alphabetical lists of
7876 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7877 @internalsref{Music-expressions}, so you can also find which objects
7878 to tweak by browsing the internals document.
7882 @subsection Applyoutput
7884 The most versatile way of tuning an object is @code{\applyoutput}. Its
7887 \applyoutput @var{proc}
7891 where @var{proc} is a Scheme function, taking three arguments.
7893 When interpreted, the function @var{proc} is called for every layout
7894 object found in the context, with the following arguments:
7896 @item the layout object itself,
7897 @item the context where the layout object was created, and
7898 @item the context where @code{\applyoutput} is processed.
7902 In addition, the cause of the layout object, i.e. the music
7903 expression or object that was responsible for creating it, is in the
7904 object property @code{cause}. For example, for a note head, this is a
7905 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7906 this is a @internalsref{NoteHead} object.
7908 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7911 (define (blanker grob grob-origin context)
7912 (if (and (memq (ly:get-grob-property grob 'interfaces)
7913 note-head-interface)
7914 (eq? (ly:get-grob-property grob 'staff-position) 0))
7916 (ly:set-grob-property! grob 'transparent #t)))
7921 @node Font selection
7922 @subsection Font selection
7924 The most common thing to change about the appearance of fonts is their
7925 size. The font size of any context can be easily changed by setting
7926 the @code{fontSize} property for that context. Its value is a number:
7927 negative numbers make the font smaller, positive numbers larger. An
7928 example is given below:
7930 @lilypond[fragment,relative=1,verbatim,quote]
7931 c4 c4 \set fontSize = #-1
7934 This command will set @code{font-size} (see below), and does
7935 not change the size of variable symbols, such as beams or slurs.
7937 One of the uses of @code{fontSize} is to get smaller symbols for cue
7938 notes. An elaborate example of those is in
7939 @inputfileref{input/test,cue-notes.ly}.
7941 @cindex magnification
7944 The font used for printing a object can be selected by setting
7945 @code{font-name}, e.g.
7947 \override Staff.TimeSignature
7948 #'font-name = #"cmr17"
7952 Any font can be used, as long as it is available to @TeX{}. Possible
7953 fonts include foreign fonts or fonts that do not belong to the
7954 Computer Modern font family. The size of fonts selected in this way
7955 can be changed with the @code{font-magnification} property. For
7956 example, @code{2.0} blows up all letters by a factor 2 in both
7960 @cindex font magnification
7962 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7963 can also be adjusted with a more fine-grained mechanism. By setting
7964 the object properties described below, you can select a different font;
7965 all three mechanisms work for every object that supports
7966 @code{font-interface}:
7971 is a symbol indicating the general class of the typeface. Supported are
7972 @code{roman} (Computer Modern), @code{braces} (for piano staff
7973 braces), @code{music} (the standard music font, including ancient
7974 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7977 is a symbol indicating the shape of the font, there are typically several
7978 font shapes available for each font family. Choices are @code{italic},
7979 @code{caps} and @code{upright}.
7982 is a symbol indicating the series of the font. There are typically several
7983 font series for each font family and shape. Choices are @code{medium}
7988 For any of these properties, the value @code{*} (i.e. the symbol
7989 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7990 to override default setting, which are always present. For example:
7992 \override Lyrics .LyricText #'font-series = #'bold
7993 \override Lyrics .LyricText #'font-family = #'typewriter
7994 \override Lyrics .LyricText #'font-shape = #'*
7997 @cindex @code{font-style}
7999 The font size is set by modifying the @code{font-size} property. Its
8000 value is a number indicating the size relative to the standard size.
8001 Each step up is an increase of approximately 12% of the font size. Six
8002 steps is exactly a factor two. The Scheme function @code{magstep}
8003 converts a @code{font-size} number to a scaling factor.
8005 LilyPond has fonts in different design sizes: the music fonts for
8006 smaller sizes are chubbier, while the text fonts are relatively wider.
8007 Font size changes are achieved by scaling the design size that is
8008 closest to the desired size.
8010 The @code{font-size} mechanism does not work for fonts selected
8011 through @code{font-name}. These may be scaled with
8012 @code{font-magnification}.
8016 The following commands set @code{fontSize} for the current voice.
8018 @cindex @code{\tiny}
8020 @cindex @code{\small}
8022 @cindex @code{\normalsize}
8027 Init files: @file{ly/declarations-init.ly} contains hints how new
8028 fonts may be added to LilyPond.
8032 There is no style sheet provided for other fonts besides the @TeX{}
8033 Computer Modern family.
8035 @cindex font selection
8036 @cindex font magnification
8037 @cindex @code{font-interface}
8041 @section Text markup
8046 @cindex typeset text
8048 LilyPond has an internal mechanism to typeset texts. You can access it
8049 with the keyword @code{\markup}. Within markup mode, you can enter texts
8050 similar to lyrics: simply enter them, surrounded by spaces:
8053 @lilypond[verbatim,fragment,relative=1]
8054 c1^\markup { hello }
8055 c1_\markup { hi there }
8056 c1^\markup { hi \bold there, is \italic anyone home? }
8059 @cindex font switching
8061 The markup in the example demonstrates font switching commands. The
8062 command @code{\bold} and @code{\italic} only apply to the first
8063 following word; enclose a set of texts with braces to apply a command
8066 \markup @{ \bold @{ hi there @} @}
8070 For clarity, you can also do this for single arguments, e.g.
8073 \markup { is \italic { anyone } home }
8076 @cindex font size, texts
8079 In markup mode you can compose expressions, similar to mathematical
8080 expressions, XML documents and music expressions. The braces group
8081 notes into horizontal lines. Other types of lists also exist: you can
8082 stack expressions grouped with @code{<}, and @code{>} vertically with
8083 the command @code{\column}. Similarly, @code{\center} aligns texts by
8086 @lilypond[verbatim,fragment,relative=1]
8087 c1^\markup { \column < a bbbb c > }
8088 c1^\markup { \center < a bbbb c > }
8089 c1^\markup { \line < a b c > }
8093 Markups can be stored in variables, and these variables
8094 may be attached to notes, like
8096 allegro = \markup { \bold \large { Allegro } }
8097 \notes { a^\allegro b c d }
8101 Some objects have alignment procedures of their own, which cancel out
8102 any effects of alignments applied to their markup arguments as a
8103 whole. For example, the @internalsref{RehearsalMark} is horizontally
8104 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8105 effect. Similarly, whole texts over notes cannot be moved vertically
8106 with @code{\raise}. For moving and aligning complete objects, grob
8107 properties should be used.
8113 Init files: @file{scm/new-markup.scm}.
8118 Text layout is ultimately done by @TeX{}, which does kerning of
8119 letters. LilyPond does not account for kerning, so texts will be
8120 spaced slightly too wide.
8122 Syntax errors for markup mode are confusing.
8124 Markup texts cannot be used in the titling of the @code{\header}
8125 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8131 * Overview of text markup commands::
8132 * Markup construction in scheme::
8133 * Markup command definition::
8136 @node Overview of text markup commands
8137 @subsection Overview of text markup commands
8139 @include markup-commands.tely
8141 @node Markup construction in scheme
8142 @subsection Markup construction in scheme
8144 @cindex defining markup commands
8146 The @code{markup} macro builds markup expressions in Scheme while
8147 providing a LilyPond-like syntax. For example,
8149 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8150 #:bigger #:line ("foo" "bar" "baz")))
8156 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8157 \bigger @{ foo bar baz @} >
8161 This example exposes the main translation rules between regular
8162 LilyPond markup syntax and scheme markup syntax, which are summed up
8164 @multitable @columnfractions .5 .5
8165 @item @b{LilyPond} @tab @b{Scheme}
8166 @item @code{\command} @tab @code{#:command}
8167 @item @code{\variable} @tab @code{variable}
8168 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8169 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8170 @item @code{string} @tab @code{"string"}
8171 @item @code{#scheme-arg} @tab @code{scheme-arg}
8174 Besides, the whole scheme language is accessible inside the
8175 @code{markup} macro: thus, one may use function calls inside
8176 @code{markup} in order to manipulate character strings for
8177 instance. This proves useful when defining new markup commands (see
8178 @ref{Markup command definition}).
8182 One can not feed the @code{#:line} (resp @code{#:center},
8183 @code{#:column}) command with a variable or the result of a function
8186 (markup #:line (fun-that-returns-markups))
8188 is illegal. One should use the @code{make-line-markup} (resp
8189 @code{make-center-markup}, @code{make-column-markup}) function
8192 (markup (make-line-markup (fun-that-returns-markups)))
8195 @node Markup command definition
8196 @subsection Markup command definition
8198 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8200 (def-markup-command (@var{command-name} @var{paper} @var{props} @var{arg1} @var{arg2} ...)
8201 (@var{arg1-type?} @var{arg2-type?} ...)
8204 @var{argi}: i@var{th} command argument
8205 @var{argi-type?}: a type predicate for the i@var{th} argument
8206 @var{paper}: the `paper' definition
8207 @var{props}: a list of alists, containing all active properties.
8210 As a simple example, we show how to add a @code{\smallcaps} command,
8211 which selects @TeX{}'s small caps font. Normally, we could select the
8212 small caps font as follows:
8215 \markup { \override #'(font-shape . caps) Text-in-caps }
8218 This selects the caps font by setting the @code{font-shape} property to
8219 @code{#'caps} for interpreting @code{Text-in-caps}.
8221 To make the above available as @code{\smallcaps} command, we have to
8222 define a function using @code{def-markup-command}. The command should
8223 take a single argument, of markup type. Therefore, the start of the
8224 definition should read
8226 (def-markup-command (smallcaps paper props argument) (markup?)
8231 What follows is the content of the command: we should interpret
8232 the @code{argument} as a markup, i.e.
8235 (interpret-markup paper @dots{} argument)
8239 This interpretation should add @code{'(font-shape . caps)} to the active
8240 properties, so we substitute the the following for the @dots{} in the
8244 (cons (list '(font-shape . caps) ) props)
8248 The variable @code{props} is a list of alists, and we prepend to it by
8249 consing a list with the extra setting.
8251 However, suppose that we are using a font that does not have a
8252 small-caps variant. In that case, we have to fake the small caps font,
8253 by setting a string in upcase, with the first letter a little larger:
8256 #(def-markup-command (smallcaps paper props str) (string?)
8257 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8258 (interpret-markup paper props
8261 (if (= (string-length s) 0)
8263 (markup #:large (string-upcase (substring s 0 1))
8264 #:translate (cons -0.6 0)
8265 #:tiny (string-upcase (substring s 1)))))
8266 (string-split str #\Space)))))
8269 The @code{smallcaps} command first splits its string argument into
8270 tokens separated by spaces (@code{(string-split str #\Space)}); for
8271 each token, a markup is built with the first letter made large and
8272 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8273 second markup built with the following letters made tiny and upcased
8274 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8275 introduces a space between markups on a line, the second markup is
8276 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8277 the markups built for each token are put in a line
8278 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8279 passed to the @code{interpret-markup} function, with the @code{paper}
8280 and @code{props} arguments.
8282 Finally, suppose that we are typesetting a recitative in an opera, and
8283 we would like to define a command that will show character names in a
8284 custom manner. Names should be printed with small caps and translated a
8285 bit to the left and top. We will define a @code{\character} command
8286 that takes into account the needed translation, and uses the newly
8287 defined @code{\smallcaps} command:
8290 #(def-markup-command (character paper props name) (string?)
8291 "Print the character name in small caps, translated to the left and
8292 top. Syntax: \\character #\"name\""
8293 (interpret-markup paper props
8294 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8297 There is one complication that needs explanation: texts above and below
8298 the staff are moved vertically to be at a certain distance (the
8299 @code{padding} property) from the staff and the notes. To make sure
8300 that this mechanism does not annihilate the vertical effect of our
8301 @code{#:translate}, we add an empty string (@code{""}) before the
8302 translated text. Now the @code{""} will be put above the notes, and the
8303 @code{name} is moved in relation to that empty string. The net effect is
8304 that the text is moved to the upper left.
8306 The final result is as follows:
8310 c''^\markup \character #"Cleopatra"
8311 e'^\markup \character #"Giulio Cesare"
8316 @lilypond[raggedright]
8317 #(def-markup-command (smallcaps paper props str) (string?)
8318 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8319 (interpret-markup paper props
8322 (if (= (string-length s) 0)
8324 (markup #:large (string-upcase (substring s 0 1))
8325 #:translate (cons -0.6 0)
8326 #:tiny (string-upcase (substring s 1)))))
8327 (string-split str #\Space)))))
8329 #(def-markup-command (character paper props name) (string?)
8330 "Print the character name in small caps, translated to the left and
8331 top. Syntax: \\character #\"name\""
8332 (interpret-markup paper props
8333 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8337 c''^\markup \character #"Cleopatra"
8338 e'^\markup \character #"Giulio Cesare"
8346 @section Global layout
8348 The global layout determined by three factors: the page layout, the
8349 line breaks and the spacing. These all influence each other. The
8350 choice of spacing determines how densely each system of music is set,
8351 which influences where line breaks breaks are chosen, and thus
8352 ultimately how many pages a piece of music takes. This section
8353 explains how to tune the algorithm for spacing.
8355 Globally spoken, this procedure happens in three steps: first,
8356 flexible distances (``springs'') are chosen, based on durations. All
8357 possible line breaking combination are tried, and the one with the
8358 best results---a layout that has uniform density and requires as
8359 little stretching or cramping as possible---is chosen. When the score
8360 is processed by @TeX{}, each page is filled with systems, and page breaks
8361 are chosen whenever the page gets full.
8366 * Vertical spacing::
8367 * Horizontal spacing::
8374 @node Vertical spacing
8375 @subsection Vertical spacing
8377 @cindex vertical spacing
8378 @cindex distance between staves
8379 @cindex staff distance
8380 @cindex between staves, distance
8381 @cindex staffs per page
8382 @cindex space between staves
8384 The height of each system is determined automatically by LilyPond, to
8385 keep systems from bumping into each other, some minimum distances are
8386 set. By changing these, you can put staves closer together, and thus
8387 put more systems onto one page.
8389 Normally staves are stacked vertically. To make
8390 staves maintain a distance, their vertical size is padded. This is
8391 done with the property @code{minimumVerticalExtent}. It takes a pair
8392 of numbers, so if you want to make it smaller from its, then you could
8395 \set Staff.minimumVerticalExtent = #'(-4 . 4)
8397 This sets the vertical size of the current staff to 4 staff spaces on
8398 either side of the center staff line. The argument of
8399 @code{minimumVerticalExtent} is interpreted as an interval, where the
8400 center line is the 0, so the first number is generally negative. The
8401 staff can be made larger at the bottom by setting it to @code{(-6
8404 The piano staves are handled a little differently: to make cross-staff
8405 beaming work correctly, it is necessary that the distance between staves
8406 is fixed beforehand. This is also done with a
8407 @internalsref{VerticalAlignment} object, created in
8408 @internalsref{PianoStaff}. In this object the distance between the
8409 staves is fixed by setting @code{forced-distance}. If you want to
8410 override this, use a @code{\translator} block as follows:
8414 VerticalAlignment \override #'forced-distance = #9
8417 This would bring the staves together at a distance of 9 staff spaces,
8418 measured from the center line of each staff.
8422 Internals: Vertical alignment of staves is handled by the
8423 @internalsref{VerticalAlignment} object.
8427 @node Horizontal spacing
8428 @subsection Horizontal Spacing
8430 The spacing engine translates differences in durations into
8431 stretchable distances (``springs'') of differing lengths. Longer
8432 durations get more space, shorter durations get less. The shortest
8433 durations get a fixed amount of space (which is controlled by
8434 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8435 The longer the duration, the more space it gets: doubling a
8436 duration adds a fixed amount (this amount is controlled by
8437 @code{spacing-increment}) of space to the note.
8439 For example, the following piece contains lots of half, quarter and
8440 8th notes, the eighth note is followed by 1 note head width (NHW).
8441 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8442 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8446 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8447 width of a note head, and @code{shortest-duration-space} is set to
8448 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8449 @code{shortest-duration-space}) of space. For normal notes, this space
8450 is always counted from the left edge of the symbol, so the shortest
8451 notes are generally followed by one NHW of space.
8453 If one would follow the above procedure exactly, then adding a single
8454 32th note to a score that uses 8th and 16th notes, would widen up the
8455 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8456 thus adding 1 NHW to every note. To prevent this, the
8457 shortest duration for spacing is not the shortest note in the score,
8458 but the most commonly found shortest note. Notes that are even
8459 shorter this are followed by a space that is proportional to their
8460 duration relative to the common shortest note. So if we were to add
8461 only a few 16th notes to the example above, they would be followed by
8464 @lilypond[fragment,verbatim,relative=2]
8465 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8468 The most common shortest duration is determined as follows: in every
8469 measure, the shortest duration is determined. The most common short
8470 duration, is taken as the basis for the spacing, with the stipulation
8471 that this shortest duration should always be equal to or shorter than
8472 1/8th note. The shortest duration is printed when you run lilypond
8473 with @code{--verbose}. These durations may also be customized. If you
8474 set the @code{common-shortest-duration} in
8475 @internalsref{SpacingSpanner}, then this sets the base duration for
8476 spacing. The maximum duration for this base (normally 1/8th), is set
8477 through @code{base-shortest-duration}.
8479 @cindex @code{common-shortest-duration}
8480 @cindex @code{base-shortest-duration}
8481 @cindex @code{stem-spacing-correction}
8482 @cindex @code{spacing}
8484 In the introduction it was explained that stem directions influence
8485 spacing. This is controlled with @code{stem-spacing-correction}
8486 property in @internalsref{NoteSpacing}, which are generated for every
8487 @internalsref{Voice} context. The @code{StaffSpacing} object
8488 (generated at @internalsref{Staff} context) contains the same property
8489 for controlling the stem/barline spacing. The following example
8490 shows these corrections, once with default settings, and once with
8491 exaggerated corrections:
8497 \override Staff.NoteSpacing #'stem-spacing-correction
8499 \override Staff.StaffSpacing #'stem-spacing-correction
8504 \paper { raggedright = ##t } }
8507 @cindex SpacingSpanner, overriding properties
8509 Properties of the @internalsref{SpacingSpanner} must be overridden
8510 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8511 created before any @code{\property} statements are interpreted.
8513 \paper @{ \translator @{
8515 SpacingSpanner \override #'spacing-increment = #3.0
8522 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8523 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8524 @internalsref{SeparatingGroupSpanner}.
8528 Spacing is determined on a score wide basis. If you have a score that
8529 changes its character (measured in durations) halfway during the
8530 score, the part containing the longer durations will be spaced too
8533 There is no convenient mechanism to manually override spacing.
8538 @subsection Font size
8539 @cindex font size, setting
8540 @cindex staff size, setting
8541 @cindex @code{paper} file
8543 The Feta font provides musical symbols at eight seven different
8544 sizes. Each font is tuned for a different staff size: at smaller sizes
8545 the font gets heavier, to match the relatively heavier staff lines.
8546 The recommended font sizes are listed in the following table:
8548 @multitable @columnfractions .25 .25 .25 .25
8551 @tab @b{staff height (pt)}
8552 @tab @b{staff height (mm)}
8594 @c modern rental material ?
8598 These fonts are available in any sizes. The context property
8599 @code{fontSize} and the layout property @code{staff-space} (in
8600 @internalsref{StaffSymbol}) can be used to tune size for individual
8601 staffs. The size of individual staffs are relative to the global size,
8602 which can be set in the following manner:
8605 #(set-global-staff-size 14)
8608 This sets the global default size to 14pt staff height, and scales all
8614 @subsection Line breaking
8617 @cindex breaking lines
8619 Line breaks are normally computed automatically. They are chosen such
8620 that lines look neither cramped nor loose, and that consecutive lines
8621 have similar density.
8623 Occasionally you might want to override the automatic breaks; you can
8624 do this by specifying @code{\break}. This will force a line break at
8625 this point. Line breaks can only occur at places where there are bar
8626 lines. If you want to have a line break where there is no bar line,
8627 you can force an invisible bar line by entering @code{\bar
8628 ""}. Similarly, @code{\noBreak} forbids a line break at a
8632 @cindex regular line breaks
8633 @cindex four bar music.
8635 For linebreaks at regular intervals use @code{\break} separated by
8636 skips and repeated with @code{\repeat}:
8638 << \repeat unfold 7 @{
8639 s1 \noBreak s1 \noBreak
8640 s1 \noBreak s1 \break @}
8641 @emph{the real music}
8646 This makes the following 28 measures (assuming 4/4 time) be broken every
8647 4 measures, and only there.
8651 @code{\break}, @code{\noBreak}
8652 @cindex @code{\break}
8653 @cindex @code{\noBreak}
8657 Internals: @internalsref{BreakEvent}.
8661 @subsection Page layout
8664 @cindex breaking pages
8666 @cindex @code{indent}
8667 @cindex @code{linewidth}
8669 The most basic settings influencing the spacing are @code{indent} and
8670 @code{linewidth}. They are set in the @code{\paper} block. They
8671 control the indentation of the first line of music, and the lengths of
8674 If @code{raggedright} is set to true in the @code{\paper}
8675 block, then the lines are justified at their natural length. This
8676 useful for short fragments, and for checking how tight the natural
8680 @cindex vertical spacing
8682 The page layout process happens outside the LilyPond formatting
8683 engine: variables controlling page layout are passed to the output,
8684 and are further interpreted by @code{lilypond} wrapper program. It
8685 responds to the following variables in the @code{\paper} block. The
8686 variable @code{textheight} sets the total height of the music on each
8687 page. The spacing between systems is controlled with
8688 @code{interscoreline}, its default is 16pt. The distance between the
8689 score lines will stretch in order to fill the full page
8690 @code{interscorelinefill} is set to a positive number. In that case
8691 @code{interscoreline} specifies the minimum spacing.
8693 @cindex @code{textheight}
8694 @cindex @code{interscoreline}
8695 @cindex @code{interscorelinefill}
8697 If the variable @code{lastpagefill} is defined,
8698 @c fixme: this should only be done if lastpagefill= #t
8699 systems are evenly distributed vertically on the last page. This
8700 might produce ugly results in case there are not enough systems on the
8701 last page. The @command{lilypond-book} command ignores
8702 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8705 @cindex @code{lastpagefill}
8707 Page breaks are normally computed by @TeX{}, so they are not under
8708 direct control of LilyPond. However, you can insert a commands into
8709 the @file{.tex} output to instruct @TeX{} where to break pages. This
8710 is done by setting the @code{between-systems-strings} on the
8711 @internalsref{NonMusicalPaperColumn} where the system is broken.
8712 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8713 The predefined command @code{\newpage} also does this.
8717 @cindex @code{papersize}
8719 To change the paper size, use the following Scheme code:
8722 #(set-paper-size "a4")
8729 @cindex @code{\newpage}
8735 In this manual: @ref{Invoking lilypond}.
8737 Examples: @inputfileref{input/regression,between-systems.ly}.
8739 Internals: @internalsref{NonMusicalPaperColumn}.
8743 LilyPond has no concept of page layout, which makes it difficult to
8744 reliably choose page breaks in longer pieces.
8753 Entered music can also be converted to MIDI output. The performance
8754 is good enough for proof-hearing the music for errors.
8756 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8757 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8758 marks translate to a fixed fraction of the available MIDI volume
8759 range, crescendi and decrescendi make the volume vary linearly between
8760 their two extremities. The fractions can be adjusted by
8761 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8762 For each type of MIDI instrument, a volume range can be defined. This
8763 gives a basic equalizer control, which can enhance the quality of
8764 the MIDI output remarkably. The equalizer can be controlled by
8765 setting @code{instrumentEqualizer}.
8769 Many musically interesting effects, such as swing, articulation,
8770 slurring, etc., are not translated to MIDI.
8772 Since slurs are not interpreted, @code{\lyricsto} and
8773 @code{\addlyrics} sections will be interpreted wrongly.
8775 The MIDI output allocates a channel for each Staff, and one for global
8776 settings. Hence, the MIDI file should not have more than 15 staves
8777 (or 14 if you do not use drums).
8782 * MIDI instrument names::
8787 @subsection MIDI block
8791 The MIDI block is analogous to the paper block, but it is somewhat
8792 simpler. The @code{\midi} block can contain:
8796 @item a @code{\tempo} definition, and
8797 @item context definitions.
8800 Assignments in the @code{\midi} block are not allowed.
8802 A number followed by a period is interpreted as a real number, so
8803 for setting the tempo for dotted notes, an extra space should be
8804 inserted, for example:
8807 \midi @{ \tempo 4 . = 120 @}
8811 @cindex context definition
8813 Context definitions follow precisely the same syntax as within the
8814 \paper block. Translation modules for sound are called performers.
8815 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8818 @node MIDI instrument names
8819 @subsection MIDI instrument names
8821 @cindex instrument names
8822 @cindex @code{Staff.midiInstrument}
8824 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8825 property. The instrument name should be chosen from the list in
8826 @ref{MIDI instruments}.
8830 If the selected string does not exactly match, then the default is
8831 used, which is the Grand Piano.