2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
12 @chapter Notation manual
14 This chapter describes all the different types of notation supported
15 by LilyPond. It is intended as a reference for users that are already
16 somewhat familiar with using LilyPond.
20 * Easier music entry::
34 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
48 The basic elements of any piece of music are the notes. This section
49 is about basic notation elements notes, rests and related constructs,
50 such as stems, tuplets and ties.
55 * Chromatic alterations::
70 A note is printed by specifying its pitch and then its duration:
71 @footnote{Notes constitute the most basic elements of LilyPond input,
72 but they do not form valid input on their own without a @code{\score}
73 block. However, for the sake of brevity and simplicity we will
74 generally omit @code{\score} blocks and @code{\paper} declarations in
77 @lilypond[fragment,verbatim]
86 @cindex Note specification
88 @cindex entering notes
90 The most common syntax for pitch entry is used in @code{\chords} and
91 @code{\notes} mode. In Note and Chord mode, pitches may be designated
92 by names. The notes are specified by the letters @code{a} through
93 @code{g}, while the octave is formed with notes ranging from @code{c}
94 to @code{b}. The pitch @code{c} is an octave below middle C and the
95 letters span the octave above that C:
97 @lilypond[fragment,verbatim]
99 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
102 @cindex note names, Dutch
104 A sharp is formed by adding @code{-is} to the end of a pitch name and
105 a flat is formed by adding @code{-es}. Double sharps and double flats
106 are obtained by adding @code{-isis} or @code{-eses}. These
107 names are the Dutch note names. In Dutch, @code{aes} is contracted to
108 @code{as}, but both forms are accepted. Similarly, both
109 @code{es} and @code{ees} are accepted.
111 Half-flats and half-sharps are formed by adding @code{-eh} and
112 @code{-ih}; the following is a series of Cs with increasing pitches:
114 @cindex quarter tones
115 @cindex semi-flats, semi-sharps
117 @lilypond[verbatim,relative=2]
129 There are predefined sets of note names for various other languages.
130 To use them, include the language specific init file. For
131 example: @code{\include "english.ly"}. The available language files
132 and the note names they define are:
137 Note Names sharp flat
138 nederlands.ly c d e f g a bes b -is -es
139 english.ly c d e f g a bf b -s/-sharp -f/-flat
141 deutsch.ly c d e f g a b h -is -es
142 norsk.ly c d e f g a b h -iss/-is -ess/-es
143 svenska.ly c d e f g a b h -iss -ess
144 italiano.ly do re mi fa sol la sib si -d -b
145 catalan.ly do re mi fa sol la sib si -d/-s -b
146 espanol.ly do re mi fa sol la sib si -s -b
155 The optional octave specification takes the form of a series of
156 single quote (`@code{'}') characters or a series of comma
157 (`@code{,}') characters. Each @code{'} raises the pitch by one
158 octave; each @code{,} lowers the pitch by an octave:
160 @lilypond[fragment,verbatim,center]
161 c' c'' es' g' as' gisis' ais'
167 Notes can be hidden and unhidden with the following commands:
169 @cindex @code{\hideNotes}
171 @cindex @code{\unHideNotes}
177 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
179 @node Chromatic alterations
180 @subsection Chromatic alterations
182 Normally accidentals are printed automatically, but you may also
183 print them manually. A reminder accidental
184 @cindex reminder accidental
186 can be forced by adding an exclamation mark @code{!}
187 after the pitch. A cautionary accidental
188 @cindex cautionary accidental
189 @cindex parenthesized accidental
190 (i.e. an accidental within parentheses) can be obtained by adding the
191 question mark `@code{?}' after the pitch:
193 @lilypond[fragment,verbatim]
194 cis' cis' cis'! cis'?
198 The automatic production of accidentals can be tuned in many
199 ways. For more information, refer to @ref{Accidentals}.
204 A chord is formed by a enclosing a set of pitches in @code{<} and
205 @code{>}. A chord may be followed by a duration, and a set of
206 articulations, just like simple notes.
216 Rests are entered like notes, with the note name @code{r}:
218 @lilypond[raggedright,verbatim]
222 Whole bar rests, centered in middle of the bar,
223 must be done with multi measure rests. They are discussed in
224 @ref{Multi measure rests}.
227 A rest's vertical position may be explicitly specified by entering a
228 note with the @code{\rest} keyword appended. This makes manual
229 formatting in polyphonic music easier. Rest collision testing will
230 leave these rests alone:
232 @lilypond[raggedright,verbatim]
238 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
245 @cindex Invisible rest
248 An invisible rest (also called a `skip') can be entered like a note
249 with note name `@code{s}' or with @code{\skip @var{duration}}:
251 @lilypond[raggedright,verbatim]
255 The @code{s} syntax is only available in note mode and chord mode. In
256 other situations, you should use the @code{\skip} command:
258 @lilypond[raggedright,verbatim]
261 { \time 4/8 \skip 2 \time 4/4 }
262 \notes\relative c'' { a2 a1 }
267 The skip command is merely an empty musical placeholder. It does not
268 produce any output, not even transparent output.
270 The @code{s} skip command does create @internalsref{Staff} and
271 @internalsref{Voice} when necessary, similar to note and rest
272 commands. For example, the following results in an empty staff.
274 @lilypond[raggedright,verbatim]
275 \score { \notes { s4 } }
278 The same fragment using @code{\skip} results in an empty page.
282 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
287 @subsection Durations
293 In Note, Chord, and Lyrics mode, durations are designated by numbers
294 and dots: durations are entered as their reciprocal values. For example,
295 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
296 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
297 longer than a whole you must use variables:
301 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \notes \relative c'' {
310 a1 a2 a4 a8 a16 a32 a64 a64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \remove "Clef_engraver"
318 \override StaffSymbol #'transparent = ##t
319 \override TimeSignature #'transparent = ##t
320 \consists "Pitch_squash_engraver"
327 If the duration is omitted then it is set to the previously entered
328 duration. The default for the first note is a quarter note. The duration
329 can be followed by dots (`@code{.}') in order to obtain dotted note
333 @lilypond[fragment,verbatim,center]
334 a' b' c''8 b' a'4 a'4. b'4.. c'8.
339 You can alter the length of duration by a fraction @var{N/M}
340 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
341 will not affect the appearance of the notes or rests produced.
342 In the following example, the first three notes take up exactly two
344 @lilypond[fragment,relative=2,verbatim]
346 a4*2/3 gis4*2/3 a4*2/3
353 Dots are normally moved up to avoid staff lines, except in polyphonic
354 situations. The following commands may be used to force a particular
357 @cindex @code{\dotsUp}
359 @cindex @code{\dotsDown}
361 @cindex @code{\dotsBoth}
366 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
371 Whenever a note is found, a @internalsref{Stem} object is created
372 automatically. For whole notes and rests, they are also created but
377 @cindex @code{\stemUp}
379 @cindex @code{\stemDown}
381 @cindex @code{\stemBoth}
392 A tie connects two adjacent note heads of the same pitch. The tie in
393 effect extends the length of a note. Ties should not be confused with
394 slurs, which indicate articulation, or phrasing slurs, which indicate
395 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
397 @lilypond[fragment,verbatim,center]
398 e' ~ e' <c' e' g'> ~ <c' e' g'>
401 When a tie is applied to a chord, all note heads whose pitches match
402 are connected. When no note heads match, no ties will be created.
404 In its meaning a tie is just a way of extending a note duration, similar
405 to the augmentation dot; in the following example there are two ways of
406 notating exactly the same concept:
408 @lilypond[fragment,raggedright,quote]
409 \time 3/4 c'2. c'2 ~ c'4
411 If you need to tie a lot of notes over bars, it may be easier to use automatic
412 note splitting (see @ref{Automatic note splitting}).
417 @cindex @code{\tieUp}
419 @cindex @code{\tieDown}
421 @cindex @code{\tieBoth}
423 @cindex @code{\tieDotted}
425 @cindex @code{\tieSolid}
430 In this manual: @ref{Automatic note splitting}.
432 Internals: @internalsref{TieEvent}, @internalsref{Tie}.
434 Examples: if you want less ties created for a chord, see
435 @inputfileref{input/test,tie-sparse.ly}.
437 For tying only a subset of the note heads of a pair of chords, see
438 @inputfileref{input/regression,tie-chord-partial.ly}.
443 Switching staves when a tie is active will not produce a slanted tie.
445 Formatting of ties is a difficult subject. The results are often not
455 @cindex @code{\times}
457 Tuplets are made out of a music expression by multiplying all durations
460 @cindex @code{\times}
462 \times @var{fraction} @var{musicexpr}
466 The duration of @var{musicexpr} will be multiplied by the fraction.
467 The fraction's denominator will be printed over the notes, optionally
468 with a bracket. The most common tuplet is the triplet in which 3
469 notes have the length of 2, so the notes are 2/3 of their written
472 @lilypond[fragment,verbatim,center]
473 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
476 The property @code{tupletSpannerDuration} specifies how long each
477 bracket should last. With this, you can make lots of tuplets while
478 typing @code{\times} only once, saving lots of typing. In the next
479 example, there are two triplets shown, while @code{\times} was only
482 @lilypond[fragment,relative,raggedright,verbatim]
483 \set tupletSpannerDuration = #(ly:make-moment 1 4)
484 \times 2/3 { c'8 c c c c c }
487 The format of the number is determined by the property
488 @code{tupletNumberFormatFunction}. The default prints only the
489 denominator, but if it is set to the Scheme function
490 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
494 @cindex @code{tupletNumberFormatFunction}
495 @cindex tuplet formatting
500 @cindex @code{\tupletUp}
502 @cindex @code{\tupletDown}
504 @cindex @code{\tupletBoth}
509 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
511 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
515 Nested tuplets are not formatted automatically. In this case, outer
516 tuplet brackets should be moved manually, which is demonstrated in
517 @inputfileref{input/regression,tuplet-nest.ly}.
521 @node Easier music entry
522 @section Easier music entry
525 When entering music it is easy to introduce errors. This section deals
526 with tricks and features of the input language that were added solely
527 to help entering music, and find and correct mistakes.
529 It is also possible to use external programs, for example GUI
530 interfaces, or MIDI transcription programs, to enter or edit
531 music. Refer to the website for more information. Finally, there are
532 tools make debugging easier, by linking the input file and the output
533 shown on screen. See @ref{Point and click} for more information.
540 * Skipping corrected music::
541 * Automatic note splitting::
547 @node Relative octaves
548 @subsection Relative octaves
550 @cindex relative octave specification
552 Octaves are specified by adding @code{'} and @code{,} to pitch names.
553 When you copy existing music, it is easy to accidentally put a pitch
554 in the wrong octave and hard to find such an error. The relative
555 octave mode prevents these errors: a single error puts the rest of the
556 piece off by one octave:
558 @cindex @code{\relative}
560 \relative @var{startpitch} @var{musicexpr}
563 The octave of notes that appear in @var{musicexpr} are calculated as
564 follows: If no octave changing marks are used, the basic interval
565 between this and the last note is always taken to be a fourth or less
566 (; this distance is determined without regarding alterations: a
567 @code{fisis} following a @code{ceses} will be put above the
570 The octave changing marks @code{'} and @code{,} can be added to raise
571 or lower the pitch by an extra octave. Upon entering relative mode,
572 an absolute starting pitch must be specified that will act as the
573 predecessor of the first note of @var{musicexpr}.
575 Here is the relative mode shown in action:
576 @lilypond[fragment,raggedright,verbatim,center]
582 Octave changing marks are used for intervals greater than a fourth:
583 @lilypond[fragment,verbatim,center]
588 If the preceding item is a chord, the first note of the chord is used
589 to determine the first note of the next chord:
591 @lilypond[fragment,verbatim,center]
598 @cindex @code{\notes}
600 The pitch after the @code{\relative} contains a note name. To parse
601 the pitch as a note name, you have to be in note mode, so there must
602 be a surrounding @code{\notes} keyword (which is not
605 The relative conversion will not affect @code{\transpose},
606 @code{\chords} or @code{\relative} sections in its argument. If you
607 want to use relative within transposed music, you must place an
608 additional @code{\relative} inside the @code{\transpose}.
611 @subsection Octave check
614 Octave checks make octave errors easier to correct: a note may be
615 followed by @code{=}@var{quotes} which indicates what its absolute
616 octave should be. In the following example,
618 \relative c'' @{ c='' b=' d,='' @}
622 @c take care with @code, adds confusing quotes.
623 the d will generate a warning, because a d'' is expected, but a d' is
624 found. In the output, the octave is corrected this and the following
629 There is also a syntax that is separate from the notes.
634 This checks that @var{pitch} (without octave) yields @var{pitch} (with
635 octave) in \relative mode. If not, a warning is printed, and the
636 octave is corrected, for example, the first check is passed
637 successfully. The second check fails with an error message. The
638 octave is adjusted so the following notes are in the correct octave
649 The octave of a note following an octave check is determined with
650 respect to the note preceding it. In the next fragment, the last note
651 is a @code{a'}, above central C. Hence, the @code{\octave} check may
652 be deleted without changing the meaning of the piece.
654 @lilypond[verbatim,fragment]
663 @subsection Bar check
667 @cindex @code{barCheckSynchronize}
670 Bar checks help detect errors in the durations. A bar check is
671 entered using the bar symbol, `@code{|}'. Whenever it is encountered
672 during interpretation, it should fall on a measure boundary. If it
673 does not, a warning is printed. Depending on the value of
674 @code{barCheckSynchronize}, the beginning of the measure will be
677 In the next example, the second bar check will signal an error:
679 \time 3/4 c2 e4 | g2 |
682 Bar checks can also be used in lyrics, for example
687 Twin -- kle | Twin -- kle
692 @cindex skipTypesetting
694 Failed bar checks are caused by entering incorrect
695 durations. Incorrect durations often completely garble up the score,
696 especially if it is polyphonic, so you should start correcting the
697 score by scanning for failed bar checks and incorrect durations. To
698 speed up this process, you can use @code{skipTypesetting}, described
701 @node Skipping corrected music
702 @subsection Skipping corrected music
704 The property @code{Score.skipTypesetting} can be used to switch on and
705 off typesetting completely during the interpretation phase. When
706 typesetting is switched off, the music is processed much more quickly.
707 This can be used to skip over the parts of a score that have already
708 been checked for errors:
710 @lilypond[fragment,raggedright,verbatim]
712 \set Score.skipTypesetting = ##t
714 \set Score.skipTypesetting = ##f
718 @node Automatic note splitting
719 @subsection Automatic note splitting
721 Long notes can be converted automatically to tied notes. This is done
722 by replacing the @internalsref{Note_heads_engraver} by the
723 @internalsref{Completion_heads_engraver}.
724 In the following examples, notes crossing the barline are split and tied.
727 @lilypond[noindent,verbatim,relative=1]
729 \remove "Note_heads_engraver"
730 \consists "Completion_heads_engraver"
732 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
736 This engraver splits all running notes at the bar line, and inserts
737 ties. One of its uses is to debug complex scores: if the measures are
738 not entirely filled, then the ties exactly show how much each measure
743 Not all durations (especially those containing tuplets) can be
744 represented exactly; the engraver will not insert tuplets.
748 Examples: @inputfileref{input/regression,completion-heads.ly}.
750 Internals: @internalsref{Completion_heads_engraver}.
754 @section Staff notation
756 This section describes music notation that occurs on staff level,
757 such as keys, clefs and time signatures.
759 @cindex Staff notation
773 @subsection Staff symbol
775 @cindex adjusting staff symbol
777 Notes, dynamic signs, etc. are grouped
778 with a set of horizontal lines, into a staff (plural `staves'). In our
779 system, these lines are drawn using a separate layout object called
783 @cindex staff lines, setting number of
784 @cindex staff lines, setting thickness of
785 @cindex thickness of staff lines, setting
786 @cindex number of staff lines, setting
790 Internals: @internalsref{StaffSymbol}.
792 Examples: @inputfileref{input/test,staff-lines.ly},
793 @inputfileref{input/test,staff-size.ly}.
797 If a staff is ended halfway a piece, the staff symbol may not end
798 exactly on the barline.
802 @subsection Key signature
803 @cindex Key signature
807 The key signature indicates the scale in which a piece is played. It
808 is denoted by a set of alterations (flats or sharps) at the start of
813 Setting or changing the key signature is done with the @code{\key}
816 @code{\key} @var{pitch} @var{type}
819 @cindex @code{\minor}
820 @cindex @code{\major}
821 @cindex @code{\minor}
822 @cindex @code{\ionian}
823 @cindex @code{\locrian}
824 @cindex @code{\aeolian}
825 @cindex @code{\mixolydian}
826 @cindex @code{\lydian}
827 @cindex @code{\phrygian}
828 @cindex @code{\dorian}
830 Here, @var{type} should be @code{\major} or @code{\minor} to get
831 @var{pitch}-major or @var{pitch}-minor, respectively.
832 The standard mode names @code{\ionian},
833 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
834 @code{\phrygian}, and @code{\dorian} are also defined.
836 This command sets the context property
837 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
838 can be specified by setting this property directly.
840 Accidentals and key signatures often confuse new users, because
841 unaltered notes get natural signs depending on the keysignature. The
842 tutorial explains why this is so in @ref{More about pitches}.
846 The ordering of a key cancellation is wrong when it is combined with
847 repeat bar lines. The cancellation is also printed after a line break.
851 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
853 @cindex @code{keySignature}
860 The clef indicates which lines of the staff correspond to which
865 The clef can be set or changed with the @code{\clef} command:
866 @lilypond[fragment,verbatim]
867 \key f\major c''2 \clef alto g'2
870 Supported clef-names include:
871 @c Moved standard clefs to the top /MB
875 @item treble, violin, G, G2
888 G clef on 1st line, so-called French violin clef
893 @cindex mezzosoprano clef
896 @cindex baritone clef
899 @cindex varbaritone clef
908 By adding @code{_8} or @code{^8} to the clef name, the clef is
909 transposed one octave down or up, respectively, and @code{_15} and
910 @code{^15} transposes by two octaves. The argument @var{clefname}
911 must be enclosed in quotes when it contains underscores or digits. For
915 @cindex choral tenor clef
916 @lilypond[verbatim,fragment,relative]
920 This command is equivalent to setting @code{clefGlyph},
921 @code{clefPosition} (which controls the Y position of the clef),
922 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
923 when any of these properties are changed.
927 Internals: the object for this symbol is @internalsref{Clef}.
931 @node Ottava brackets
932 @subsection Ottava brackets
934 ``Ottava'' brackets introduce an extra transposition of an octave for
935 the staff. They are created by invoking the function
936 @code{set-octavation}:
942 @lilypond[verbatim,fragment]
951 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
952 (for 15ma) as arguments. Internally the function sets the properties
953 @code{ottavation} (eg. to @code{"8va"}) and
954 @code{centralCPosition}. For overriding the text of the bracket, set
955 @code{ottavation} after invoking @code{set-octavation}, i.e.,
959 \set Staff.ottavation = #"8"
964 Internals: @internalsref{OttavaBracket}.
966 Examples: @inputfileref{input/regression,ottava.ly},
967 @inputfileref{input/regression,ottava-broken.ly}.
971 @code{set-octavation} will get confused when clef changes happen
972 during an octavation bracket.
975 @subsection Time signature
976 @cindex Time signature
980 Time signature indicates the metrum of a piece: a regular pattern of
981 strong and weak beats. It is denoted by a fraction at the start of the
986 The time signature is set or changed by the @code{\time}
988 @lilypond[fragment,verbatim]
989 \time 2/4 c'2 \time 3/4 c'2.
992 The symbol that is printed can be customized with the @code{style}
993 property. Setting it to @code{#'()} uses fraction style for 4/4 and
994 2/2 time. There are many more options for its layout. See
995 @inputfileref{input/test,time.ly} for more examples.
998 This command sets the property @code{timeSignatureFraction},
999 @code{beatLength} and @code{measureLength} in the @code{Timing}
1000 context, which is normally aliased to @internalsref{Score}. The
1001 property @code{measureLength} determines where bar lines should be
1002 inserted, and how automatic beams should be generated. Changing the
1003 value of @code{timeSignatureFraction} also causes the symbol to be
1006 More options are available through the Scheme function
1007 @code{set-time-signature}. In combination with the
1008 @internalsref{Measure_grouping_engraver}, it will create
1009 @internalsref{MeasureGrouping} signs. Such signs ease reading
1010 rhythmically complex modern music. In the following example, the 9/8
1011 measure is subdivided in 2, 2, 2 and 3. This is passed to
1012 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1015 \score { \notes \relative c'' {
1016 #(set-time-signature 9 8 '(2 2 2 3))
1017 g8[ g] d[ d] g[ g] a8[( bes g]) |
1018 #(set-time-signature 5 8 '(3 2))
1023 \translator { \StaffContext
1024 \consists "Measure_grouping_engraver"
1030 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1035 Automatic beaming does not use measure grouping specified with
1036 @code{set-time-signature}.
1038 @node Partial measures
1039 @subsection Partial measures
1042 @cindex partial measure
1043 @cindex measure, partial
1044 @cindex shorten measures
1045 @cindex @code{\partial}
1047 Partial measures, for example in upsteps, are entered using the
1048 @code{\partial} command:
1049 @lilypond[fragment,verbatim,relative=1]
1050 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1053 The syntax for this command is
1055 \partial @var{duration}
1057 This is internally translated into
1059 \set Timing.measurePosition = -@var{length of duration}
1062 The property @code{measurePosition} contains a rational number
1063 indicating how much of the measure has passed at this point.
1065 @node Unmetered music
1066 @subsection Unmetered music
1068 Bar lines and bar numbers are calculated automatically. For unmetered
1069 music (e.g. cadenzas), this is not desirable. By setting
1070 @code{Score.timing} to false, this automatic timing can be switched
1076 @cindex @code{\cadenzaOn}
1078 @cindex @code{\cadenzaOff}
1082 @subsection Bar lines
1086 @cindex measure lines
1090 Bar lines delimit measures, but are also used to indicate repeats.
1091 Normally, they are inserted automatically. Line breaks may only
1097 of barlines can be forced with the @code{\bar} command:
1099 @lilypond[relative=1,fragment,verbatim]
1103 The following bar types are available:
1104 @lilypond[fragment,relative,raggedright,verbatim]
1117 For allowing linebreaks, there is a special command,
1121 This will insert an invisible barline, and allow linebreaks at this
1124 In scores with many staves, a @code{\bar} command in one staff is
1125 automatically applied to all staves. The resulting bar lines are
1126 connected between different staves of a @internalsref{StaffGroup}:
1128 @lilypond[fragment,verbatim]
1129 << \context StaffGroup <<
1133 \new Staff { \clef bass c4 g e g } >>
1134 \new Staff { \clef bass c2 c2 } >>
1138 The command @code{\bar @var{bartype}} is a short cut for doing
1139 @code{\set Score.whichBar = @var{bartype}} Whenever
1140 @code{whichBar} is set to a string, a bar line of that type is
1141 created. At the start of a measure it is set to
1142 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1143 to override default measure bars.
1145 Property @code{whichBar} can also be set directly, using @code{\set}
1146 or @code{\bar}. These settings take precedence over the automatic
1147 @code{whichBar} settings.
1150 @cindex repeatCommands
1151 @cindex defaultBarType
1153 You are encouraged to use @code{\repeat} for repetitions. See
1160 In this manual: @ref{Repeats}.
1163 Internals: the bar line objects that are created at
1164 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1165 lines that span staves are @internalsref{SpanBar}s.
1167 @cindex bar lines at start of system
1168 @cindex start of system
1170 The barlines at the start of each system are
1171 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1172 @internalsref{SystemStartBracket}. Only one of these types is created
1173 in every context, and that type is determined by the property
1174 @code{systemStartDelimiter}.
1176 Examples: @inputfileref{input/test,bar-lines.ly},
1182 The easiest way to enter fragments with more than one voice on a staff
1183 is to split chords using the separator @code{\\}. You can use it for
1184 small, short-lived voices or for single chords:
1186 @lilypond[verbatim,fragment]
1187 \context Staff \relative c'' {
1188 c4 << { f d e } \\ { b c2 } >>
1189 c4 << g' \\ b, \\ f' \\ d >>
1193 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1194 voices are sometimes called "layers" other notation packages}
1196 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1197 each of these contexts, vertical direction of slurs, stems, etc. is set
1200 @cindex @code{\voiceOne}
1201 @cindex @code{\voiceFour}
1203 This can also be done by instantiating @internalsref{Voice} contexts
1204 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1205 a stem directions and horizontal shift for each part:
1208 @lilypond[raggedright,verbatim]
1210 \context Staff << \new Voice { \voiceOne cis2 b }
1211 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1212 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1216 The command @code{\oneVoice} will revert back to the normal setting.
1217 @cindex @code{\oneVoice}
1220 Normally, note heads with a different number of dots are not merged, but
1221 when the object property @code{merge-differently-dotted} is set in
1222 the @internalsref{NoteCollision} object, they are merged:
1223 @lilypond[verbatim,fragment,raggedright]
1224 \relative c'' \context Voice << {
1226 \override Staff.NoteCollision
1227 #'merge-differently-dotted = ##t
1229 } \\ { g8.[ f16] g8.[ f16] }
1233 Similarly, you can merge half note heads with eighth notes, by setting
1234 @code{merge-differently-headed}:
1235 @lilypond[fragment,relative=2,verbatim]
1238 \override Staff.NoteCollision
1239 #'merge-differently-headed = ##t
1240 c8 c4. } \\ { c2 c2 } >>
1243 LilyPond also vertically shifts rests that are opposite of a stem:
1246 @lilypond[raggedright,fragment,verbatim]
1247 \context Voice << c''4 \\ r4 >>
1255 @cindex @code{\oneVoice}
1257 @cindex @code{\voiceOne}
1259 @cindex @code{\voiceTwo}
1261 @cindex @code{\voiceThree}
1263 @cindex @code{\voiceFour}
1267 The following commands specify in what chords of the current voice
1268 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1269 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1272 @cindex @code{\shiftOn}
1274 @cindex @code{\shiftOnn}
1276 @cindex @code{\shiftOnnn}
1278 @cindex @code{\shiftOff}
1285 Internals: the objects responsible for resolving collisions are
1286 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1288 Examples: See also example files
1289 @inputfileref{input/regression,collision-dots.ly},
1290 @inputfileref{input/regression,collision-head-chords.ly},
1291 @inputfileref{input/regression,collision-heads.ly},
1292 @inputfileref{input/regression,collision-mesh.ly}, and
1293 @inputfileref{input/regression,collisions.ly}.
1298 Resolving collisions is a intricate subject, and only a few situations
1299 are handled. When LilyPond cannot cope, the @code{force-hshift}
1300 property of the @internalsref{NoteColumn} object and pitched rests can
1301 be used to override typesetting decisions.
1303 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1304 note, and a downstem half note, the 8th note gets the wrong offset.
1306 There is no support for clusters where the same note occurs with
1307 different accidentals in the same chord. In this case, it is
1308 recommended to use enharmonic transcription, or to use special cluster
1309 notation (see @ref{Clusters}).
1314 Beams are used to group short notes into chunks that are aligned with
1315 the metrum. They are inserted automatically in most cases:
1317 @lilypond[fragment,verbatim,relative=2]
1318 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1321 When these automatic decisions are not good enough, beaming can be
1322 entered explicitly. It is also possible to define beaming patterns
1323 that differ from the defaults.
1327 Internals: @internalsref{Beam}.
1330 @cindex Automatic beams
1333 * Setting automatic beam behavior::
1337 @subsection Manual beams
1338 @cindex beams, manual
1342 In some cases it may be necessary to override the automatic beaming
1343 algorithm. For example, the auto beamer will not put beams over rests
1344 or bar lines. Such beams are specified by manually: the begin and end
1345 point are marked with @code{[} and @code{]}:
1347 @lilypond[fragment,relative,verbatim]
1349 r4 r8[ g' a r8] r8 g[ | a] r8
1353 @cindex @code{stemLeftBeamCount}
1355 Normally, beaming patterns within a beam are determined automatically.
1356 When this mechanism fouls up, the properties
1357 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1358 be used to control the beam subdivision on a stem. If either property
1359 is set, its value will be used only once, and then it is erased:
1361 @lilypond[fragment,relative,verbatim]
1364 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1367 @cindex @code{stemRightBeamCount}
1370 The property @code{subdivideBeams} can be set in order to subdivide
1371 all 16th or shorter beams at beat positions, as defined by the
1372 @code{beatLength} property. This accomplishes the same effect as
1373 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1374 but it take less typing:
1377 @lilypond[relative=1,verbatim,noindent]
1379 \set subdivideBeams = ##t
1381 \set Score.beatLength = #(ly:make-moment 1 8)
1384 @cindex subdivideBeams
1386 Kneed beams are inserted automatically, when a large gap is detected
1387 between the note heads. This behavior can be tuned through the object
1388 property @code{auto-knee-gap}.
1390 Normally, line breaks are forbidden when beams cross bar lines. This
1391 behavior can be changed by setting @code{allowBeamBreak}.
1393 @cindex @code{allowBeamBreak}
1394 @cindex beams and line breaks
1396 @cindex beams, kneed
1398 @cindex auto-knee-gap
1404 @cindex Frenched staves
1406 Automatically kneed beams cannot be used together with hidden staves.
1411 @node Setting automatic beam behavior
1412 @subsection Setting automatic beam behavior
1414 @cindex @code{autoBeamSettings}
1415 @cindex @code{(end * * * *)}
1416 @cindex @code{(begin * * * *)}
1417 @cindex automatic beams, tuning
1418 @cindex tuning automatic beaming
1420 @c [TODO: use \applycontext]
1422 In normal time signatures, automatic beams can start on any note but can
1423 only end in a few positions within the measure: beams can end on a beat,
1424 or at durations specified by the properties in
1425 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1426 are defined in @file{scm/auto-beam.scm}.
1428 The value of @code{autoBeamSettings} is changed with two functions:
1430 #(override-auto-beam-setting
1431 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1433 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1435 Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
1436 whether the rule applies to begin or end-points. The quantity
1437 @var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
1438 *}' designates notes of any length), @var{n}/@var{M} refers to a time
1439 signature (wildcards `@code{* *}' may be entered to designate all time
1440 signatures), @var{a}/@var{b} is a duration. By default, this command
1441 changes settings for the current voice. It is also possible to adjust
1442 settings at higher contexts, by adding a @var{context} argument.
1444 For example, if automatic beams should end on every quarter note, use
1447 #(override-auto-beam-setting '(end * * * *) 1 4)
1449 Since the duration of a quarter note is 1/4 of a whole note, it is
1450 entered as @code{(ly:make-moment 1 4)}.
1452 The same syntax can be used to specify beam starting points. In this
1453 example, automatic beams can only end on a dotted quarter note:
1455 #(override-auto-beam-setting '(end * * * *) 3 8)
1457 In 4/4 time signature, this means that automatic beams could end only on
1458 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1459 3/8, has passed within the measure).
1461 Rules can also be restricted to specific time signatures. A rule that
1462 should only be applied in @var{N}/@var{M} time signature is formed by
1463 replacing the second asterisks by @var{N} and @var{M}. For example, a
1464 rule for 6/8 time exclusively looks like
1466 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1469 If a rule should be to applied only to certain types of beams, use the
1470 first pair of asterisks. Beams are classified according to the
1471 shortest note they contain. For a beam ending rule that only applies
1472 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1475 If a score ends while an automatic beam has not been ended and is still
1476 accepting notes, this last beam will not be typeset at all.
1478 @cindex automatic beam generation
1480 @cindex @code{autoBeaming}
1483 For melodies that have lyrics, you may want to switch off
1484 automatic beaming. This is done by setting @code{autoBeaming} to
1489 @cindex @code{\autoBeamOff}
1490 @code{\autoBeamOff},
1491 @cindex @code{\autoBeamOn}
1497 The rules for ending a beam depend on the shortest note in a beam.
1498 So, while it is possible to have different ending rules for eight
1499 beams and sixteenth beams, a beam that contains both eight and
1500 sixteenth notes will use the rules for the sixteenth beam.
1502 In the example below, the autobeamer makes eight beams and sixteenth
1503 end at 3 eights; the third beam can only be corrected by specifying
1506 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1507 #(override-auto-beam-setting '(end * * * *) 3 8)
1508 % rather show case where it goes wrong
1509 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1510 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1512 It is not possible to specify beaming parameters that act differently in
1513 different parts of a measure. This means that it is not possible to use
1514 automatic beaming in irregular meters such as @code{5/8}.
1517 @section Accidentals
1520 This section describes how to change the way that accidentals are
1521 inserted automatically before the running notes.
1525 * Using the predefined accidental variables::
1526 * Customized accidental rules::
1529 @node Using the predefined accidental variables
1530 @subsection Using the predefined accidental variables
1533 Common rules for typesetting macros have been canned in a
1534 function. This function is called as follows:
1536 @cindex @code{set-accidental-style}
1538 #(set-accidental-style 'modern 'Voice)
1541 The function takes two arguments: a symbol that denotes the style (in
1542 the example, @code{modern}), and another symbol that denotes the
1543 context name (in this example, @code{Staff}). If no context name is
1544 supplied, @code{Staff} is the default.
1546 The following styles are supported:
1549 This is the default typesetting behaviour. It should correspond
1550 to 18th century common practice: Accidentals are
1551 remembered to the end of the measure in which they occur and
1552 only on their own octave.
1556 The normal behaviour is to remember the accidentals on
1557 Staff-level. This variable, however, typesets accidentals
1558 individually for each voice. Apart from that, the rule is similar to
1561 This leads to some weird and often unwanted results
1562 because accidentals from one voice do not get cancelled in other
1564 @lilypond[raggedright,relative,fragment,verbatim,quote]
1566 #(set-accidental-style 'voice)
1572 Hence you should only use @code{voice} if the voices
1573 are to be read solely by individual musicians. If the staff is to be
1574 used by one musician (e.g. a conductor) then you use
1575 @code{modern} or @code{modern-cautionary}
1579 @cindex @code{modern} style accidentals
1580 This rule corresponds to the common practice in the 20th
1582 This rule prints the same accidentals as @code{default}, but temporary
1583 accidentals also are cancelled in other octaves. Furthermore,
1584 in the same octave, they also get cancelled in the following
1587 @lilypond[raggedright,fragment,verbatim]
1588 #(set-accidental-style 'modern)
1589 cis' c'' cis'2 | c'' c'
1592 @item @code{modern-cautionary}
1593 @cindex @code{modern-cautionary}
1594 This rule is similar to @code{modern}, but the
1595 ``extra'' accidentals (the ones not typeset by
1596 @code{default}) are typeset as cautionary accidentals.
1597 They are printed in reduced size or with parentheses:
1598 @lilypond[raggedright,fragment,verbatim]
1599 #(set-accidental-style 'modern-cautionary)
1600 cis' c'' cis'2 | c'' c'
1603 @cindex @code{modern-voice}
1605 is used for multivoice accidentals to be read both by musicians
1606 playing one voice and musicians playing all voices. Accidentals are
1607 typeset for each voice, but they @emph{are} cancelled across voices in
1608 the same @internalsref{Staff}.
1610 @cindex @code{modern-voice-cautionary}
1611 @item modern-voice-cautionary
1612 is the same as @code{modern-voice}, but with the extra
1613 accidentals (the ones not typeset by @code{voice}) typeset
1614 as cautionaries. Even though all accidentals typeset by
1615 @code{default} @emph{are} typeset by this variable then
1616 some of them are typeset as cautionaries.
1619 @cindex @code{piano} accidentals
1620 20th century practice for piano notation. Very similar to
1621 @code{modern} but accidentals also get cancelled
1622 across the staves in the same @internalsref{GrandStaff} or
1623 @internalsref{PianoStaff}.
1625 @item piano-cautionary
1626 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1627 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1628 typeset as cautionaries.
1631 @cindex @code{no-reset} accidental style
1632 Same as @code{default} but with accidentals lasting
1633 ``forever'' and not only until the next measure:
1634 @lilypond[raggedright,fragment,verbatim,relative]
1635 #(set-accidental-style 'no-reset)
1640 This is sort of the opposite of @code{no-reset}: Accidentals
1641 are not remembered at all---and hence all accidentals are
1642 typeset relative to the key signature, regardless of what was
1643 before in the music:
1645 @lilypond[raggedright,fragment,verbatim,relative]
1646 #(set-accidental-style 'forget)
1647 \key d\major c4 c cis cis d d dis dis
1651 @node Customized accidental rules
1652 @subsection Customized accidental rules
1654 For determining when to print an accidental, several different rules
1655 are tried. The rule that gives the highest number of accidentals is
1656 used. Each rule consists of
1659 In which context is the rule applied. For example, if
1660 @var{context} is @internalsref{Score} then all staves share
1661 accidentals, and if @var{context} is @internalsref{Staff} then all
1662 voices in the same staff share accidentals, but staves do not.
1665 Whether the accidental changes all octaves or only the current
1666 octave. Valid choices are
1670 This is the default algorithm. Accidentals are typeset if the note changes
1671 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1672 and then as many measures as specified in the value. I.e. 1 means to the end
1673 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1675 Accidentals are typeset if the note is different from
1676 the previous note on the same pitch in any octave. The value has same meaning as in
1682 Over how many barlines the accidental lasts.
1683 If @var{lazyness} is @code{-1} then the accidental is forget
1684 immediately, and if @var{lazyness} is @code{#t} then the accidental
1691 Internals: @internalsref{Accidental_engraver},
1692 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1697 Currently the simultaneous notes are considered to be entered in
1698 sequential mode. This means that in a chord the accidentals are
1699 typeset as if the notes in the chord happened once at a time - in the
1700 order in which they appear in the input file.
1702 This is only a problem when there are simultaneous notes whose
1703 accidentals depend on each other. The problem only occurs when using
1704 non-default accidentals. In the default scheme, accidentals only
1705 depend on other accidentals with the same pitch on the same staff, so
1706 no conflicts possible.
1708 This example shows two examples of the same music giving different
1709 accidentals depending on the order in which the notes occur in the
1712 @lilypond[raggedright,fragment,verbatim]
1713 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1714 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1715 | <cis' c''> r | <c'' cis'> r |
1718 This problem can be solved by manually inserting @code{!} and @code{?}
1719 for the problematic notes.
1721 @node Expressive marks
1722 @section Expressive marks
1725 @c todo: should change ordering
1726 @c where to put text spanners, metronome marks,
1735 * Analysis brackets::
1737 * Fingering instructions::
1748 A slur indicates that notes are to be played bound or @emph{legato}.
1752 They are entered using parentheses:
1753 @lilypond[relative=1,fragment,verbatim,center]
1754 f( g)( a) a8 b( a4 g2 f4)
1759 @c TODO: should explain that ^( and _( set directions
1760 @c should set attachments with ^ and _ ?
1762 Slurs avoid crossing stems, and are generally attached to note heads.
1763 However, in some situations with beams, slurs may be attached to stem
1764 ends. If you want to override this layout you can do this through the
1765 object property @code{attachment} of @internalsref{Slur} in
1766 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1767 the attachment type of the left and right end points:
1769 @lilypond[fragment,relative,verbatim]
1771 \override Stem #'length = #5.5
1773 \override Slur #'attachment = #'(stem . stem)
1777 If a slur would strike through a stem or beam, the slur will be moved
1778 away upward or downward. If this happens, attaching the slur to the
1779 stems might look better:
1781 @lilypond[fragment,relative,verbatim]
1784 \override Slur #'attachment = #'(stem . stem)
1791 @cindex @code{\slurUp}
1793 @cindex @code{\slurDown}
1795 @cindex @code{\slurBoth}
1797 @cindex @code{\slurDotted}
1799 @cindex @code{\slurSolid}
1804 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1809 Producing nice slurs is a difficult problem, and LilyPond currently
1810 uses a simple, empiric method to produce slurs. In some cases, its
1814 @cindex Adjusting slurs
1816 @node Phrasing slurs
1817 @subsection Phrasing slurs
1819 @cindex phrasing slurs
1820 @cindex phrasing marks
1822 A phrasing slur (or phrasing mark) connects chords and is used to
1823 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1826 @lilypond[fragment,verbatim,center,relative]
1827 \time 6/4 c'\( d( e) f( e) d\)
1830 Typographically, the phrasing slur behaves almost exactly like a
1831 normal slur. However, they are treated as different objects. A
1832 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1833 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1834 @code{\phrasingSlurBoth}.
1836 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1837 will only affect normal slurs and not phrasing slurs.
1841 @cindex @code{\phrasingSlurUp}
1842 @code{\phrasingSlurUp},
1843 @cindex @code{\phrasingSlurDown}
1844 @code{\phrasingSlurDown},
1845 @cindex @code{\phrasingSlurBoth}
1846 @code{\phrasingSlurBoth}.
1850 Internals: see also @internalsref{PhrasingSlur}, and
1851 @internalsref{PhrasingSlurEvent}.
1855 Phrasing slurs have the same limitations in their formatting as normal
1856 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1859 @subsection Breath marks
1861 Breath marks are entered using @code{\breathe}:
1864 @lilypond[fragment,relative,verbatim]
1868 The glyph of the breath mark can be tweaked by overriding the
1869 @code{text} property of the @code{BreathingSign} layout object with
1870 any markup text. For example,
1871 @lilypond[fragment,verbatim,relative]
1873 \override BreathingSign #'text
1874 = #(make-musicglyph-markup "scripts-rvarcomma")
1881 Internals: @internalsref{BreathingSign},
1882 @internalsref{BreathingSignEvent}.
1884 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1887 @node Metronome marks
1888 @subsection Metronome marks
1891 @cindex beats per minute
1892 @cindex metronome marking
1894 Metronome settings can be entered as follows:
1896 \tempo @var{duration} = @var{perminute}
1899 In the MIDI output, they are interpreted as a tempo change, and in the
1900 paper output, a metronome marking is printed:
1901 @cindex @code{\tempo}
1902 @lilypond[fragment,verbatim]
1908 Internals: @internalsref{MetronomeChangeEvent}.
1913 @subsection Text spanners
1914 @cindex Text spanners
1916 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1917 are written as texts, and extended over many measures with dotted
1918 lines. You can create such texts using text spanners: attach
1919 @code{\startTextSpan} and @code{\stopTextSpan} to the
1920 start and ending note of the spanner.
1922 The string to be printed, as well as the style, is set through object
1925 @lilypond[fragment,relative,verbatim]
1927 \override TextSpanner #'direction = #-1
1928 \override TextSpanner #'edge-text = #'("rall " . "")
1929 c2\startTextSpan b c\stopTextSpan a }
1935 Internals @internalsref{TextSpanEvent},
1936 @internalsref{TextSpanner}.
1938 Examples: @inputfileref{input/regression,text-spanner.ly}.
1941 @node Analysis brackets
1942 @subsection Analysis brackets
1944 @cindex phrasing brackets
1945 @cindex musicological analysis
1946 @cindex note grouping bracket
1948 Brackets are used in musical analysis to indicate structure in musical
1949 pieces. LilyPond supports a simple form of nested horizontal brackets.
1950 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1951 @internalsref{Staff} context. A bracket is started with
1952 @code{\startGroup} and closed with @code{\stopGroup}:
1954 @lilypond[raggedright,verbatim]
1955 \score { \notes \relative c'' {
1956 c4\startGroup\startGroup
1959 c4\stopGroup\stopGroup
1961 \paper { \translator {
1962 \StaffContext \consists "Horizontal_bracket_engraver"
1968 Internals: @internalsref{HorizontalBracket},
1969 @internalsref{NoteGroupingEvent}.
1971 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1975 @subsection Articulations
1976 @cindex Articulations
1978 @cindex articulations
1982 A variety of symbols can appear above and below notes to indicate
1983 different characteristics of the performance. They are added to a note
1984 by adding a dash and the character signifying the
1985 articulation. They are demonstrated here:
1987 @lilypondfile[]{script-abbreviations.ly}
1989 The meanings of these shorthands can be changed: see
1990 @file{ly/script-init.ly} for examples.
1993 The script is automatically placed, but if you need to force
1994 directions, you can use @code{_} to force them down, or @code{^} to
1996 @lilypond[fragment,verbatim]
2000 Other symbols can be added using the syntax
2001 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2002 can be forced up or down using @code{^} and @code{_},
2005 @lilypond[verbatim,fragment,relative=2]
2006 c\fermata c^\fermata c_\fermata
2013 @cindex staccatissimo
2022 @cindex organ pedal marks
2031 @cindex prallmordent
2035 @cindex thumb marking
2040 @lilypondfile[]{script-chart.ly}
2045 @cindex @code{\scriptUp}
2047 @cindex @code{\scriptDown}
2049 @cindex @code{\scriptBoth}
2054 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2058 These note ornaments appear in the printed output but have no
2059 effect on the MIDI rendering of the music.
2062 @node Fingering instructions
2063 @subsection Fingering instructions
2067 Fingering instructions can be entered using
2069 @var{note}-@var{digit}
2071 For finger changes, use markup texts:
2073 @lilypond[verbatim,raggedright,fragment]
2074 c'4-1 c'4-2 c'4-3 c'4-4
2075 c'^\markup { \fontsize #-3 \number "2-3" }
2078 @cindex finger change
2083 You can use the thumb-script to indicate that a note should be
2084 played with the thumb (e.g. in cello music):
2086 @lilypond[verbatim,raggedright,fragment]
2087 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2088 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2091 Fingerings for chords can also be added to individual notes
2092 of the chord by adding them after the pitches:
2093 @lilypond[verbatim,raggedright,fragment,relative=1]
2094 < c-1 e-2 g-3 b-5 > 4
2098 In this case, setting @code{fingeringOrientations} will put fingerings next
2101 @lilypond[verbatim,raggedright,fragment,relative=1]
2102 \set fingeringOrientations = #'(left down)
2103 <c-1 es-2 g-4 bes-5 > 4
2104 \set fingeringOrientations = #'(up right down)
2105 <c-1 es-2 g-4 bes-5 > 4
2108 By using single note chords, fingering instructions can be put close
2109 to note heads in monophonic music.
2113 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2115 Examples: @inputfileref{input/regression,finger-chords.ly}.
2118 @subsection Text scripts
2119 @cindex Text scripts
2121 @cindex text items, non-empty
2122 @cindex non-empty texts
2124 It is possible to place arbitrary strings of text or markup text (see
2125 @ref{Text markup}) above or below notes by using a string:
2126 @code{c^"text"}. By default, these indications do not influence the
2127 note spacing, but by using the command @code{\fatText}, the widths
2128 will be taken into account:
2130 @lilypond[fragment,raggedright,verbatim] \relative c' {
2131 c4^"longtext" \fatText c4_"longlongtext" c4 }
2134 It is possible to use @TeX{} commands in the strings, but this should
2135 be avoided because the exact dimensions of the string can then no
2140 @cindex @code{\fatText}
2142 @cindex @code{\emptyText}
2147 In this manual: @ref{Text markup}.
2149 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2155 @subsection Grace notes
2158 @c should have blurb about accaciatura / appogiatura
2160 @cindex @code{\grace}
2164 Grace notes are ornaments that are written out. The most common ones
2165 are acciaccatura, which should be played as very short. It is denoted
2166 by a slurred small note with a slashed stem. The appoggiatura is a
2167 grace note that takes a fixed fraction of the main note, is and
2168 denoted as a slurred note in small print without a slash.
2169 They are entered with the commands @code{\acciaccatura} and
2170 @code{\appoggiatura}, as demonstrated in the following example:
2173 @cindex appoggiatura
2174 @cindex acciaccatura
2176 @lilypond[relative=2,verbatim,fragment]
2177 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2178 \acciaccatura { g16[ f] } e4
2181 Both are special forms of the @code{\grace} command. By prefixing this
2182 keyword to a music expression, a new one is formed, which will be
2183 printed in a smaller font and takes up no logical time in a measure.
2184 @lilypond[relative=2,verbatim,fragment]
2186 \grace { c16[ d16] } c2 c4
2190 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2191 @code{\grace} command does not start a slur.
2193 Internally, timing for grace notes is done using a second, `grace'
2194 time. Every point in time consists of two rational numbers: one
2195 denotes the logical time, one denotes the grace timing. The above
2196 example is shown here with timing tuples:
2198 @lilypond[raggedright]
2201 c4 \grace c16 c4 \grace {
2204 \new Lyrics \lyrics {
2207 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2208 \markup { (\fraction 1 4 , 0 ) } 4
2210 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2211 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2213 \markup { ( \fraction 2 4 , 0 ) }
2218 The placement of grace notes is synchronized between different staves.
2219 In the following example, there are two sixteenth graces notes for
2220 every eighth grace note:
2222 @lilypond[relative=2,verbatim,fragment]
2223 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2224 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2229 If you want to end a note with a grace, then the standard trick
2230 is to put the grace notes after a ``space note'', e.g.
2231 @lilypond[fragment,verbatim,relative=2]
2234 { s2 \grace { c16[ d] } } >>
2240 By adjusting the duration of the skip note (here it is a half-note),
2241 the space between the main-note and the grace is adjusted.
2244 A @code{\grace} section will introduce special typesetting settings,
2245 for example, to produce smaller type, and set directions. Hence, when
2246 introducing layout tweaks, they should be inside the grace section,
2248 @lilypond[fragment,verbatim,relative=1]
2251 \override Stem #'direction = #-1
2253 \revert Stem #'direction
2260 The overrides should also be reverted inside the grace section.
2262 If the layout of grace sections must be changed throughout the music,
2263 then this can be accomplished through the function
2264 @code{add-grace-property}. The following example
2265 undefines the Stem direction grace section, so stems do not always
2270 #(add-grace-property "Voice" Stem direction '())
2276 Another option is to change the variables @code{startGraceMusic},
2277 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2278 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2279 @code{stopAppoggiaturaMusic}. More information is in the file
2280 @file{ly/grace-init.ly}.
2285 Internals: @internalsref{GraceMusic}.
2289 A score that starts with an @code{\grace} section needs an explicit
2290 @code{\context Voice} declaration, otherwise the main note and grace
2291 note end up on different staves.
2293 Grace note synchronization can also lead to surprises. Staff notation,
2294 such as key signatures, barlines, etc. are also synchronized. Take
2295 care when you mix staves with grace notes and staves without, for example,
2297 @lilypond[relative=2,verbatim,fragment]
2298 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2299 \new Staff { c4 \bar "|:" d4 } >>
2302 Grace sections should only be used within sequential music
2303 expressions. Nesting or juxtaposing grace sections is not supported,
2304 and might produce crashes or other errors.
2308 @subsection Glissando
2311 @cindex @code{\glissando}
2313 A glissando is a smooth change in pitch. It is denoted by a line or a
2314 wavy line between two notes.
2318 A glissando line can be requested by attaching a @code{\glissando} to
2321 @lilypond[fragment,relative,verbatim]
2327 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2332 Adding additional texts (such as @emph{gliss.}) is not supported.
2336 @subsection Dynamics
2349 @cindex @code{\ffff}
2359 Absolute dynamic marks are specified using an variable after a
2360 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2361 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2362 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2363 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2365 @lilypond[verbatim,raggedright,fragment,relative]
2366 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2372 @cindex @code{\decr}
2373 @cindex @code{\rced}
2380 A crescendo mark is started with @code{\<} and terminated with
2381 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2382 with @code{\!}. Because these marks are bound to notes, if you must
2383 use spacer notes if multiple marks during one note are needed:
2385 @lilypond[fragment,verbatim,center,quote]
2386 c''\< c''\! d''\decr e''\rced
2387 << f''1 { s4 s4\< s4\! \> s4\! } >>
2389 This may give rise to very short hairpins. Use @code{minimum-length}
2390 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2394 \override Staff.Hairpin #'minimum-length = #5
2397 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2398 is an example how to do it:
2400 @lilypond[fragment,relative=2,verbatim]
2401 c4 \cresc c4 c c c \endcresc c4
2407 You can also supply your own texts:
2408 @lilypond[fragment,relative,verbatim]
2410 \set crescendoText = \markup { \italic "cresc. poco" }
2411 \set crescendoSpanner = #'dashed-line
2421 @cindex @code{\dynamicUp}
2423 @cindex @code{\dynamicDown}
2424 @code{\dynamicDown},
2425 @cindex @code{\dynamicBoth}
2426 @code{\dynamicBoth}.
2428 @cindex direction, of dynamics
2432 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2433 @internalsref{AbsoluteDynamicEvent}.
2435 Dynamics are objects of @internalsref{DynamicText} and
2436 @internalsref{Hairpin}. Vertical positioning of these symbols is
2437 handled by the @internalsref{DynamicLineSpanner} object.
2439 If you want to adjust padding or vertical direction of the dynamics, you
2440 must set properties for the @internalsref{DynamicLineSpanner} object.
2448 @cindex @code{\repeat}
2451 Repetition is a central concept in music, and multiple notations exist
2452 for repetitions. In LilyPond, most of these notations can be captured
2453 in a uniform syntax. One of the advantages is that they can be
2454 rendered in MIDI accurately.
2456 The following types of repetition are supported:
2460 Repeated music is fully written (played) out. Useful for MIDI
2461 output, and entering repetitive music.
2464 This is the normal notation: Repeats are not written out, but
2465 alternative endings (voltas) are printed, left to right.
2469 Alternative endings are written stacked. This has limited use but may be
2470 used to typeset two lines of lyrics in songs with repeats, see
2471 @inputfileref{input,star-spangled-banner.ly}.
2479 Make beat or measure repeats. These look like percent signs.
2485 * Repeats and MIDI::
2486 * Manual repeat commands::
2488 * Tremolo subdivisions::
2493 @subsection Repeat syntax
2497 LilyPond has one syntactic construct for specifying different types of
2498 repeats. The syntax is
2501 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2504 If you have alternative endings, you may add
2505 @cindex @code{\alternative}
2507 \alternative @code{@{} @var{alternative1}
2509 @var{alternative3} @dots{} @code{@}}
2511 where each @var{alternative} is a music expression. If you do not
2512 give enough alternatives for all of the repeats, then the first
2513 alternative is assumed to be played more than once.
2515 Normal notation repeats are used like this:
2516 @lilypond[fragment,verbatim,relative=1]
2518 \repeat volta 2 { c4 d e f }
2519 \repeat volta 2 { f e d c }
2522 With alternative endings:
2523 @lilypond[fragment,verbatim,relative=1]
2525 \repeat volta 2 {c4 d e f}
2526 \alternative { {d2 d} {f f,} }
2530 @lilypond[fragment,verbatim,relative=1]
2533 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2534 \alternative { { g4 g g } { a | a a a a | b2. } }
2540 If you do a nested repeat like
2549 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2550 belongs. This ambiguity is resolved by always having the
2551 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2552 it is advisable to use braces in such situations.
2555 @node Repeats and MIDI
2556 @subsection Repeats and MIDI
2558 @cindex expanding repeats
2560 For instructions on how to unfold repeats for MIDI output, see the
2561 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2566 Timing information is not remembered at the start of an alternative,
2567 so after a repeat timing information must be reset by hand, for
2568 example by setting @code{Score.measurePosition} or entering
2569 @code{\partial}. Similarly, slurs or ties are also not repeated.
2572 @node Manual repeat commands
2573 @subsection Manual repeat commands
2575 @cindex @code{repeatCommands}
2577 The property @code{repeatCommands} can be used to control the layout of
2578 repeats. Its value is a Scheme list of repeat commands, where each repeat
2582 @item the symbol @code{start-repeat},
2583 which prints a @code{|:} bar line,
2584 @item the symbol @code{end-repeat},
2585 which prints a @code{:|} bar line,
2586 @item the list @code{(volta @var{text})},
2587 which prints a volta bracket saying @var{text}: The text can be specified as
2588 a text string or as a markup text, see @ref{Text markup}. Do not
2589 forget to change the font, as the default number font does not contain
2590 alphabetic characters. Or,
2591 @item the list @code{(volta #f)}, which
2592 stops a running volta bracket:
2595 @lilypond[verbatim,fragment,relative=2]
2597 \set Score.repeatCommands = #'((volta "93") end-repeat)
2599 \set Score.repeatCommands = #'((volta #f))
2606 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2607 @internalsref{VoltaRepeatedMusic},
2608 @internalsref{UnfoldedRepeatedMusic}, and
2609 @internalsref{FoldedRepeatedMusic}.
2611 @node Tremolo repeats
2612 @subsection Tremolo repeats
2613 @cindex tremolo beams
2615 To place tremolo marks between notes, use @code{\repeat} with tremolo
2617 @lilypond[verbatim,raggedright]
2619 \context Voice \notes\relative c' {
2620 \repeat "tremolo" 8 { c16 d16 }
2621 \repeat "tremolo" 4 { c16 d16 }
2622 \repeat "tremolo" 2 { c16 d16 }
2627 Tremolo marks can also be put on a single note. In this case, the
2628 note should not be surrounded by braces.
2629 @lilypond[verbatim,raggedright]
2630 \repeat "tremolo" 4 c16
2633 A similar mechanism is the tremolo subdivision, described in
2634 @ref{Tremolo subdivisions}.
2638 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2640 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2641 tremolos are @internalsref{StemTremolo}s. The music expression is
2642 @internalsref{TremoloEvent}.
2644 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2645 @inputfileref{input/regression,stem-tremolo.ly}.
2647 @node Tremolo subdivisions
2648 @subsection Tremolo subdivisions
2649 @cindex tremolo marks
2650 @cindex @code{tremoloFlags}
2652 Tremolo marks can be printed on a single note by adding
2653 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2654 A @var{length} value of 8 gives one line across the note stem. If the
2655 length is omitted, then then the last value (stored in
2656 @code{tremoloFlags}) is used:
2658 @lilypond[verbatim,fragment,center]
2659 c'2:8 c':32 | c': c': |
2662 @c [TODO : stok is te kort bij 32en]
2666 Tremolos in this style do not carry over into the MIDI output.
2670 In this manual: @ref{Tremolo repeats}.
2672 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2674 @node Measure repeats
2675 @subsection Measure repeats
2677 @cindex percent repeats
2678 @cindex measure repeats
2680 In the @code{percent} style, a note pattern can be repeated. It is
2681 printed once, and then the pattern is replaced with a special sign.
2682 Patterns of a one and two measures are replaced by percent-like signs,
2683 patterns that divide the measure length are replaced by slashes:
2685 @lilypond[verbatim,raggedright]
2686 \context Voice { \repeat "percent" 4 { c'4 }
2687 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2693 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2694 @internalsref{PercentRepeatedMusic}, and
2695 @internalsref{DoublePercentRepeat}.
2699 @node Rhythmic music
2700 @section Rhythmic music
2704 * Showing melody rhythms::
2705 * Entering percussion::
2706 * Percussion staves::
2710 @node Showing melody rhythms
2711 @subsection Showing melody rhythms
2713 Sometimes you might want to show only the rhythm of a melody. This
2714 can be done with the rhythmic staff. All pitches of notes on such a
2715 staff are squashed, and the staff itself has a single line:
2717 @lilypond[fragment,relative,verbatim]
2718 \context RhythmicStaff {
2720 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2726 Internals: @internalsref{RhythmicStaff}.
2728 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2731 @node Entering percussion
2732 @subsection Entering percussion
2739 Percussion notes may be entered in @code{\drums} mode, which is
2740 similar to @code{notes}. Each piece of percussion has a full name and
2741 an abbreviated name, and both be used in input files:
2743 @lilypond[raggedright]
2744 \drums { hihat4 hh4 }
2747 The complete list of drum names is in the init file
2748 @file{ly/drumpitch-init.ly}.
2749 @c TODO: properly document this.
2753 Internals: @internalsref{DrumNoteEvent}.
2755 @node Percussion staves
2756 @subsection Percussion staves
2760 A percussion part for more than one instrument typically uses a
2761 multiline staff where each position in the staff refers to one piece
2765 To typeset the music, the notes must be interpreted in a
2766 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2769 @lilypond[raggedright,verbatim,quote]
2770 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2771 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2774 << \new DrumVoice { \voiceOne \up }
2775 \new DrumVoice { \voiceTwo \down }
2779 The above example shows verbose polyphonic notation. The short
2780 polyphonic notation, described in @ref{Polyphony}, can also be used if
2781 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2784 \drums \new DrumStaff <<
2785 \context DrumVoice = "1" { s1 *2 }
2786 \context DrumVoice = "2" { s1 *2 }
2790 { \repeat unfold 16 hh16 }
2799 There are also other layout possibilities. To use these, set the
2800 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2801 The following variables have been predefined:
2805 is the default. It typesets a typical drum kit on a five-line staff
2808 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2809 bd sn ss tomh tommh tomml toml tomfh tomfl }
2810 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2811 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2813 << \new DrumStaff\with {
2814 \remove Bar_engraver
2815 \remove Time_signature_engraver
2816 \override Stem #'transparent = ##t
2817 \override Stem #'Y-extent-callback = ##f
2818 minimumVerticalExtent = #'(-4.0 . 5.0)
2820 \context Lyrics \nam
2823 %% need to do this, because of indented @itemize
2825 \translator { \ScoreContext
2826 \override BarNumber #'transparent =##T
2830 The drum scheme supports six different toms. When there fewer toms, simply
2831 select the toms that produce the desired result, i.e. to get toms on
2832 the three middle lines you use @code{tommh}, @code{tomml} and
2835 @item timbales-style
2836 to typeset timbales on a two line staff:
2838 @lilypond[raggedright]
2839 nam = \lyrics { timh ssh timl ssl cb }
2840 mus = \drums { timh ssh timl ssl cb s16 }
2843 \context DrumStaff \with {
2844 \remove Bar_engraver
2845 \remove Time_signature_engraver
2846 \override Stem #'transparent = ##t
2847 \override Stem #'Y-extent-callback = ##f
2848 \override StaffSymbol #'line-count = #2
2849 \override StaffSymbol #'staff-space = #2
2850 minimumVerticalExtent = #'(-3.0 . 4.0)
2851 drumStyleTable = #timbales-style
2853 \context Lyrics \nam
2858 to typeset congas on a two line staff:
2860 @lilypond[raggedright]
2861 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2862 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2865 \context DrumStaff\with {
2866 \remove Bar_engraver
2867 \remove Time_signature_engraver
2868 drumStyleTable = #congas-style
2869 \override StaffSymbol #'line-count = #2
2871 %% this sucks; it will lengthen stems.
2872 \override StaffSymbol #'staff-space = #2
2873 \override Stem #'transparent = ##t
2874 \override Stem #'Y-extent-callback = ##f
2876 \context Lyrics \nam
2881 to typeset bongos on a two line staff:
2883 @lilypond[raggedright]
2884 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2885 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2888 \context DrumStaff\with {
2889 \remove Bar_engraver
2890 \remove Time_signature_engraver
2891 \override StaffSymbol #'line-count = #2
2892 drumStyleTable = #bongos-style
2894 %% this sucks; it will lengthen stems.
2895 \override StaffSymbol #'staff-space = #2
2896 \override Stem #'transparent = ##t
2897 \override Stem #'Y-extent-callback = ##f
2899 \context Lyrics \nam
2904 @item percussion-style
2905 to typeset all kinds of simple percussion on one line staves:
2906 @lilypond[raggedright]
2907 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2908 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2911 \context DrumStaff\with{
2912 \remove Bar_engraver
2913 drumStyleTable = #percussion-style
2914 \override StaffSymbol #'line-count = #1
2915 \remove Time_signature_engraver
2916 \override Stem #'transparent = ##t
2917 \override Stem #'Y-extent-callback = ##f
2919 \context Lyrics \nam
2925 If you do not like any of the predefined lists you can define your own
2926 list at the top of your file:
2928 @lilypond[raggedright,verbatim]
2930 (bassdrum default #f -1)
2931 (snare default #f 0)
2933 (pedalhihat xcircle "stopped" 2)
2934 (lowtom diamond #f 3)
2936 up = \drums { hh8 hh hh hh hhp4 hhp }
2937 down = \drums { bd4 sn bd toml8 toml }
2940 \set DrumStaff.drumStyleTable
2941 = #(alist->hash-table mydrums)
2942 \new DrumVoice { \voiceOne \up }
2943 \new DrumVoice { \voiceTwo \down }
2951 Init files: @file{ly/drumpitch-init.ly}.
2953 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2957 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2958 work for @internalsref{DrumVoices}.
2960 Because general MIDI does not contain rimshots the sidestick is used
2961 for this purpose instead.
2964 @section Piano music
2966 Piano staves are two normal staves coupled with a brace. The staves
2967 are largely independent, but sometimes voices can cross between the
2968 two staves. The same notation is also used for harps and other key
2969 instruments. The @internalsref{PianoStaff} is especially built to
2970 handle this cross-staffing behavior. In this section we discuss the
2971 @internalsref{PianoStaff} and some other pianistic peculiarities.
2975 * Automatic staff changes::
2976 * Manual staff switches::
2979 * Staff switch lines::
2984 There is no support for putting chords across staves. You can get
2985 this result by increasing the length of the stem in the lower stave so
2986 it reaches the stem in the upper stave, or vice versa. An example is
2987 included with the distribution as
2988 @inputfileref{input/test,stem-cross-staff.ly}.
2990 Dynamics are not centered, but kludges do exist. See
2991 @inputfileref{input/template,piano-dynamics.ly}.
2993 @cindex cross staff stem
2994 @cindex stem, cross staff
2996 The distance between the two staves is normally fixed across the
2997 entire score. It is possible to tune this per system, but it does
2998 require arcane command incantations. See
2999 @inputfileref{input/test,piano-staff-distance.ly}.
3006 @node Automatic staff changes
3007 @subsection Automatic staff changes
3008 @cindex Automatic staff changes
3010 Voices can switch automatically between the top and the bottom
3011 staff. The syntax for this is
3013 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3015 The two staffs of the piano staff must be named @code{up} and
3018 The autochanger switches on basis of pitch (central C is the turning
3019 point), and it looks ahead skipping over rests to switch in
3020 advance. Here is a practical example:
3022 @lilypond[verbatim,raggedright,quote]
3023 \score { \notes \context PianoStaff <<
3024 \context Staff = "up" {
3025 \autochange \new Voice \relative c' {
3026 g4 a b c d r4 a g } }
3027 \context Staff = "down" {
3034 In this example, spacer rests are used to prevent the bottom staff from
3035 terminating too soon.
3040 In this manual: @ref{Manual staff switches}.
3042 Internals: @internalsref{AutoChangeMusic}.
3048 The staff switches often do not end up in optimal places. For high
3049 quality output, staff switches should be specified manually.
3053 @node Manual staff switches
3054 @subsection Manual staff switches
3056 @cindex manual staff switches
3057 @cindex staff switch, manual
3059 Voices can be switched between staves manually, using the following command:
3061 \change Staff = @var{staffname} @var{music}
3065 The string @var{staffname} is the name of the staff. It switches the
3066 current voice from its current staff to the Staff called
3067 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3076 Pianos have pedals that alter the way sound are produced. Generally, a
3077 piano has three pedals, sustain, una corda, and sostenuto.
3081 Piano pedal instruction can be expressed by attaching
3082 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3083 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3086 @lilypond[fragment,verbatim]
3087 c'4\sustainDown c'4\sustainUp
3090 What is printed can be modified by setting @code{pedal@var{X}Strings},
3091 where @var{X} is one of the pedal types: @code{Sustain},
3092 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3093 documentation of @internalsref{SustainPedal} for more information.
3095 Pedals can also be indicated by a sequence of brackets, by setting the
3096 @code{pedalSustainStyle} property to @code{bracket} objects:
3098 @lilypond[fragment,verbatim]
3099 \set Staff.pedalSustainStyle = #'bracket
3100 c''4\sustainDown d''4 e''4
3101 a'4\sustainUp\sustainDown
3102 f'4 g'4 a'4\sustainUp
3105 A third style of pedal notation is a mixture of text and brackets,
3106 obtained by setting the @code{pedalSustainStyle} style property to
3109 @lilypond[fragment,verbatim]
3110 \set Staff.pedalSustainStyle = #'mixed
3111 c''4\sustainDown d''4 e''4
3112 c'4\sustainUp\sustainDown
3113 f'4 g'4 a'4\sustainUp
3116 The default `*Ped' style for sustain and damper pedals corresponds to
3117 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3120 @lilypond[fragment,verbatim]
3121 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3124 For fine-tuning of the appearance of a pedal bracket, the properties
3125 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3126 @code{PianoPedalBracket} objects (see
3127 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3128 bracket may be extended to the end of the note head:
3130 @lilypond[fragment,verbatim]
3131 \override Staff.PianoPedalBracket
3132 #'shorten-pair = #'(0 . -1.0)
3133 c''4\sostenutoDown d''4 e''4 c'4
3134 f'4 g'4 a'4\sostenutoUp
3138 @subsection Arpeggio
3141 @cindex broken arpeggio
3142 @cindex @code{\arpeggio}
3144 You can specify an arpeggio sign on a chord by attaching an
3145 @code{\arpeggio} to a chord:
3148 @lilypond[fragment,relative,verbatim]
3152 When an arpeggio crosses staves, you attach an arpeggio to the chords
3153 in both staves, and set
3154 @internalsref{PianoStaff}.@code{connectArpeggios}:
3156 @lilypond[fragment,relative,verbatim]
3157 \context PianoStaff <<
3158 \set PianoStaff.connectArpeggios = ##t
3159 \new Staff { <c' e g c>\arpeggio }
3160 \new Staff { \clef bass <c,, e g>\arpeggio }
3164 The direction of the arpeggio is sometimes denoted by adding an
3165 arrowhead to the wiggly line. This can be typeset by setting
3166 @code{arpeggio-direction}:
3168 @lilypond[fragment,relative,verbatim]
3170 \override Arpeggio #'arpeggio-direction = #1
3172 \override Arpeggio #'arpeggio-direction = #-1
3177 A square bracket on the left indicates that the player should not
3178 arpeggiate the chord. To draw these brackets, set the
3179 @code{print-function} property of @code{Arpeggio} or
3180 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3181 @code{\arpeggio} statements within the chords as before:
3183 @lilypond[fragment,relative,verbatim]
3184 \override PianoStaff.Arpeggio
3185 #'print-function = \arpeggioBracket
3191 @cindex @code{\arpeggioBracket}
3192 @code{\arpeggioBracket},
3193 @cindex @code{\arpeggio}
3198 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3199 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3200 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3204 It is not possible to mix connected arpeggios and unconnected
3205 arpeggios in one @internalsref{PianoStaff} at the same time.
3207 @node Staff switch lines
3208 @subsection Staff switch lines
3211 @cindex follow voice
3212 @cindex staff switching
3215 @cindex @code{followVoice}
3217 Whenever a voice switches to another staff a line connecting the notes
3218 can be printed automatically. This is enabled if the property
3219 @code{PianoStaff.followVoice} is set to true:
3221 @lilypond[fragment,relative,verbatim]
3222 \context PianoStaff <<
3223 \set PianoStaff.followVoice = ##t
3224 \context Staff \context Voice {
3229 \context Staff=two { \clef bass \skip 1*2 }
3233 The associated object is @internalsref{VoiceFollower}.
3237 @cindex @code{\showStaffSwitch}
3238 @code{\showStaffSwitch},
3239 @cindex @code{\hideStaffSwitch}
3240 @code{\hideStaffSwitch}.
3244 @section Vocal music
3246 This section discusses how to enter and print lyrics.
3250 * The Lyrics context::
3255 @node Entering lyrics
3256 @subsection Entering lyrics
3260 @cindex @code{\lyrics}
3263 Lyrics are entered in a special input mode. This mode is is introduced
3264 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3265 punctuation and accents without any hassle. Syllables are entered like
3266 notes, but with pitches replaced by text. For example,
3268 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3271 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3272 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3273 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3274 any 8-bit character with ASCII code over 127, or a two-character
3275 combination of a backslash followed by one of @code{`}, @code{'},
3276 @code{"}, or @code{^}.
3278 Subsequent characters of a word can be any character that is not a digit
3279 and not white space. One important consequence of this is that a word
3280 can end with @code{@}}. The following example is usually a bug. The
3281 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3283 \lyrics @{ twinkle@}
3286 @cindex @code{\property}, in @code{\lyrics}
3287 Similarly, a period following a alphabetic sequence, is included in
3288 the resulting string. As a consequence, spaces must be inserted around
3291 \override Score . LyricText #'font-shape = #'italic
3295 @cindex spaces, in lyrics
3296 @cindex quotes, in lyrics
3298 Any @code{_} character which appears in an unquoted word is converted
3299 to a space. This provides a mechanism for introducing spaces into words
3300 without using quotes. Quoted words can also be used in Lyrics mode to
3301 specify words that cannot be written with the above rules:
3304 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3308 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3313 These will be attached to the end of the first syllable.
3315 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3316 as a separate word between syllables. The hyphen will have variable
3317 length depending on the space between the syllables and it will be
3318 centered between the syllables.
3323 When a lyric is sung over many notes (this is called a melisma), this is
3324 indicated with a horizontal line centered between a syllable and the
3325 next one. Such a line is called an extender line, and it is entered as
3330 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3331 @internalsref{ExtenderEvent}.
3333 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3337 The definition of lyrics mode is too complex.
3341 @node The Lyrics context
3342 @subsection The Lyrics context
3344 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3346 \context Lyrics \lyrics @dots{}
3349 @cindex automatic syllable durations
3350 @cindex @code{\lyricsto}
3351 @cindex lyrics and melodies
3353 This will place the lyrics according to the durations that were
3354 entered. The lyrics can also be aligned under a given melody
3355 automatically. In this case, it is no longer necessary to enter the
3356 correct duration for each syllable. This is achieved by combining the
3357 melody and the lyrics with the @code{\lyricsto} expression:
3359 \lyricsto @var{name} \new Lyrics @dots{}
3362 This aligns the lyrics to the
3364 notes of the @internalsref{Voice} context called @var{name}, which has
3365 to exist. Therefore, normally the @code{Voice} is specified first, and
3366 then the lyrics are specified with @code{\lyricsto}.
3368 For different or more complex orderings, the best way is to setup the
3369 hierarchy of staves and lyrics first, e.g.
3371 \context ChoirStaff \notes <<
3372 \context Lyrics = sopranoLyrics @{ s1 @}
3373 \context Voice = soprano @{ @emph{music} @}
3374 \context Lyrics = tenor @{ s1 @}
3375 \context Voice = tenorLyrics @{ @emph{music} @}
3378 and then combine the appropriate melodies and lyric lines:
3380 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3384 The final input would resemble
3387 << \context ChoirStaff \notes << @emph{setup the music} >>
3388 \lyricsto "soprano" @emph{etc}
3389 \lyricsto "alto" @emph{etc}
3395 The @code{\lyricsto} command detects melismata: it only puts one
3396 syllable under a tied or slurred group of notes. If you want to force
3397 an unslurred group of notes to be a melisma, then insert
3398 @code{\melisma} after the first note of the group, and
3399 @code{\melismaEnd} after the last one, e.g.
3401 @lilypond[relative=1,raggedright,fragment,verbatim]
3402 << \context Voice = "lala" { \time 3/4
3408 \lyricsto "lala" \new Lyrics \lyrics {
3413 In addition, notes are considered a melisma if they are manually
3414 beamed, and automatic beaming (see @ref{Setting automatic beam
3415 behavior}) is switched off. The criteria for deciding melismata
3416 can be tuned with the property @code{melismaBusyProperties}. See
3417 @internalsref{Melisma_translator} for more information.
3419 When multiple stanzas are put on the same melody, it can happen that
3420 two stanzas have melismata in different locations. This can be
3421 remedied by switching off melismata for one
3422 @internalsref{Lyrics}. This is achieved by setting
3423 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3424 in @inputfileref{input/regression,lyric-combine-new.ly}.
3427 @cindex choral score
3429 A complete example of a SATB score setup is in the file
3430 @inputfileref{input/template,satb.ly}.
3435 @code{\melisma}, @code{\melismaEnd}
3436 @cindex @code{\melismaEnd}
3437 @cindex @code{\melisma}
3441 Internals: Music expressions: @internalsref{LyricCombineMusic},
3442 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3444 Examples: @inputfileref{input/template,satb.ly},
3445 @inputfileref{input/regression,lyric-combine-new.ly}.
3449 Melismata are not detected automatically, and extender lines must be
3453 For proper processing of extender lines, the
3454 @internalsref{Lyrics} and @internalsref{Voice} should be
3455 linked. This can be achieved either by using @code{\lyricsto} or by
3456 setting corresponding names for both contexts. The latter is explained
3457 in @ref{More stanzas}.
3460 @subsection More stanzas
3462 @cindex phrasing, in lyrics
3465 The lyrics should be aligned with the note heads of the melody. To
3466 achieve this, each line of lyrics should be marked to correspond with
3467 the melodic line. This is done automatically when @code{\lyricsto},
3468 but it can also be done manually.
3470 To this end, give the @internalsref{Voice} context an identity:
3472 \context Voice = duet @{
3477 Then set the @internalsref{Lyrics} contexts to names starting with
3478 that identity followed by a dash. In the preceding example, the
3479 @internalsref{Voice} identity is @code{duet}, so the identities of the
3480 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3482 \context Lyrics = "duet-1" @{
3483 Hi, my name is bert. @}
3484 \context Lyrics = "duet-2" @{
3485 Ooooo, ch\'e -- ri, je t'aime. @}
3488 The complete example is shown here:
3489 @lilypond[raggedright,verbatim]
3491 << \notes \relative c'' \context Voice = duet { \time 3/4
3493 \lyrics << \lyricsto "duet" \new Lyrics {
3495 \set vocNam = "Bert"
3496 Hi, my name is bert. }
3497 \lyricsto "duet" \new Lyrics {
3499 \set vocNam = "Ernie"
3500 Ooooo, ch\'e -- ri, je t'aime.
3506 @cindex stanza number
3507 @cindex singer's names
3508 @cindex name of singer
3510 Stanza numbers can be added by setting @code{stanza}, e.g.
3518 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3519 prevent @code{stanza} being interpreted as a single
3522 This example also demonstrates how names of the singers can be added
3523 using @code{vocalName} analogous to instrument annotations for staves.
3524 A short version may be entered as @code{vocNam}.
3526 To make empty spaces in lyrics, use @code{\skip}.
3531 Internals: Layout objects @internalsref{LyricText} and
3532 @internalsref{VocalName}. Music expressions:
3533 @internalsref{LyricEvent}.
3539 Input for lyrics introduces a syntactical ambiguity:
3546 is interpreted as assigning a string identifier @code{\foo} such that
3547 it contains @code{"bar"}. However, it could also be interpreted as
3548 making or a music identifier @code{\foo} containing the syllable
3549 `bar'. The force the latter interpretation, use
3559 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3560 for a given voice in a part of music. It also may denote the pitch
3561 range that a musical instrument is capable of playing. Most musical
3562 instruments have their ambitus standardized (or at least there is
3563 agreement upon the minimal ambitus of a particular type of
3564 instrument), such that a composer or arranger of a piece of music can
3565 easily meet the ambitus constraints of the targeted instrument.
3566 However, the ambitus of the human voice depends on individual
3567 physiological state, including education and training of the voice.
3568 Therefore, a singer potentially has to check for each piece of music
3569 if the ambitus of that piece meets his individual capabilities. This
3570 is why the ambitus of a piece may be of particular value to vocal
3573 The ambitus is typically notated on a per-voice basis at the very
3574 beginning of a piece, e.g. nearby the initial clef or time signature of
3575 each staff. The range is graphically specified by two noteheads, that
3576 represent the minimum and maximum pitch. Some publishers use a textual
3577 notation: they put the range in words in front of the corresponding
3578 staff. LilyPond only supports the graphical ambitus notation.
3580 To apply, add the @internalsref{Ambitus_engraver} to the
3581 @internalsref{Voice} context, i.e.
3587 \consists Ambitus_engraver
3592 This results in the following output:
3594 @lilypond[raggedright]
3595 upper = \notes \relative c {
3598 as'' c e2 bes f cis d4 e f2 g
3600 lower = \notes \relative c {
3603 e'4 b g a c es fis a cis b a g f e d2
3606 \context ChoirStaff {
3608 \new Staff { \upper }
3609 \new Staff { \lower }
3615 \consists Ambitus_engraver
3621 If you have multiple voices in a single staff, and you want a single
3622 ambitus per staff rather than per each voice, then add the
3623 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3624 rather than to the @internalsref{Voice} context.
3626 It is possible to tune individual ambituses for multiple voices on a
3627 single staff, for example by erasing or shifting them horizontally. An
3628 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3632 Internals: @internalsref{Ambitus}.
3634 Examples: @inputfileref{input/regression,ambitus.ly},
3635 @inputfileref{input/test,ambitus-mixed.ly}.
3639 There is no collision handling in the case of multiple per-voice
3645 Tablature notation is used for notating music for plucked string
3646 instruments. It notates pitches not by using note heads, but by
3647 indicating on which string and fret a note must be played. LilyPond
3648 offers limited support for tablature.
3651 * Tablatures basic::
3652 * Non-guitar tablatures::
3655 @node Tablatures basic
3656 @subsection Tablatures basic
3657 @cindex Tablatures basic
3659 The string number associated to a note is given as a backslash
3660 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3661 string. By default, string 1 is the highest one, and the tuning
3662 defaults to the standard guitar tuning (with 6 strings). The notes
3663 are printed as tablature, by using @internalsref{TabStaff} and
3664 @internalsref{TabVoice} contexts:
3666 @lilypond[fragment,verbatim]
3667 \notes \context TabStaff {
3675 When no string is specified, the first string that does not give a
3676 fret number less than @code{minimumFret} is selected. The default
3677 value for @code{minimumFret} is 0:
3681 e8 fis gis a b cis' dis' e'
3682 \set TabStaff.minimumFret = #8
3683 e8 fis gis a b cis' dis' e'
3688 e8 fis gis a b cis' dis' e'
3689 \set TabStaff.minimumFret = #8
3690 e8 fis gis a b cis' dis' e'
3693 \context StaffGroup <<
3694 \context Staff { \clef "G_8" \frag }
3695 \context TabStaff { \frag }
3702 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3703 @internalsref{StringNumberEvent}.
3707 Chords are not handled in a special way, and hence the automatic
3708 string selector may easily select the same string to two notes in a
3712 @node Non-guitar tablatures
3713 @subsection Non-guitar tablatures
3714 @cindex Non-guitar tablatures
3716 You can change the number of strings, by setting the number of lines
3717 in the @internalsref{TabStaff}.
3719 You can change the tuning of the strings. A string tuning is given as
3720 a Scheme list with one integer number for each string, the number
3721 being the pitch (measured in semitones relative to central C) of an
3722 open string. The numbers specified for @code{stringTuning} are the
3723 numbers of semitones to subtract or add, starting the specified pitch
3724 by default middle C, in string order. Thus, the notes are e, a, d, and
3727 @lilypond[fragment,verbatim]
3728 \context TabStaff <<
3729 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3732 a,4 c' a e' e c' a e'
3737 It is possible to change the Scheme function to format the tablature
3738 note text. The default is @code{fret-number-tablature-format}, which
3739 uses the fret number. For instruments that do not use this notation,
3740 you can create a special tablature formatting function. This function
3741 takes three argument: string number, string tuning and note pitch.
3745 No guitar special effects have been implemented.
3750 @section Chord names
3753 LilyPond has support for both printing chord names. Chords may be
3754 entered in musical chord notation, i.e. @code{< .. >}, but they can
3755 also be entered by name. Internally, the chords are represented as a
3756 set of pitches, so they can be transposed:
3759 @lilypond[verbatim,raggedright]
3760 twoWays = \notes \transpose c c' {
3770 << \context ChordNames \twoWays
3771 \context Voice \twoWays >> }
3774 This example also shows that the chord printing routines do not try to
3775 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3781 * Printing chord names::
3786 @subsection Chords mode
3789 Chord mode is a mode where you can input sets of pitches using common
3790 names. It is introduced by the keyword @code{\chords}.
3791 In chords mode, a chord is entered by the root, which is entered
3792 like a common pitch:
3793 @lilypond[fragment,verbatim,quote,relative=1]
3794 \chords { es4. d8 c2 }
3799 Other chords may be entered by suffixing a colon, and introducing a
3800 modifier, and optionally, a number:
3802 @lilypond[fragment,verbatim,quote]
3803 \chords { e1:m e1:7 e1:m7 }
3805 The first number following the root is taken to be the `type' of the
3806 chord, thirds are added to the root until it reaches the specified
3808 @lilypond[fragment,verbatim]
3809 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3812 @cindex root of chord
3813 @cindex additions, in chords
3814 @cindex removals, in chords
3816 More complex chords may also be constructed adding separate steps
3817 to a chord. Additions are added after the number following
3818 the colon, and are separated by dots:
3820 @lilypond[verbatim,fragment,quote]
3821 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3823 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3825 @lilypond[verbatim,fragment,quote]
3826 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3828 Removals are specified similarly, and are introduced by a caret. They
3829 must come after the additions:
3830 @lilypond[verbatim,fragment]
3831 \chords { c^3 c:7^5 c:9^3.5 }
3834 Modifiers can be used to change pitches. The following modifiers are
3838 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3840 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3843 is the augmented chord. This modifier raises the 5th step.
3845 is the major 7th chord. This modifier raises the 7th step if present.
3847 is the suspended 4th or 2nd. This modifier removes the 3rd
3848 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3851 Modifiers can be mixed with additions:
3852 @lilypond[verbatim,fragment]
3853 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3856 @cindex modifiers, in chords.
3863 Since an unaltered 11 does not sound good when combined with an
3864 unaltered 13, the 11 is removed in this case (unless it is added
3867 @lilypond[fragment,verbatim]
3868 \chords { c:13 c:13.11 c:m13 }
3873 An inversion (putting one pitch of the chord on the bottom), as well
3874 as bass notes, can be specified by appending
3875 @code{/}@var{pitch} to the chord:
3876 @lilypond[fragment,verbatim,center]
3877 \chords { c1 c/g c/f }
3881 A bass note can be added instead of transposed out of the chord,
3882 by using @code{/+}@var{pitch}.
3884 @lilypond[fragment,verbatim,center]
3885 \chords { c1 c/+g c/+f }
3888 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3889 of the commands continue to work, for example, @code{r} and
3890 @code{\skip} can be used to insert rests and spaces, and property
3891 commands may be used to change various settings.
3897 Each step can only be present in a chord once. The following
3898 simply produces the augmented chord, since @code{5+} is interpreted
3901 @lilypond[verbatim,fragment]
3902 \chords { c:5.5-.5+ }
3906 @node Printing chord names
3907 @subsection Printing chord names
3909 @cindex printing chord names
3913 For displaying printed chord names, use the @internalsref{ChordNames} context.
3914 The chords may be entered either using the notation
3915 described above, or directly using @code{<} and @code{>}:
3917 @lilypond[verbatim,raggedright]
3919 \chords {a1 b c} <d' f' a'> <e' g' b'>
3923 \context ChordNames \scheme
3924 \context Staff \scheme
3929 You can make the chord changes stand out by setting
3930 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3931 display chord names when there is a change in the chords scheme and at
3932 the start of a new line:
3934 @lilypond[verbatim,linewidth=9\cm]
3936 c1:m c:m \break c:m c:m d
3940 \context ChordNames {
3941 \set chordChanges = ##t
3943 \context Staff \transpose c c' \scheme
3948 The default chord name layout is a system for Jazz music, proposed by
3949 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3950 following properties:
3953 @cindex chordNameExceptions
3954 @item chordNameExceptions
3955 This is a list that contains the chords that have special formatting.
3957 @inputfileref{input/regression,chord-name-exceptions.ly}.
3958 @cindex exceptions, chord names.
3961 @cindex majorSevenSymbol
3962 @item majorSevenSymbol
3963 This property contains the markup object used for the 7th step, when
3964 it is major. Predefined options are @code{whiteTriangleMarkup} and
3965 @code{blackTriangleMarkup}. See
3966 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3968 @cindex chordNameSeparator
3969 @item chordNameSeparator
3970 Different parts of a chord name are normally separated by a
3971 slash. By setting @code{chordNameSeparator}, you can specify other
3973 @lilypond[fragment,verbatim]
3974 \context ChordNames \chords {
3976 \set chordNameSeparator
3977 = \markup { \typewriter "|" }
3981 @cindex chordRootNamer
3982 @item chordRootNamer
3983 The root of a chord is usually printed as a letter with an optional
3984 alteration. The transformation from pitch to letter is done by this
3985 function. Special note names (for example, the German ``H'' for a
3986 B-chord) can be produced by storing a new function in this property.
3988 The pre-defined variables @code{\germanChords},
3989 @code{\semiGermanChords} set these variables.
3992 @cindex chordNoteNamer
3993 @item chordNoteNamer
3994 The default is to print single pitch, e.g. the bass note, using the
3995 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3996 to a specialized function to change this behavior. For example, the
3997 base can be printed in lower case.
4002 There are also two other chord name schemes implemented: an alternate
4003 Jazz chord notation, and a systematic scheme called Banter chords. The
4004 alternate jazz notation is also shown on the chart in @ref{Chord name
4005 chart}. Turning on these styles is described in the input file
4006 @inputfileref{input/test,chord-names-jazz.ly}.
4010 @cindex chords, jazz
4015 @cindex @code{\germanChords}
4016 @code{\germanChords},
4017 @cindex @code{\semiGermanChords}
4018 @code{\semiGermanChords}.
4025 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4026 @inputfileref{input/regression,chord-name-exceptions.ly},
4027 @inputfileref{input/test,chord-names-jazz.ly},
4028 @inputfileref{input/test,chord-names-german.ly}.
4030 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4035 Chord names are determined solely from the list of pitches. Chord
4036 inversions are not identified, and neither are added bass notes. This
4037 may result in strange chord names when chords are entered with the
4038 @code{< .. >} syntax.
4043 @node Orchestral music
4044 @section Orchestral music
4046 @cindex Writing parts
4048 Orchestral music involves some special notation, both in the full
4049 score and the individual parts. This section explains how to tackle
4050 some common problems in orchestral music.
4055 * Multiple staff contexts::
4058 * Instrument names::
4060 * Multi measure rests::
4061 * Automatic part combining::
4063 * Different editions from one source::
4064 * Sound output for transposing instruments::
4067 @node Multiple staff contexts
4068 @subsection Multiple staff contexts
4070 Polyphonic scores consist of many staves. These staves can be
4071 constructed in three different ways:
4073 @item The group is started with a brace at the left. This is done with the
4074 @internalsref{GrandStaff} context.
4075 @item The group is started with a bracket. This is done with the
4076 @internalsref{StaffGroup} context
4077 @item The group is started with a vertical line. This is the default
4081 @cindex Staff, multiple
4082 @cindex bracket, vertical
4083 @cindex brace, vertical
4090 @node Rehearsal marks
4091 @subsection Rehearsal marks
4092 @cindex Rehearsal marks
4094 @cindex @code{\mark}
4096 To print a rehearsal mark, use the @code{\mark} command:
4097 @lilypond[fragment,verbatim]
4108 (The letter I is skipped in accordance with engraving traditions.)
4110 The mark is incremented automatically if you use @code{\mark
4111 \default}, but you can also use an integer argument to set the mark
4112 manually. The value to use is stored in the property
4113 @code{rehearsalMark}.
4115 The style is defined by the property @code{markFormatter}. It is a
4116 function taking the current mark (an integer) and the current context
4117 as argument. It should return a markup object. In the following
4118 example, @code{markFormatter} is set to a canned procedure. After a
4119 few measures, it is set to function that produces a boxed number.
4121 @lilypond[verbatim,fragment,relative=1]
4122 \set Score.markFormatter = #format-mark-numbers
4125 \set Score.markFormatter
4126 = #(lambda (mark context)
4127 (make-bold-markup (make-box-markup (number->string mark))))
4132 The file @file{scm/translation-functions.scm} contains the definitions
4133 of @code{format-mark-numbers} (the default format) and
4134 @code{format-mark-letters}. They can be used as inspiration for other
4135 formatting functions.
4138 @cindex coda on bar line
4139 @cindex segno on bar line
4140 @cindex fermata on bar line
4141 @cindex bar lines, symbols on
4143 The @code{\mark} command can also be used to put signs like coda,
4144 segno and fermatas on a barline. Use @code{\markup} to
4145 to access the appropriate symbol:
4147 @lilypond[fragment,verbatim,relative=1]
4148 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4152 In this case, during line breaks, marks must also be printed at the
4153 end of the line, and not at the beginning. Use the following to force
4156 \override Score.RehearsalMark
4157 #'break-visibility = #begin-of-line-invisible
4163 @cindex barlines, putting symbols on
4167 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4169 Init files: @file{scm/translation-functions.scm} contains the
4170 definition of @code{format-mark-numbers} and
4171 @code{format-mark-letters}. They can be used as inspiration for other
4172 formatting functions.
4174 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4175 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4179 @subsection Bar numbers
4183 @cindex measure numbers
4184 @cindex currentBarNumber
4186 Bar numbers are printed by default at the start of the line. The
4187 number itself is stored in the
4188 @code{currentBarNumber} property,
4189 which is normally updated automatically for every measure.
4191 Bar numbers can be typeset at regular intervals instead of at the
4192 beginning of each line. This is illustrated in the following example,
4193 whose source is available as
4194 @inputfileref{input/test,bar-number-regular-interval.ly}:
4196 @lilypondfile[]{bar-number-regular-interval.ly}
4201 Internals: @internalsref{BarNumber}.
4203 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4204 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4208 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4209 there is one at the top. To solve this, the
4210 @code{padding} property of @internalsref{BarNumber} can be
4211 used to position the number correctly.
4213 @node Instrument names
4214 @subsection Instrument names
4216 In an orchestral score, instrument names are printed left side of the
4219 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4220 and @internalsref{Staff}.@code{instr}. This will print a string before
4221 the start of the staff. For the first start, @code{instrument} is
4222 used, for the next ones @code{instr} is used:
4225 @lilypond[verbatim,raggedright]
4226 \set Staff.instrument = "ploink " { c''4 }
4230 You can also use markup texts to construct more complicated instrument
4234 @lilypond[fragment,verbatim,raggedright]
4236 \set Staff.instrument = \markup {
4237 \column < "Clarinetti"
4250 Internals: @internalsref{InstrumentName}.
4254 When you put a name on a grand staff or piano staff the width of the
4255 brace is not taken into account. You must add extra spaces to the end of
4256 the name to avoid a collision.
4259 @subsection Transpose
4261 @cindex transposition of pitches
4262 @cindex @code{\transpose}
4264 A music expression can be transposed with @code{\transpose}. The syntax
4267 \transpose @var{from} @var{to} @var{musicexpr}
4270 This means that @var{musicexpr} is transposed by the interval between
4271 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4272 is changed to @code{to}.
4275 For example, consider a piece written in the key of D major. If
4276 this piece is a little too low for its performer, it can be
4277 transposed up to E major with
4279 \tranpose d e @dots{}
4282 Consider a part written for violin (a C instrument). If
4283 this part is to be played on the A clarinet, the following
4284 transposition will produce the appropriate part
4287 \transpose a c @dots{}
4290 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4291 inside a @code{\notes} section. @code{\transpose} distinguishes
4292 between enharmonic pitches: both @code{\transpose c cis} or
4293 @code{\transpose c des} will transpose up half a tone. The first
4294 version will print sharps and the second version will print flats:
4296 @lilypond[raggedright,verbatim]
4297 mus =\notes { \key d \major cis d fis g }
4298 \score { \notes \context Staff {
4301 \transpose c g' \mus
4302 \transpose c f' \mus
4309 Internals: @internalsref{TransposedMusic}, and
4310 @internalsref{UntransposableMusic}.
4314 If you want to use both @code{\transpose} and @code{\relative}, then
4315 you must put @code{\transpose} outside of @code{\relative}, since
4316 @code{\relative} will have no effect music that appears inside a
4322 @node Multi measure rests
4323 @subsection Multi measure rests
4324 @cindex multi measure rests
4325 @cindex Rests, multi measure
4329 Multi measure rests are entered using `@code{R}'. It is specifically
4330 meant for full bar rests and for entering parts: the rest can expand
4331 to fill a score with rests, or it can be printed as a single
4332 multimeasure rest. This expansion is controlled by the property
4333 @code{Score.skipBars}. If this is set to true, empty measures will not
4334 be expanded, and the appropriate number is added automatically:
4336 @lilypond[fragment,verbatim]
4337 \time 4/4 r1 | R1 | R1*2
4338 \set Score.skipBars = ##t R1*17 R1*4
4341 The @code{1} in @code{R1} is similar to the duration notation used for
4342 notes. Hence, for time signatures other than 4/4, you must enter other
4343 durations. This can be done with augmentation dots or fractions:
4345 @lilypond[fragment,verbatim]
4346 \set Score.skipBars = ##t
4354 An @code{R} spanning a single measure is printed as either a whole rest
4355 or a breve, centered in the measure regardless of the time signature.
4357 @cindex text on multi-measure rest
4358 @cindex script on multi-measure rest
4359 @cindex fermata on multi-measure rest
4361 Texts can be added to multi-measure rests by using the
4362 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4363 replaced. If you need both texts and the number, you must add the
4364 number by hand. A variable (@code{\fermataMarkup}) is provided for
4368 @lilypond[verbatim,fragment]
4370 R2._\markup { "Ad lib" }
4374 If you want to have a text on the left end of a multi-measure rest,
4375 attach the text to a zero-length skip note, i.e.
4383 @cindex whole rests for a full measure
4387 Internals: @internalsref{MultiMeasureRestEvent},
4388 @internalsref{MultiMeasureTextEvent},
4389 @internalsref{MultiMeasureRestMusicGroup}, and
4390 @internalsref{MultiMeasureRest}.
4392 The layout object @internalsref{MultiMeasureRestNumber} is for the
4393 default number, and @internalsref{MultiMeasureRestText} for user
4398 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4399 over multi-measure rests.
4401 @cindex condensing rests
4403 There is no way to automatically condense multiple rests into a single
4404 multimeasure rest. Multi measure rests do not take part in rest
4407 Be careful when entering multimeasure rests followed by whole
4408 notes. The following will enter two notes lasting four measures each:
4412 When @code{skipBars} is set, then the result will look OK, but the
4413 bar numbering will be off.
4415 @node Automatic part combining
4416 @subsection Automatic part combining
4417 @cindex automatic part combining
4418 @cindex part combiner
4421 Automatic part combining is used to merge two parts of music onto a
4422 staff. It is aimed at typesetting orchestral scores. When the two
4423 parts are identical for a period of time, only one is shown. In
4424 places where the two parts differ, they are typeset as separate
4425 voices, and stem directions are set automatically. Also, solo and
4426 @emph{a due} parts are identified and can be marked.
4430 The syntax for part combining is
4433 \partcombine @var{musicexpr1} @var{musicexpr2}
4436 The music expressions will be interpreted as @internalsref{Voice} contexts.
4438 The following example demonstrates the basic functionality of the part
4439 combiner: putting parts on one staff, and setting stem directions and
4442 @lilypond[verbatim,raggedright,fragment,relative=1]
4443 \new Staff \partcombine
4452 The first @code{g} appears only once, although it was
4453 specified twice (once in each part). Stem, slur and tie directions are
4454 set automatically, depending whether there is a solo or unisono. The
4455 first part (with context called @code{one}) always gets up stems, and
4456 `solo', while the second (called @code{two}) always gets down stems and
4459 If you just want the merging parts, and not the textual markings, you
4460 may set the property @var{soloADue} to false:
4462 @lilypond[verbatim,raggedright,fragment]
4464 \set Staff.soloADue = ##f
4476 Internals: @internalsref{PartCombineMusic},
4477 @internalsref{SoloOneEvent}, and
4478 @internalsref{SoloTwoEvent}, and
4479 @internalsref{UnisonoEvent}.
4483 In @code{soloADue} mode, when the two voices play the same notes on and
4484 off, the part combiner may typeset @code{a2} more than once in a
4487 @code{\partcombine} can not be inside @code{\times}.
4492 @subsection Hiding staves
4494 @cindex Frenched scores
4495 @cindex Hiding staves
4497 In orchestral scores, staff lines that only have rests are usually
4498 removed. This saves some space. This style is called `French Score'.
4499 For @internalsref{Lyrics}, @internalsref{Lyrics},
4500 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4501 switched on by default. When these line of these contexts turn out
4502 empty after the line-breaking process, they are removed.
4504 For normal staves, a specialized @internalsref{Staff} context is
4505 available, which does the same: staves containing nothing (or only
4506 multi measure rests) are removed. The context definition is stored in
4507 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4508 in this example disappears in the second line:
4513 \notes \relative c' <<
4514 \new Staff { e4 f g a \break c1 }
4515 \new Staff { c4 d e f \break R1 }
4519 \translator { \RemoveEmptyStaffContext }
4524 The first page shows all staffs in full. If they should be removed
4525 from the first page too, set @code{remove-first} to false
4526 in @internalsref{RemoveEmptyVerticalGroup}.
4528 Another application is making ossia sections, i.e. alternative
4529 melodies on a separate piece of staff, with help of a Frenched
4530 staff. See @inputfileref{input/test,ossia.ly} for an example.
4533 @node Different editions from one source
4534 @subsection Different editions from one source
4536 The @code{\tag} command marks music expressions with a name. These
4537 tagged expressions can be filtered out later. With this mechanism it
4538 is possible to make different versions of the same music source.
4540 In the following example, we see two versions of a piece of music, one
4541 for the full score, and one with cue notes for the instrumental part:
4557 The same can be applied to articulations, texts, etc.: they are
4560 -\tag #@var{your-tag}
4562 to an articulation, for example,
4567 This defines a note with a conditional fingering indication.
4569 By applying the @code{remove-tag} function, tagged expressions can be
4570 filtered. For example,
4574 \apply #(remove-tag 'score) @var{the music}
4575 \apply #(remove-tag 'part) @var{the music}
4580 @lilypondfile[]{tag-filter.ly}
4582 The argument of the @code{\tag} command should be a symbol, or a list
4583 of symbols, for example,
4585 \tag #'(original-part transposed-part) @dots{}
4590 Examples: @inputfileref{input/regression,tag-filter.ly}.
4593 @node Sound output for transposing instruments
4594 @subsection Sound output for transposing instruments
4596 When you want to make a MIDI file from a score containing transposed
4597 and untransposed instruments, you have to instruct LilyPond the pitch
4598 offset (in semitones) for the transposed instruments. This is done
4599 using the @code{transposing} property. It does not affect printed
4602 @cindex @code{transposing}
4605 \set Staff.instrument = #"Cl. in B-flat"
4606 \set Staff.transposing = #-2
4610 @node Ancient notation
4611 @section Ancient notation
4613 @cindex Vaticana, Editio
4614 @cindex Medicaea, Editio
4619 @c [TODO: write more comprehensive introduction on ancient notation]
4621 Support for ancient notation is still under heavy development.
4622 Regardless of all of the current limitations (see the bugs section
4623 below for details), it includes features for mensural
4624 notation and Gregorian Chant notation. There is also limited support
4625 for figured bass notation.
4627 Many graphical objects provide a @code{style} property, see
4628 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4629 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4630 signatures}. By manipulating such a grob property, the typographical
4631 appearance of the affected graphical objects can be accomodated for a
4632 specific notation flavour without need for introducing any new
4636 Other aspects of ancient notation can not that easily be expressed as
4637 in terms of just changing a style property of a graphical object.
4638 Therefore, some notational concepts are introduced specifically for
4639 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4640 @ref{Ligatures}, and @ref{Figured bass}.
4644 * Ancient note heads::
4645 * Ancient accidentals::
4649 * Ancient time signatures::
4654 * Vaticana style contexts::
4657 If this all is way too much of documentation for you, and you just
4658 want to dive into typesetting without worrying too much about the
4659 details on how to customize a context, then you may have a look at the
4660 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4661 set up predefined style-specific voice and staff contexts, and
4662 directly go ahead with the note entry.
4666 Ligatures need special spacing that has not yet been implemented. As
4667 a result, there is too much space between ligatures most of the time,
4668 and line breaking often is unsatisfactory. Also, lyrics do not
4669 correctly align with ligatures.
4671 Accidentals must not be printed within a ligature, but instead need to
4672 be collected and printed in front of it.
4674 Augmentum dots within ligatures are not handled correctly.
4677 @node Ancient note heads
4678 @subsection Ancient note heads
4684 For ancient notation, a note head style other than the @code{default}
4685 style may be chosen. This is accomplished by setting the @code{style}
4686 property of the NoteHead object to the desired value (@code{baroque},
4687 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4688 differs from the @code{default} style only in using a square shape for
4689 @code{\breve} note heads. The @code{neo_mensural} style differs from
4690 the @code{baroque} style in that it uses rhomboidal heads for whole
4691 notes and all smaller durations. Stems are centered on the note
4692 heads. This style is in particular useful when transcribing mensural
4693 music, e.g. for the incipit. The @code{mensural} style finally
4694 produces note heads that mimick the look of note heads in historic
4695 printings of the 16th century.
4697 The following example demonstrates the @code{neo_mensural} style:
4699 @lilypond[fragment,raggedright,verbatim]
4700 \override NoteHead #'style = #'neo_mensural
4701 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4704 When typesetting a piece in Gregorian Chant notation, a Gregorian
4705 ligature engraver will automatically select the proper note heads,
4706 such there is no need to explicitly set the note head style. Still,
4707 the note head style can be set e.g. to @code{vaticana_punctum} to
4708 produce punctum neumes. Similarly, a mensural ligature engraver is
4709 used to automatically assemble mensural ligatures. See
4710 @ref{Ligatures} for how ligature engravers work.
4715 @ref{Percussion staves} use note head styles of their own that are
4716 frequently used in contemporary music notation.
4718 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4719 overview over all available note head styles.
4722 @node Ancient accidentals
4723 @subsection Ancient accidentals
4729 Use the @code{style} property of grob @internalsref{Accidental} to
4730 select ancient accidentals. Supported styles are
4731 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4733 @lilypond[raggedright,staffsize=26]
4741 { " " \musicglyph #"accidentals-vaticana-1"
4742 " " \musicglyph #"accidentals-vaticana0" }
4746 { " " \musicglyph #"accidentals-medicaea-1" }
4750 { " " \musicglyph #"accidentals-hufnagel-1" }
4754 { " " \musicglyph #"accidentals-mensural-1"
4755 " " \musicglyph #"accidentals-mensural1" }
4764 \remove "Bar_number_engraver"
4768 \remove "Clef_engraver"
4769 \remove "Key_engraver"
4770 \remove "Time_signature_engraver"
4771 \remove "Staff_symbol_engraver"
4772 minimumVerticalExtent = ##f
4778 As shown, not all accidentals are supported by each style. When
4779 trying to access an unsupported accidental, LilyPond will switch to a
4780 different style, as demonstrated in
4781 @inputfileref{input/test,ancient-accidentals.ly}.
4783 Similarly to local accidentals, the style of the key signature can be
4784 controlled by the @code{style} property of the
4785 @internalsref{KeySignature} grob.
4789 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4790 @ref{Accidentals} give a general introduction into the use of
4791 accidentals. @ref{Key signature} gives a general introduction into
4792 the use of key signatures.
4794 Internals: @internalsref{KeySignature}.
4796 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4799 @subsection Ancient rests
4805 Use the @code{style} property of grob @internalsref{Rest} to select
4806 ancient accidentals. Supported styles are @code{classical},
4807 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4808 from the @code{default} style only in that the quarter rest looks like
4809 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4810 well for e.g. the incipit of a transcribed mensural piece of music.
4811 The @code{mensural} style finally mimicks the appearance of rests as
4812 in historic prints of the 16th century.
4814 The following example demonstrates the @code{neo_mensural} style:
4816 @lilypond[fragment,raggedright,verbatim]
4817 \override Rest #'style = #'neo_mensural
4818 r\longa r\breve r1 r2 r4 r8 r16
4821 There are no 32th and 64th rests specifically for the mensural or
4822 neo-mensural style. Instead, the rests from the default style will be
4823 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4826 There are no rests in Gregorian Chant notation; instead, it uses
4831 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4835 @subsection Ancient clefs
4841 LilyPond supports a variety of clefs, many of them ancient.
4843 The following table shows all ancient clefs that are supported via the
4844 @code{\clef} command. Some of the clefs use the same glyph, but
4845 differ only with respect to the line they are printed on. In such
4846 cases, a trailing number in the name is used to enumerate these clefs.
4847 Still, you can manually force a clef glyph to be typeset on an
4848 arbitrary line, as described in @ref{Clef}. The note printed to the
4849 right side of each clef in the example column denotes the @code{c'}
4850 with respect to that clef.
4852 @multitable @columnfractions .3 .3 .3 .1
4856 @b{Description} @tab
4857 @b{Supported Clefs} @tab
4861 @code{clefs-neo_mensural_c} @tab
4862 modern style mensural C clef @tab
4863 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4864 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4865 @lilypond[relative,notime]
4866 \override Staff.TimeSignature #'transparent = ##t
4867 \clef "neo_mensural_c2" c
4871 @code{clefs-petrucci_c1}
4872 @code{clefs-petrucci_c2}
4873 @code{clefs-petrucci_c3}
4874 @code{clefs-petrucci_c4}
4875 @code{clefs-petrucci_c5}
4878 petrucci style mensural C clefs, for use on different stafflines
4879 (the examples shows the 2nd staffline C clef).
4889 @lilypond[relative,notime]
4890 \override Staff.TimeSignature #'transparent = ##t
4891 \clef "petrucci_c2" c
4895 @code{clefs-petrucci_f} @tab
4896 petrucci style mensural F clef @tab
4897 @code{petrucci_f} @tab
4898 @lilypond[relative,notime]
4899 \override Staff.TimeSignature #'transparent = ##t
4900 \clef "petrucci_f" c
4904 @code{clefs-petrucci_g} @tab
4905 petrucci style mensural G clef @tab
4906 @code{petrucci_g} @tab
4907 @lilypond[relative,notime]
4908 \override Staff.TimeSignature #'transparent = ##t
4909 \clef "petrucci_g" c
4913 @code{clefs-mensural_c} @tab
4914 historic style mensural C clef @tab
4915 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4916 @code{mensural_c4} @tab
4917 @lilypond[relative,notime]
4918 \override Staff.TimeSignature #'transparent = ##t
4919 \clef "mensural_c2" c
4923 @code{clefs-mensural_f} @tab
4924 historic style mensural F clef @tab
4925 @code{mensural_f} @tab
4926 @lilypond[relative,notime]
4927 \override Staff.TimeSignature #'transparent = ##t
4928 \clef "mensural_f" c
4932 @code{clefs-mensural_g} @tab
4933 historic style mensural G clef @tab
4934 @code{mensural_g} @tab
4935 @lilypond[relative,notime]
4936 \override Staff.TimeSignature #'transparent = ##t
4937 \clef "mensural_g" c
4941 @code{clefs-vaticana_do} @tab
4942 Editio Vaticana style do clef @tab
4943 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4944 @lilypond[relative,notime]
4945 \override Staff.StaffSymbol #'line-count = #4
4946 \override Staff.TimeSignature #'transparent = ##t
4947 \clef "vaticana_do2" c
4951 @code{clefs-vaticana_fa} @tab
4952 Editio Vaticana style fa clef @tab
4953 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4954 @lilypond[relative,notime]
4955 \override Staff.StaffSymbol #'line-count = #4
4956 \override Staff.TimeSignature #'transparent = ##t
4957 \clef "vaticana_fa2" c
4961 @code{clefs-medicaea_do} @tab
4962 Editio Medicaea style do clef @tab
4963 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4964 @lilypond[relative,notime]
4965 \override Staff.StaffSymbol #'line-count = #4
4966 \override Staff.TimeSignature #'transparent = ##t
4967 \clef "medicaea_do2" c
4971 @code{clefs-medicaea_fa} @tab
4972 Editio Medicaea style fa clef @tab
4973 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4974 @lilypond[relative,notime]
4975 \override Staff.StaffSymbol #'line-count = #4
4976 \override Staff.TimeSignature #'transparent = ##t
4977 \clef "medicaea_fa2" c
4981 @code{clefs-hufnagel_do} @tab
4982 historic style hufnagel do clef @tab
4983 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4984 @lilypond[relative,notime]
4985 \override Staff.StaffSymbol #'line-count = #4
4986 \override Staff.TimeSignature #'transparent = ##t
4987 \clef "hufnagel_do2" c
4991 @code{clefs-hufnagel_fa} @tab
4992 historic style hufnagel fa clef @tab
4993 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4994 @lilypond[relative,notime]
4995 \override Staff.StaffSymbol #'line-count = #4
4996 \override Staff.TimeSignature #'transparent = ##t
4997 \clef "hufnagel_fa2" c
5001 @code{clefs-hufnagel_do_fa} @tab
5002 historic style hufnagel combined do/fa clef @tab
5003 @code{hufnagel_do_fa} @tab
5004 @lilypond[relative,notime]
5005 \override Staff.TimeSignature #'transparent = ##t
5006 \clef "hufnagel_do_fa" c
5011 @c --- This should go somewhere else: ---
5012 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5015 @c @code{percussion}
5017 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5019 @c @item modern style tab clef (glyph: @code{clefs-tab})
5024 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5026 @emph{Modern style} means ``as is typeset in contemporary editions of
5027 transcribed mensural music''.
5029 @emph{Petrucci style} means ``inspired by printings published by the
5030 famous engraver Petrucci (1466-1539)''.
5032 @emph{Historic style} means ``as was typeset or written in historic
5033 editions (other than those of Petrucci)''.
5035 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5037 Petrucci used C clefs with differently balanced left-side vertical
5038 beams, depending on which staffline it is printed.
5042 In this manual: for the percussion clef, see @ref{Percussion staves}.
5043 For the @code{TAB} clef, see @ref{Tablatures}.
5045 Internals: for modern clefs, see @ref{Clef}.
5049 The mensural g clef is temporarily mapped to the Petrucci g clef,
5050 until a new mensural g clef will have been implemented.
5055 @subsection Ancient flags
5061 Use the @code{flag-style} property of grob @internalsref{Stem} to
5062 select ancient flags. Besides the @code{default} flag style,
5063 only @code{mensural} style is supported:
5065 @lilypond[fragment,raggedright,verbatim]
5066 \override Stem #'flag-style = #'mensural
5067 \override Stem #'thickness = #1.0
5068 \override NoteHead #'style = #'mensural
5070 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
5071 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5074 Note that the innermost flare of each mensural flag always is
5075 vertically aligned with a staff line. If you do not like this
5076 behaviour, you can set the @code{adjust-if-on-staffline} property of
5077 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5078 of the end of each flare is different between notes on staff lines and
5079 notes between staff lines:
5081 @lilypond[fragment,raggedright]
5082 \override Stem #'flag-style = #'mensural
5083 \override Stem #'thickness = #1.0
5084 \override Stem #'adjust-if-on-staffline = ##f
5085 \override NoteHead #'style = #'mensural
5087 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
5088 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5091 There is no particular flag style for neo-mensural notation. Hence,
5092 when typesetting e.g. the incipit of a transcibed piece of mensural
5093 music, the default flag style should be used. There are no flags in
5094 Gregorian Chant notation.
5097 @node Ancient time signatures
5098 @subsection Ancient time signatures
5100 @cindex time signatures
5104 There is limited support for mensural time signatures. The
5105 glyphs are hard-wired to particular time fractions. In other words,
5106 to get a particular mensural signature glyph with the @code{\time n/m}
5107 command, @code{n} and @code{m} have to be chosen according to the
5113 \set Score.timing = ##f
5114 \set Score.barAlways = ##t
5115 s_\markup { "$\\backslash$time 4/4" }
5116 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5118 s_\markup { "$\\backslash$time 2/2" }
5119 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5121 s_\markup { "$\\backslash$time 6/4" }
5122 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5124 s_\markup { "$\\backslash$time 6/8" }
5125 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5127 s_\markup { "$\\backslash$time 3/2" }
5128 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5130 s_\markup { "$\\backslash$time 3/4" }
5131 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5133 s_\markup { "$\\backslash$time 9/4" }
5134 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5136 s_\markup { "$\\backslash$time 9/8" }
5137 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5139 s_\markup { "$\\backslash$time 4/8" }
5140 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5142 s_\markup { "$\\backslash$time 2/4" }
5143 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5151 \remove Staff_symbol_engraver
5152 \remove Clef_engraver
5153 \remove Time_signature_engraver
5159 Use the @code{style} property of grob @internalsref{TimeSignature} to
5160 select ancient time signatures. Supported styles are
5161 @code{neo_mensural} and @code{mensural}. The above table uses the
5162 @code{neo_mensural} style. This style is appropriate e.g. for the
5163 incipit of transcriptions of mensural pieces. The @code{mensural}
5164 style mimicks the look of historical printings of the 16th century.
5166 @inputfileref{input/test,time.ly} gives an overview over all available
5167 ancient and modern styles.
5171 Internals: @ref{Time signature} gives a general introduction into the use of time
5176 Mensural signature glyphs are mapped to time fractions in a
5177 hard-wired way. This mapping is sensible, but still arbitrary: given
5178 a mensural time signature, the time fraction represents a modern meter
5179 that usually will be a good choice when transcribing a mensural piece
5180 of music. For a particular piece of mensural music, however, the
5181 mapping may be unsatisfactory. In particular, the mapping assumes a
5182 fixed transcription of durations (e.g. brevis = half note in 2/2,
5183 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5184 are not at all accessible through the @code{\time} command.
5186 Mensural time signatures are supported typographically, but not yet
5187 musically. The internal representation of durations is
5188 based on a purely binary system; a ternary division such as 1 brevis =
5189 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5190 prolatione maiori) is not correctly handled: event times in ternary
5191 modes will be badly computed, resulting e.g. in horizontally
5192 misaligned note heads, and bar checks are likely to erroneously fail.
5194 The syntax and semantics of the @code{\time} command for mensural
5195 music is subject to change.
5198 @subsection Custodes
5203 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5204 symbol that appears at the end of a staff. It anticipates the pitch
5205 of the first note(s) of the following line and thus helps the player
5206 or singer to manage line breaks during performance, thus enhancing
5207 readability of a score.
5209 Custodes were frequently used in music notation until the 17th
5210 century. Nowadays, they have survived only in a few particular forms
5211 of musical notation such as contemporary editions of Gregorian chant
5212 like the @emph{editio vaticana}. There are different custos glyphs
5213 used in different flavours of notational style.
5217 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5218 @internalsref{Staff} context when declaring the @code{\paper} block,
5219 as shown in the following example:
5225 \consists Custos_engraver
5226 Custos \override #'style = #'mensural
5231 The result looks like this:
5237 \override Staff.Custos #'style = #'mensural
5244 \consists Custos_engraver
5251 The custos glyph is selected by the @code{style} property. The styles
5252 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5253 @code{mensural}. They are demonstrated in the following fragment:
5263 { " " \musicglyph #"custodes-vaticana-u0" }
5267 { " " \musicglyph #"custodes-medicaea-u0" }
5271 { " " \musicglyph #"custodes-hufnagel-u0" }
5275 { " " \musicglyph #"custodes-mensural-u0" }
5284 \remove "Bar_number_engraver"
5288 \remove "Clef_engraver"
5289 \remove "Key_engraver"
5290 \remove "Time_signature_engraver"
5291 \remove "Staff_symbol_engraver"
5292 minimumVerticalExtent = ##f
5298 If the boolean property @code{adjust-if-on-staffline} is set to
5299 @code{#t} (which it is by default), lily typesets slightly different
5300 variants of the custos glyph, depending on whether the custos, is
5301 typeset on or between stafflines. The glyph will
5302 optically fit well into the staff, with the appendage on the right of
5303 the custos always ending at the same vertical position between two
5304 stafflines regardless of the pitch. If you set
5305 @code{adjust-if-on-staffline} to @code{#f}, then
5306 a compromise between both forms is used.
5308 Just like stems can be attached to noteheads in two directions
5309 @emph{up} and @emph{down}, each custos glyph is available with its
5310 appendage pointing either up or down. If the pitch of a custos is
5311 above a selectable position, the appendage will point downwards; if
5312 the pitch is below this position, the appendage will point upwards.
5313 Use property @code{neutral-position} to select this position. By
5314 default, it is set to @code{0}, such that the neutral position is the
5315 center of the staff. Use property @code{neutral-direction} to control
5316 what happens if a custos is typeset on the neutral position itself.
5317 By default, this property is set to @code{-1}, such that the appendage
5318 will point downwards. If set to @code{1}, the appendage will point
5319 upwards. Other values such as @code{0} are reserved for future
5320 extensions and should not be used.
5324 Internals: @internalsref{Custos}.
5326 Examples: @inputfileref{input/regression,custos.ly}.
5330 @subsection Divisiones
5336 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5337 `division') is a staff context symbol that is used to structure
5338 Gregorian music into phrases and sections. The musical meaning of
5339 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5340 can be characterized as short, medium and long pause, somewhat like
5341 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5342 a chant, but is also frequently used within a single
5343 antiphonal/responsorial chant to mark the end of each section.
5347 To use divisiones, include the file @code{gregorian-init.ly}. It
5348 contains definitions that you can apply by just inserting
5349 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5350 and @code{\finalis} at proper places in the input. Some editions use
5351 @emph{virgula} or @emph{caesura} instead of divisio minima.
5352 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5355 @lilypondfile[]{divisiones.ly}
5359 @cindex @code{\virgula}
5361 @cindex @code{\caesura}
5363 @cindex @code{\divisioMinima}
5364 @code{\divisioMinima},
5365 @cindex @code{\divisioMaior}
5366 @code{\divisioMaior},
5367 @cindex @code{\divisioMaxima}
5368 @code{\divisioMaxima},
5369 @cindex @code{\finalis}
5374 In this manual: @ref{Breath marks}.
5376 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5378 Examples: @inputfileref{input/test,divisiones.ly}.
5381 @subsection Ligatures
5385 @c TODO: Should double check if I recalled things correctly when I wrote
5386 @c down the following paragraph by heart.
5388 In musical terminology, a ligature is a coherent graphical symbol that
5389 represents at least two distinct notes. Ligatures originally appeared
5390 in the manuscripts of Gregorian chant notation roughly since the 9th
5391 century as an allusion to the accent symbols of greek lyric poetry to
5392 denote ascending or descending sequences of notes. Both, the shape
5393 and the exact meaning of ligatures changed tremendously during the
5394 following centuries: In early notation, ligatures were used for
5395 monophonic tunes (Gregorian chant) and very soon denoted also the way
5396 of performance in the sense of articulation. With upcoming
5397 multiphony, the need for a metric system arised, since multiple voices
5398 of a piece have to be synchronized some way. New notation systems
5399 were invented that used the manifold shapes of ligatures to now denote
5400 rhythmical patterns (e.g. black mensural notation, mannered notation,
5401 ars nova). With the invention of the metric system of the white
5402 mensural notation, the need for ligatures to denote such patterns
5403 disappeared. Nevertheless, ligatures were still in use in the
5404 mensural system for a couple of decades until they finally disappeared
5405 during the late 16th / early 17th century. Still, ligatures have
5406 survived in contemporary editions of Gregorian chant such as the
5407 Editio Vaticana from 1905/08.
5411 Syntactically, ligatures are simply enclosed by @code{\[} and
5412 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5413 additional input syntax specific for this particular type of ligature.
5414 By default, the @internalsref{LigatureBracket} engraver just puts a
5415 square bracket above the ligature:
5417 @lilypond[raggedright,verbatim]
5419 \notes \transpose c c' {
5427 To select a specific style of ligatures, a proper ligature engraver
5428 has to be added to the @internalsref{Voice} context, as explained in
5429 the following subsections. Only white mensural ligatures
5430 are supported with certain limitations. Support for Editio Vaticana
5431 will be added in the future.
5434 * White mensural ligatures::
5435 * Gregorian square neumes ligatures::
5438 @node White mensural ligatures
5439 @subsubsection White mensural ligatures
5441 @cindex Mensural ligatures
5442 @cindex White mensural ligatures
5444 There is limited support for white mensural ligatures. The
5445 implementation is still experimental; it may output strange
5446 warnings or even crash in some cases or produce weird results on more
5451 To engrave white mensural ligatures, in the paper block the
5452 @internalsref{Mensural_ligature_engraver} has to be put into the
5453 @internalsref{Voice} context, and remove the
5454 @internalsref{Ligature_bracket_engraver}:
5460 \remove Ligature_bracket_engraver
5461 \consists Mensural_ligature_engraver
5466 There is no additional input language to describe the shape of a
5467 white mensural ligature. The shape is rather determined solely from
5468 the pitch and duration of the enclosed notes. While this approach may
5469 take a new user a while to get accustomed, it has the great advantage
5470 that the full musical information of the ligature is known internally.
5471 This is not only required for correct MIDI output, but also allows for
5472 automatic transcription of the ligatures.
5477 \set Score.timing = ##f
5478 \set Score.defaultBarType = "empty"
5479 \override NoteHead #'style = #'neo_mensural
5480 \override Staff.TimeSignature #'style = #'neo_mensural
5482 \[ g\longa c\breve a\breve f\breve d'\longa \]
5484 \[ e1 f1 a\breve g\longa \]
5486 @lilypond[raggedright]
5488 \notes \transpose c c' {
5489 \set Score.timing = ##f
5490 \set Score.defaultBarType = "empty"
5491 \override NoteHead #'style = #'neo_mensural
5492 \override Staff.TimeSignature #'style = #'neo_mensural
5494 \[ g\longa c\breve a\breve f\breve d'\longa \]
5496 \[ e1 f1 a\breve g\longa \]
5501 \remove Ligature_bracket_engraver
5502 \consists Mensural_ligature_engraver
5508 Without replacing @internalsref{Ligature_bracket_engraver} with
5509 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5512 @lilypond[raggedright]
5514 \notes \transpose c c' {
5515 \set Score.timing = ##f
5516 \set Score.defaultBarType = "empty"
5517 \override NoteHead #'style = #'neo_mensural
5518 \override Staff.TimeSignature #'style = #'neo_mensural
5520 \[ g\longa c\breve a\breve f\breve d'\longa \]
5522 \[ e1 f1 a\breve g\longa \]
5528 @node Gregorian square neumes ligatures
5529 @subsubsection Gregorian square neumes ligatures
5531 @cindex Square neumes ligatures
5532 @cindex Gregorian square neumes ligatures
5534 Gregorian square neumes notation (following the style of the Editio
5535 Vaticana) is under heavy development, but not yet really usable for
5536 production purposes. Core ligatures can already be typeset, but
5537 essential issues for serious typesetting are still under development,
5538 such as (among others) horizontal alignment of multiple ligatures,
5539 lyrics alignment and proper accidentals handling. Still, this section
5540 gives a sneak preview of what Gregorian chant may look like once it
5543 The following table contains the extended neumes table of the 2nd
5544 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5545 1983 by the monks of Solesmes.
5547 @multitable @columnfractions .4 .2 .2 .2
5550 @b{Neuma aut@*Neumarum Elementa} @tab
5551 @b{Figurae@*Rectae} @tab
5552 @b{Figurae@*Liquescentes Auctae} @tab
5553 @b{Figurae@*Liquescentes Deminutae}
5555 @c TODO: \paper block is identical in all of the below examples.
5556 @c Therefore, it should somehow be included rather than duplicated all
5559 @c why not make identifiers in ly/engraver-init.ly? --hwn
5561 @c Because it's just used to typeset plain notes without
5562 @c a staff for demonstration purposes rather than something
5563 @c special of Gregorian chant notation. --jr
5568 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5569 \include "gregorian-init.ly"
5571 \notes \transpose c c' {
5574 \noBreak s^\markup {"a"} \noBreak
5576 % Punctum Inclinatum
5578 \noBreak s^\markup {"b"}
5584 \remove "Bar_number_engraver"
5588 \remove "Clef_engraver"
5589 \remove "Key_engraver"
5590 \override StaffSymbol #'transparent = ##t
5591 \remove "Time_signature_engraver"
5592 \remove "Bar_engraver"
5593 minimumVerticalExtent = ##f
5597 \remove Ligature_bracket_engraver
5598 \consists Vaticana_ligature_engraver
5599 \override NoteHead #'style = #'vaticana_punctum
5600 \override Stem #'transparent = ##t
5606 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5607 \include "gregorian-init.ly"
5609 \notes \transpose c c' {
5610 % Punctum Auctum Ascendens
5611 \[ \auctum \ascendens b \]
5612 \noBreak s^\markup {"c"} \noBreak
5614 % Punctum Auctum Descendens
5615 \[ \auctum \descendens b \]
5616 \noBreak s^\markup {"d"} \noBreak
5618 % Punctum Inclinatum Auctum
5619 \[ \inclinatum \auctum b \]
5620 \noBreak s^\markup {"e"}
5626 \remove "Bar_number_engraver"
5630 \remove "Clef_engraver"
5631 \remove "Key_engraver"
5632 \override StaffSymbol #'transparent = ##t
5633 \remove "Time_signature_engraver"
5634 \remove "Bar_engraver"
5635 minimumVerticalExtent = ##f
5639 \remove Ligature_bracket_engraver
5640 \consists Vaticana_ligature_engraver
5641 \override NoteHead #'style = #'vaticana_punctum
5642 \override Stem #'transparent = ##t
5648 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5649 \include "gregorian-init.ly"
5651 \notes \transpose c c' {
5652 % Punctum Inclinatum Parvum
5653 \[ \inclinatum \deminutum b \]
5654 \noBreak s^\markup {"f"}
5660 \remove "Bar_number_engraver"
5664 \remove "Clef_engraver"
5665 \remove "Key_engraver"
5666 \override StaffSymbol #'transparent = ##t
5667 \remove "Time_signature_engraver"
5668 \remove "Bar_engraver"
5669 minimumVerticalExtent = ##f
5673 \remove Ligature_bracket_engraver
5674 \consists Vaticana_ligature_engraver
5675 \override NoteHead #'style = #'vaticana_punctum
5676 \override Stem #'transparent = ##t
5685 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5686 \include "gregorian-init.ly"
5688 \notes \transpose c c' {
5691 \noBreak s^\markup {"g"}
5697 \remove "Bar_number_engraver"
5701 \remove "Clef_engraver"
5702 \remove "Key_engraver"
5703 \override StaffSymbol #'transparent = ##t
5704 \remove "Time_signature_engraver"
5705 \remove "Bar_engraver"
5706 minimumVerticalExtent = ##f
5710 \remove Ligature_bracket_engraver
5711 \consists Vaticana_ligature_engraver
5712 \override NoteHead #'style = #'vaticana_punctum
5713 \override Stem #'transparent = ##t
5722 @code{3. Apostropha vel Stropha}
5724 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5725 \include "gregorian-init.ly"
5727 \notes \transpose c c' {
5730 \noBreak s^\markup {"h"}
5736 \remove "Bar_number_engraver"
5740 \remove "Clef_engraver"
5741 \remove "Key_engraver"
5742 \override StaffSymbol #'transparent = ##t
5743 \remove "Time_signature_engraver"
5744 \remove "Bar_engraver"
5745 minimumVerticalExtent = ##f
5749 \remove Ligature_bracket_engraver
5750 \consists Vaticana_ligature_engraver
5751 \override NoteHead #'style = #'vaticana_punctum
5752 \override Stem #'transparent = ##t
5758 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5759 \include "gregorian-init.ly"
5761 \notes \transpose c c' {
5763 \[ \stropha \auctum b \]
5764 \noBreak s^\markup {"i"}
5770 \remove "Bar_number_engraver"
5774 \remove "Clef_engraver"
5775 \remove "Key_engraver"
5776 \override StaffSymbol #'transparent = ##t
5777 \remove "Time_signature_engraver"
5778 \remove "Bar_engraver"
5779 minimumVerticalExtent = ##f
5783 \remove Ligature_bracket_engraver
5784 \consists Vaticana_ligature_engraver
5785 \override NoteHead #'style = #'vaticana_punctum
5786 \override Stem #'transparent = ##t
5796 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5797 \include "gregorian-init.ly"
5799 \notes \transpose c c' {
5802 \noBreak s^\markup {"j"}
5808 \remove "Bar_number_engraver"
5812 \remove "Clef_engraver"
5813 \remove "Key_engraver"
5814 \override StaffSymbol #'transparent = ##t
5815 \remove "Time_signature_engraver"
5816 \remove "Bar_engraver"
5817 minimumVerticalExtent = ##f
5821 \remove Ligature_bracket_engraver
5822 \consists Vaticana_ligature_engraver
5823 \override NoteHead #'style = #'vaticana_punctum
5824 \override Stem #'transparent = ##t
5833 @code{5. Clivis vel Flexa}
5835 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5836 \include "gregorian-init.ly"
5838 \notes \transpose c c' {
5847 \remove "Bar_number_engraver"
5851 \remove "Clef_engraver"
5852 \remove "Key_engraver"
5853 \override StaffSymbol #'transparent = ##t
5854 \remove "Time_signature_engraver"
5855 \remove "Bar_engraver"
5856 minimumVerticalExtent = ##f
5860 \remove Ligature_bracket_engraver
5861 \consists Vaticana_ligature_engraver
5862 \override NoteHead #'style = #'vaticana_punctum
5863 \override Stem #'transparent = ##t
5869 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5870 \include "gregorian-init.ly"
5872 \notes \transpose c c' {
5873 % Clivis Aucta Descendens
5874 \[ b \flexa \auctum \descendens g \]
5875 \noBreak s^\markup {"l"} \noBreak
5877 % Clivis Aucta Ascendens
5878 \[ b \flexa \auctum \ascendens g \]
5879 \noBreak s^\markup {"m"}
5885 \remove "Bar_number_engraver"
5889 \remove "Clef_engraver"
5890 \remove "Key_engraver"
5891 \override StaffSymbol #'transparent = ##t
5892 \remove "Time_signature_engraver"
5893 \remove "Bar_engraver"
5894 minimumVerticalExtent = ##f
5898 \remove Ligature_bracket_engraver
5899 \consists Vaticana_ligature_engraver
5900 \override NoteHead #'style = #'vaticana_punctum
5901 \override Stem #'transparent = ##t
5907 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5908 \include "gregorian-init.ly"
5910 \notes \transpose c c' {
5912 \[ b \flexa \deminutum g \]
5919 \remove "Bar_number_engraver"
5923 \remove "Clef_engraver"
5924 \remove "Key_engraver"
5925 \override StaffSymbol #'transparent = ##t
5926 \remove "Time_signature_engraver"
5927 \remove "Bar_engraver"
5928 minimumVerticalExtent = ##f
5932 \remove Ligature_bracket_engraver
5933 \consists Vaticana_ligature_engraver
5934 \override NoteHead #'style = #'vaticana_punctum
5935 \override Stem #'transparent = ##t
5942 @code{6. Podatus vel Pes}
5944 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5945 \include "gregorian-init.ly"
5947 \notes \transpose c c' {
5956 \remove "Bar_number_engraver"
5960 \remove "Clef_engraver"
5961 \remove "Key_engraver"
5962 \override StaffSymbol #'transparent = ##t
5963 \remove "Time_signature_engraver"
5964 \remove "Bar_engraver"
5965 minimumVerticalExtent = ##f
5969 \remove Ligature_bracket_engraver
5970 \consists Vaticana_ligature_engraver
5971 \override NoteHead #'style = #'vaticana_punctum
5972 \override Stem #'transparent = ##t
5978 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5979 \include "gregorian-init.ly"
5981 \notes \transpose c c' {
5982 % Pes Auctus Descendens
5983 \[ g \pes \auctum \descendens b \]
5984 \noBreak s^\markup {"p"} \noBreak
5986 % Pes Auctus Ascendens
5987 \[ g \pes \auctum \ascendens b \]
5988 \noBreak s^\markup {"q"}
5994 \remove "Bar_number_engraver"
5998 \remove "Clef_engraver"
5999 \remove "Key_engraver"
6000 \override StaffSymbol #'transparent = ##t
6001 \remove "Time_signature_engraver"
6002 \remove "Bar_engraver"
6003 minimumVerticalExtent = ##f
6007 \remove Ligature_bracket_engraver
6008 \consists Vaticana_ligature_engraver
6009 \override NoteHead #'style = #'vaticana_punctum
6010 \override Stem #'transparent = ##t
6016 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6017 \include "gregorian-init.ly"
6019 \notes \transpose c c' {
6021 \[ g \pes \deminutum b \]
6028 \remove "Bar_number_engraver"
6032 \remove "Clef_engraver"
6033 \remove "Key_engraver"
6034 \override StaffSymbol #'transparent = ##t
6035 \remove "Time_signature_engraver"
6036 \remove "Bar_engraver"
6037 minimumVerticalExtent = ##f
6041 \remove Ligature_bracket_engraver
6042 \consists Vaticana_ligature_engraver
6043 \override NoteHead #'style = #'vaticana_punctum
6044 \override Stem #'transparent = ##t
6051 @code{7. Pes Quassus}
6053 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6054 \include "gregorian-init.ly"
6056 \notes \transpose c c' {
6058 \[ \oriscus g \pes \virga b \]
6065 \remove "Bar_number_engraver"
6069 \remove "Clef_engraver"
6070 \remove "Key_engraver"
6071 \override StaffSymbol #'transparent = ##t
6072 \remove "Time_signature_engraver"
6073 \remove "Bar_engraver"
6074 minimumVerticalExtent = ##f
6078 \remove Ligature_bracket_engraver
6079 \consists Vaticana_ligature_engraver
6080 \override NoteHead #'style = #'vaticana_punctum
6081 \override Stem #'transparent = ##t
6087 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6088 \include "gregorian-init.ly"
6090 \notes \transpose c c' {
6091 % Pes Quassus Auctus Descendens
6092 \[ \oriscus g \pes \auctum \descendens b \]
6099 \remove "Bar_number_engraver"
6103 \remove "Clef_engraver"
6104 \remove "Key_engraver"
6105 \override StaffSymbol #'transparent = ##t
6106 \remove "Time_signature_engraver"
6107 \remove "Bar_engraver"
6108 minimumVerticalExtent = ##f
6112 \remove Ligature_bracket_engraver
6113 \consists Vaticana_ligature_engraver
6114 \override NoteHead #'style = #'vaticana_punctum
6115 \override Stem #'transparent = ##t
6123 @code{8. Quilisma Pes}
6125 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6126 \include "gregorian-init.ly"
6128 \notes \transpose c c' {
6130 \[ \quilisma g \pes b \]
6137 \remove "Bar_number_engraver"
6141 \remove "Clef_engraver"
6142 \remove "Key_engraver"
6143 \override StaffSymbol #'transparent = ##t
6144 \remove "Time_signature_engraver"
6145 \remove "Bar_engraver"
6146 minimumVerticalExtent = ##f
6150 \remove Ligature_bracket_engraver
6151 \consists Vaticana_ligature_engraver
6152 \override NoteHead #'style = #'vaticana_punctum
6153 \override Stem #'transparent = ##t
6159 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6160 \include "gregorian-init.ly"
6162 \notes \transpose c c' {
6163 % Quilisma Pes Auctus Descendens
6164 \[ \quilisma g \pes \auctum \descendens b \]
6171 \remove "Bar_number_engraver"
6175 \remove "Clef_engraver"
6176 \remove "Key_engraver"
6177 \override StaffSymbol #'transparent = ##t
6178 \remove "Time_signature_engraver"
6179 \remove "Bar_engraver"
6180 minimumVerticalExtent = ##f
6184 \remove Ligature_bracket_engraver
6185 \consists Vaticana_ligature_engraver
6186 \override NoteHead #'style = #'vaticana_punctum
6187 \override Stem #'transparent = ##t
6195 @code{9. Podatus Initio Debilis}
6197 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6198 \include "gregorian-init.ly"
6200 \notes \transpose c c' {
6201 % Pes Initio Debilis
6202 \[ \deminutum g \pes b \]
6209 \remove "Bar_number_engraver"
6213 \remove "Clef_engraver"
6214 \remove "Key_engraver"
6215 \override StaffSymbol #'transparent = ##t
6216 \remove "Time_signature_engraver"
6217 \remove "Bar_engraver"
6218 minimumVerticalExtent = ##f
6222 \remove Ligature_bracket_engraver
6223 \consists Vaticana_ligature_engraver
6224 \override NoteHead #'style = #'vaticana_punctum
6225 \override Stem #'transparent = ##t
6231 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6232 \include "gregorian-init.ly"
6234 \notes \transpose c c' {
6235 % Pes Auctus Descendens Initio Debilis
6236 \[ \deminutum g \pes \auctum \descendens b \]
6243 \remove "Bar_number_engraver"
6247 \remove "Clef_engraver"
6248 \remove "Key_engraver"
6249 \override StaffSymbol #'transparent = ##t
6250 \remove "Time_signature_engraver"
6251 \remove "Bar_engraver"
6252 minimumVerticalExtent = ##f
6256 \remove Ligature_bracket_engraver
6257 \consists Vaticana_ligature_engraver
6258 \override NoteHead #'style = #'vaticana_punctum
6259 \override Stem #'transparent = ##t
6269 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6270 \include "gregorian-init.ly"
6272 \notes \transpose c c' {
6274 \[ a \pes b \flexa g \]
6281 \remove "Bar_number_engraver"
6285 \remove "Clef_engraver"
6286 \remove "Key_engraver"
6287 \override StaffSymbol #'transparent = ##t
6288 \remove "Time_signature_engraver"
6289 \remove "Bar_engraver"
6290 minimumVerticalExtent = ##f
6294 \remove Ligature_bracket_engraver
6295 \consists Vaticana_ligature_engraver
6296 \override NoteHead #'style = #'vaticana_punctum
6297 \override Stem #'transparent = ##t
6303 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6304 \include "gregorian-init.ly"
6306 \notes \transpose c c' {
6307 % Torculus Auctus Descendens
6308 \[ a \pes b \flexa \auctum \descendens g \]
6315 \remove "Bar_number_engraver"
6319 \remove "Clef_engraver"
6320 \remove "Key_engraver"
6321 \override StaffSymbol #'transparent = ##t
6322 \remove "Time_signature_engraver"
6323 \remove "Bar_engraver"
6324 minimumVerticalExtent = ##f
6328 \remove Ligature_bracket_engraver
6329 \consists Vaticana_ligature_engraver
6330 \override NoteHead #'style = #'vaticana_punctum
6331 \override Stem #'transparent = ##t
6337 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6338 \include "gregorian-init.ly"
6340 \notes \transpose c c' {
6341 % Torculus Deminutus
6342 \[ a \pes b \flexa \deminutum g \]
6349 \remove "Bar_number_engraver"
6353 \remove "Clef_engraver"
6354 \remove "Key_engraver"
6355 \override StaffSymbol #'transparent = ##t
6356 \remove "Time_signature_engraver"
6357 \remove "Bar_engraver"
6358 minimumVerticalExtent = ##f
6362 \remove Ligature_bracket_engraver
6363 \consists Vaticana_ligature_engraver
6364 \override NoteHead #'style = #'vaticana_punctum
6365 \override Stem #'transparent = ##t
6372 @code{11. Torculus Initio Debilis}
6374 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6375 \include "gregorian-init.ly"
6377 \notes \transpose c c' {
6378 % Torculus Initio Debilis
6379 \[ \deminutum a \pes b \flexa g \]
6386 \remove "Bar_number_engraver"
6390 \remove "Clef_engraver"
6391 \remove "Key_engraver"
6392 \override StaffSymbol #'transparent = ##t
6393 \remove "Time_signature_engraver"
6394 \remove "Bar_engraver"
6395 minimumVerticalExtent = ##f
6399 \remove Ligature_bracket_engraver
6400 \consists Vaticana_ligature_engraver
6401 \override NoteHead #'style = #'vaticana_punctum
6402 \override Stem #'transparent = ##t
6408 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6409 \include "gregorian-init.ly"
6411 \notes \transpose c c' {
6412 % Torculus Auctus Descendens Initio Debilis
6413 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6420 \remove "Bar_number_engraver"
6424 \remove "Clef_engraver"
6425 \remove "Key_engraver"
6426 \override StaffSymbol #'transparent = ##t
6427 \remove "Time_signature_engraver"
6428 \remove "Bar_engraver"
6429 minimumVerticalExtent = ##f
6433 \remove Ligature_bracket_engraver
6434 \consists Vaticana_ligature_engraver
6435 \override NoteHead #'style = #'vaticana_punctum
6436 \override Stem #'transparent = ##t
6442 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6443 \include "gregorian-init.ly"
6445 \notes \transpose c c' {
6446 % Torculus Deminutus Initio Debilis
6447 \[ \deminutum a \pes b \flexa \deminutum g \]
6454 \remove "Bar_number_engraver"
6458 \remove "Clef_engraver"
6459 \remove "Key_engraver"
6460 \override StaffSymbol #'transparent = ##t
6461 \remove "Time_signature_engraver"
6462 \remove "Bar_engraver"
6463 minimumVerticalExtent = ##f
6467 \remove Ligature_bracket_engraver
6468 \consists Vaticana_ligature_engraver
6469 \override NoteHead #'style = #'vaticana_punctum
6470 \override Stem #'transparent = ##t
6477 @code{12. Porrectus}
6479 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6480 \include "gregorian-init.ly"
6482 \notes \transpose c c' {
6484 \[ a \flexa g \pes b \]
6491 \remove "Bar_number_engraver"
6495 \remove "Clef_engraver"
6496 \remove "Key_engraver"
6497 \override StaffSymbol #'transparent = ##t
6498 \remove "Time_signature_engraver"
6499 \remove "Bar_engraver"
6500 minimumVerticalExtent = ##f
6504 \remove Ligature_bracket_engraver
6505 \consists Vaticana_ligature_engraver
6506 \override NoteHead #'style = #'vaticana_punctum
6507 \override Stem #'transparent = ##t
6513 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6514 \include "gregorian-init.ly"
6516 \notes \transpose c c' {
6517 % Porrectus Auctus Descendens
6518 \[ a \flexa g \pes \auctum \descendens b \]
6525 \remove "Bar_number_engraver"
6529 \remove "Clef_engraver"
6530 \remove "Key_engraver"
6531 \override StaffSymbol #'transparent = ##t
6532 \remove "Time_signature_engraver"
6533 \remove "Bar_engraver"
6534 minimumVerticalExtent = ##f
6538 \remove Ligature_bracket_engraver
6539 \consists Vaticana_ligature_engraver
6540 \override NoteHead #'style = #'vaticana_punctum
6541 \override Stem #'transparent = ##t
6547 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6548 \include "gregorian-init.ly"
6550 \notes \transpose c c' {
6551 % Porrectus Deminutus
6552 \[ a \flexa g \pes \deminutum b \]
6559 \remove "Bar_number_engraver"
6563 \remove "Clef_engraver"
6564 \remove "Key_engraver"
6565 \override StaffSymbol #'transparent = ##t
6566 \remove "Time_signature_engraver"
6567 \remove "Bar_engraver"
6568 minimumVerticalExtent = ##f
6572 \remove Ligature_bracket_engraver
6573 \consists Vaticana_ligature_engraver
6574 \override NoteHead #'style = #'vaticana_punctum
6575 \override Stem #'transparent = ##t
6584 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6585 \include "gregorian-init.ly"
6587 \notes \transpose c c' {
6589 \[ \virga b \inclinatum a \inclinatum g \]
6596 \remove "Bar_number_engraver"
6600 \remove "Clef_engraver"
6601 \remove "Key_engraver"
6602 \override StaffSymbol #'transparent = ##t
6603 \remove "Time_signature_engraver"
6604 \remove "Bar_engraver"
6605 minimumVerticalExtent = ##f
6609 \remove Ligature_bracket_engraver
6610 \consists Vaticana_ligature_engraver
6611 \override NoteHead #'style = #'vaticana_punctum
6612 \override Stem #'transparent = ##t
6618 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6619 \include "gregorian-init.ly"
6621 \notes \transpose c c' {
6623 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6630 \remove "Bar_number_engraver"
6634 \remove "Clef_engraver"
6635 \remove "Key_engraver"
6636 \override StaffSymbol #'transparent = ##t
6637 \remove "Time_signature_engraver"
6638 \remove "Bar_engraver"
6639 minimumVerticalExtent = ##f
6643 \remove Ligature_bracket_engraver
6644 \consists Vaticana_ligature_engraver
6645 \override NoteHead #'style = #'vaticana_punctum
6646 \override Stem #'transparent = ##t
6652 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6653 \include "gregorian-init.ly"
6655 \notes \transpose c c' {
6656 % Climacus Deminutus
6657 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6664 \remove "Bar_number_engraver"
6668 \remove "Clef_engraver"
6669 \remove "Key_engraver"
6670 \override StaffSymbol #'transparent = ##t
6671 \remove "Time_signature_engraver"
6672 \remove "Bar_engraver"
6673 minimumVerticalExtent = ##f
6677 \remove Ligature_bracket_engraver
6678 \consists Vaticana_ligature_engraver
6679 \override NoteHead #'style = #'vaticana_punctum
6680 \override Stem #'transparent = ##t
6687 @code{14. Scandicus}
6689 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6690 \include "gregorian-init.ly"
6692 \notes \transpose c c' {
6694 \[ g \pes a \virga b \]
6701 \remove "Bar_number_engraver"
6705 \remove "Clef_engraver"
6706 \remove "Key_engraver"
6707 \override StaffSymbol #'transparent = ##t
6708 \remove "Time_signature_engraver"
6709 \remove "Bar_engraver"
6710 minimumVerticalExtent = ##f
6714 \remove Ligature_bracket_engraver
6715 \consists Vaticana_ligature_engraver
6716 \override NoteHead #'style = #'vaticana_punctum
6717 \override Stem #'transparent = ##t
6723 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6724 \include "gregorian-init.ly"
6726 \notes \transpose c c' {
6727 % Scandicus Auctus Descendens
6728 \[ g \pes a \pes \auctum \descendens b \]
6735 \remove "Bar_number_engraver"
6739 \remove "Clef_engraver"
6740 \remove "Key_engraver"
6741 \override StaffSymbol #'transparent = ##t
6742 \remove "Time_signature_engraver"
6743 \remove "Bar_engraver"
6744 minimumVerticalExtent = ##f
6748 \remove Ligature_bracket_engraver
6749 \consists Vaticana_ligature_engraver
6750 \override NoteHead #'style = #'vaticana_punctum
6751 \override Stem #'transparent = ##t
6757 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6758 \include "gregorian-init.ly"
6760 \notes \transpose c c' {
6761 % Scandicus Deminutus
6762 \[ g \pes a \pes \deminutum b \]
6769 \remove "Bar_number_engraver"
6773 \remove "Clef_engraver"
6774 \remove "Key_engraver"
6775 \override StaffSymbol #'transparent = ##t
6776 \remove "Time_signature_engraver"
6777 \remove "Bar_engraver"
6778 minimumVerticalExtent = ##f
6782 \remove Ligature_bracket_engraver
6783 \consists Vaticana_ligature_engraver
6784 \override NoteHead #'style = #'vaticana_punctum
6785 \override Stem #'transparent = ##t
6794 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6795 \include "gregorian-init.ly"
6797 \notes \transpose c c' {
6799 \[ g \oriscus a \pes \virga b \]
6806 \remove "Bar_number_engraver"
6810 \remove "Clef_engraver"
6811 \remove "Key_engraver"
6812 \override StaffSymbol #'transparent = ##t
6813 \remove "Time_signature_engraver"
6814 \remove "Bar_engraver"
6815 minimumVerticalExtent = ##f
6819 \remove Ligature_bracket_engraver
6820 \consists Vaticana_ligature_engraver
6821 \override NoteHead #'style = #'vaticana_punctum
6822 \override Stem #'transparent = ##t
6828 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6829 \include "gregorian-init.ly"
6831 \notes \transpose c c' {
6832 % Salicus Auctus Descendens
6833 \[ g \oriscus a \pes \auctum \descendens b \]
6840 \remove "Bar_number_engraver"
6844 \remove "Clef_engraver"
6845 \remove "Key_engraver"
6846 \override StaffSymbol #'transparent = ##t
6847 \remove "Time_signature_engraver"
6848 \remove "Bar_engraver"
6849 minimumVerticalExtent = ##f
6853 \remove Ligature_bracket_engraver
6854 \consists Vaticana_ligature_engraver
6855 \override NoteHead #'style = #'vaticana_punctum
6856 \override Stem #'transparent = ##t
6866 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6867 \include "gregorian-init.ly"
6869 \notes \transpose c c' {
6871 \[ \stropha b \stropha b \stropha a \]
6878 \remove "Bar_number_engraver"
6882 \remove "Clef_engraver"
6883 \remove "Key_engraver"
6884 \override StaffSymbol #'transparent = ##t
6885 \remove "Time_signature_engraver"
6886 \remove "Bar_engraver"
6887 minimumVerticalExtent = ##f
6891 \remove Ligature_bracket_engraver
6892 \consists Vaticana_ligature_engraver
6893 \override NoteHead #'style = #'vaticana_punctum
6894 \override Stem #'transparent = ##t
6906 Unlike most other neumes notation systems, the input language for
6907 neumes does not necessarily reflect directly the typographical
6908 appearance, but is designed to solely focuse on musical meaning. For
6909 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6910 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6911 a Porrectus with a curved flexa shape and only a single Punctum head.
6912 There is no command to explicitly typeset the curved flexa shape; the
6913 decision of when to typeset a curved flexa shape is purely taken from
6914 the musical input. The idea of this approach is to separate the
6915 musical aspects of the input from the notation style of the output.
6916 This way, the same input can be reused to typeset the same music in a
6917 different style of Gregorian chant notation such as Hufnagel (also
6918 known as German gothic neumes) or Medicaea (kind of a very simple
6919 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6920 engraver and Medicaea ligature engraver will have been implemented, it
6921 will be as simple as replacing the ligature engraver in the
6922 @internalsref{Voice} context to get the desired notation style from
6925 The following table shows the code fragments that produce the
6926 ligatures in the above neumes table. The letter in the first column
6927 in each line of the below table indicates to which ligature in the
6928 above table it refers. The second column gives the name of the
6929 ligature. The third column shows the code fragment that produces this
6930 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6932 @multitable @columnfractions .1 .4 .5
6946 Punctum Inclinatum @tab
6947 @code{\[ \inclinatum b \]}
6951 Punctum Auctum Ascendens @tab
6952 @code{\[ \auctum \ascendens b \]}
6956 Punctum Auctum Descendens @tab
6957 @code{\[ \auctum \descendens b \]}
6961 Punctum Inclinatum Auctum @tab
6962 @code{\[ \inclinatum \auctum b \]}
6966 Punctum Inclinatum Parvum @tab
6967 @code{\[ \inclinatum \deminutum b \]}
6972 @code{\[ \virga b \]}
6977 @code{\[ \stropha b \]}
6982 @code{\[ \stropha \auctum b \]}
6987 @code{\[ \oriscus b \]}
6991 Clivis vel Flexa @tab
6992 @code{\[ b \flexa g \]}
6996 Clivis Aucta Descendens @tab
6997 @code{\[ b \flexa \auctum \descendens g \]}
7001 Clivis Aucta Ascendens @tab
7002 @code{\[ b \flexa \auctum \ascendens g \]}
7007 @code{\[ b \flexa \deminutum g \]}
7011 Podatus vel Pes @tab
7012 @code{\[ g \pes b \]}
7016 Pes Auctus Descendens @tab
7017 @code{\[ g \pes \auctum \descendens b \]}
7021 Pes Auctus Ascendens @tab
7022 @code{\[ g \pes \auctum \ascendens b \]}
7027 @code{\[ g \pes \deminutum b \]}
7032 @code{\[ \oriscus g \pes \virga b \]}
7036 Pes Quassus Auctus Descendens @tab
7037 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7042 @code{\[ \quilisma g \pes b \]}
7046 Quilisma Pes Auctus Descendens @tab
7047 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7051 Pes Initio Debilis @tab
7052 @code{\[ \deminutum g \pes b \]}
7056 Pes Auctus Descendens Initio Debilis @tab
7057 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7062 @code{\[ a \pes b \flexa g \]}
7066 Torculus Auctus Descendens @tab
7067 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7071 Torculus Deminutus @tab
7072 @code{\[ a \pes b \flexa \deminutum g \]}
7076 Torculus Initio Debilis @tab
7077 @code{\[ \deminutum a \pes b \flexa g \]}
7081 Torculus Auctus Descendens Initio Debilis @tab
7082 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7086 Torculus Deminutus Initio Debilis @tab
7087 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7092 @code{\[ a \flexa g \pes b \]}
7096 Porrectus Auctus Descendens @tab
7097 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7101 Porrectus Deminutus @tab
7102 @code{\[ a \flexa g \pes \deminutum b \]}
7107 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7111 Climacus Auctus @tab
7112 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7116 Climacus Deminutus @tab
7117 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7122 @code{\[ g \pes a \virga b \]}
7126 Scandicus Auctus Descendens @tab
7127 @code{\[ g \pes a \pes \auctum \descendens b \]}
7131 Scandicus Deminutus @tab
7132 @code{\[ g \pes a \pes \deminutum b \]}
7137 @code{\[ g \oriscus a \pes \virga b \]}
7141 Salicus Auctus Descendens @tab
7142 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7147 @code{\[ \stropha b \stropha b \stropha a \]}
7153 The following head prefixes are supported:
7155 @cindex @code{\virga}
7157 @cindex @code{\stropha}
7159 @cindex @code{\inclinatum}
7161 @cindex @code{\auctum}
7163 @cindex @code{\descendens}
7165 @cindex @code{\ascendens}
7167 @cindex @code{\oriscus}
7169 @cindex @code{\quilisma}
7171 @cindex @code{\deminutum}
7174 Head prefixes can be accumulated, though restrictions apply. For
7175 example, either @code{\descendens} or @code{\ascendens} can be applied
7176 to a head, but not both to the same head.
7179 @cindex @code{\flexa}
7180 Two adjacent heads can be tied together with the @code{\pes} and
7181 @code{\flexa} infix commands for a rising and falling line of melody,
7186 Trigonus: apply equal spacing, regardless of pitch.
7189 @subsection Figured bass
7191 @cindex Basso continuo
7193 @c TODO: musicological blurb about FB
7197 LilyPond has limited support for figured bass:
7199 @lilypond[verbatim,fragment]
7201 \context Voice \notes { \clef bass dis4 c d ais}
7202 \context FiguredBass
7204 < 6 >4 < 7 >8 < 6+ [_!] >
7210 The support for figured bass consists of two parts: there is an input
7211 mode, introduced by @code{\figures}, where you can enter bass figures
7212 as numbers, and there is a context called @internalsref{FiguredBass} that
7213 takes care of making @internalsref{BassFigure} objects.
7215 In figures input mode, a group of bass figures is delimited by
7216 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7221 \context FiguredBass
7225 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7232 \context FiguredBass
7233 \figures { <4- 6+ 7!> }
7236 Spaces or dashes may be inserted by using @code{_}. Brackets are
7237 introduced with @code{[} and @code{]}:
7243 \context FiguredBass
7244 \figures { < [4 6] 8 [_! 12]> }
7247 Although the support for figured bass may superficially resemble chord
7248 support, it works much simpler. The @code{\figures} mode simply
7249 stores the numbers , and @internalsref{FiguredBass} context prints
7250 them as entered. There is no conversion to pitches, and no
7251 realizations of the bass are played in the MIDI file.
7253 Internally, the code produces markup texts. You can use any of the
7254 markup text properties to override formatting. For example, the
7255 vertical spacing of the figures may be set with @code{baseline-skip}.
7259 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7260 and @internalsref{FiguredBass} context.
7264 Slash notation for alterations is not supported.
7267 @node Vaticana style contexts
7268 @subsection Vaticana style contexts
7270 @cindex VaticanaVoiceContext
7271 @cindex VaticanaStaffContext
7273 The predefined @code{VaticanaVoiceContext} and
7274 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7275 Gregorian Chant in the style of the Editio Vaticana. These contexts
7276 initialize all relevant context properties and grob properties to
7277 proper values. With these contexts, you can immediately go ahead
7278 entering the chant, as the following short excerpt demonstrates:
7280 @lilypond[raggedright,verbatim,noindent]
7281 \include "gregorian-init.ly"
7284 \context VaticanaVoice = "cantus" {
7285 \override Score.BarNumber #'transparent = ##t
7287 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7288 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7289 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7292 \lyricsto "cantus" \new Lyrics \lyrics {
7293 San- ctus, San- ctus, San- ctus
7299 @node Contemporary notation
7300 @section Contemporary notation
7302 In the 20th century, composers have greatly expanded the musical
7303 vocabulary. With this expansion, many innovations in musical notation
7304 have been tried. The book by Stone (1980) gives a comprehensive
7305 overview (see @ref{Literature list}). In general, the use of new,
7306 innovative notation makes a piece harder to understand and perform and
7307 its use should therefore be avoided if possible. For this reason,
7308 support for contemporary notation in LilyPond is limited.
7317 @subsection Clusters
7321 In musical terminology, a @emph{cluster} denotes a range of
7322 simultaneously sounding pitches that may change over time. The set of
7323 available pitches to apply usually depends on the accoustic source.
7324 Thus, in piano music, a cluster typically consists of a continous range
7325 of the semitones as provided by the piano's fixed set of a chromatic
7326 scale. In choral music, each singer of the choir typically may sing an
7327 arbitrary pitch within the cluster's range that is not bound to any
7328 diatonic, chromatic or other scale. In electronic music, a cluster
7329 (theoretically) may even cover a continuous range of pitches, thus
7330 resulting in coloured noise, such as pink noise.
7332 Clusters can be denoted in the context of ordinary staff notation by
7333 engraving simple geometrical shapes that replace ordinary notation of
7334 notes. Ordinary notes as musical events specify starting time and
7335 duration of pitches; however, the duration of a note is expressed by the
7336 shape of the note head rather than by the horizontal graphical extent of
7337 the note symbol. In contrast, the shape of a cluster geometrically
7338 describes the development of a range of pitches (vertical extent) over
7339 time (horizontal extent). Still, the geometrical shape of a cluster
7340 covers the area in wich any single pitch contained in the cluster would
7341 be notated as an ordinary note. From this point of view, it is
7342 reasonable to specify a cluster as the envelope of a set of notes.
7346 A cluster is engraved as the envelope of a set of
7347 cluster-notes. Cluster notes are created by applying the function
7348 @code{notes-to-clusters} to a sequence of chords, e.g.
7350 @lilypond[relative=1,verbatim]
7351 \apply #notes-to-clusters { <c e > <b f'> }
7354 The following example (from
7355 @inputfileref{input/regression,cluster.ly}) shows what the result
7358 @lilypondfile[]{cluster.ly}
7360 By default, @internalsref{Cluster_spanner_engraver} is in the
7361 @internalsref{Voice} context. This allows putting ordinary notes and
7362 clusters together in the same staff, even simultaneously. In such a
7363 case no attempt is made to automatically avoid collisions between
7364 ordinary notes and clusters.
7368 Internals: @internalsref{ClusterSpanner},
7369 @internalsref{ClusterSpannerBeacon},
7370 @internalsref{Cluster_spanner_engraver}, and
7371 @internalsref{ClusterNoteEvent}.
7373 Examples: @inputfileref{input/regression,cluster.ly}.
7377 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7378 accurately. Use @code{<g a>8 <e a>8} instead.
7383 @subsection Fermatas
7389 Contemporary music notation frequently uses special fermata symbols to
7390 indicate fermatas of differing lengths.
7394 The following are supported
7396 @lilypond[raggedright]
7398 << \addlyrics \notes {
7418 \context Lyrics \lyrics {
7419 "shortfermata" "fermata" "longfermata" "verylongfermata"
7424 See @ref{Articulations} for general instructions how to apply scripts
7425 such as fermatas to a @code{\notes@{@}} block.
7428 @node Special notation
7429 @section Special notation
7433 * Easy Notation note heads::
7437 @subsection Balloon help
7439 Elements of notation can be marked and named with the help of a square
7440 balloon. The primary purpose of this feature is to explain notation.
7442 The following example demonstrates its use.
7444 @lilypond[verbatim,fragment,raggedright,relative=1]
7447 #(add-balloon-text 'NoteHead "heads, or tails?"
7453 The function @code{add-balloon-text} takes the name of a grob, the
7454 label to print and where to put the label relative to the object. In
7455 the above example, the text ``heads or tails?'' ends 3 spaces below
7459 @cindex notation, explaining
7463 Internals: @internalsref{text-balloon-interface}.
7465 Examples: @inputfileref{input/regression,balloon.ly}.
7467 @node Easy Notation note heads
7468 @subsection Easy Notation note heads
7470 @cindex easy notation
7473 The `easy play' note head includes a note name inside the head. It is
7474 used in music aimed at beginners:
7476 @lilypond[raggedright,verbatim,staffsize=26]
7478 \notes { c'2 e'4 f' | g'1 }
7479 \paper { \translator { \EasyNotation } }
7483 The @code{EasyNotation} variable overrides a @internalsref{Score} @c
7484 context. To make the letters readable, it has to be printed in a
7485 large font size. To print with a larger font, see @ref{Font Size}.
7490 If you view the result with Xdvi, then staff lines may show through
7491 the letters. Printing the PostScript file obtained does produce the
7497 @section Tuning output
7499 There are situations where default layout decisions are not
7500 sufficient. In this section we discuss ways to override these
7503 Formatting is internally done by manipulating so called objects
7504 (graphic objects). Each object carries with it a set of properties
7505 (object or layout properties) specific to that object. For example, a
7506 stem object has properties that specify its direction, length and
7509 The most direct way of tuning the output is by altering the values of
7510 these properties. There are two ways of doing that: first, you can
7511 temporarily change the definition of one type of object, thus
7512 affecting a whole set of objects. Second, you can select one specific
7513 object, and set a layout property in that object.
7515 Do not confuse layout properties with translation
7516 properties. Translation properties always use a mixed caps style
7517 naming, and are manipulated using @code{\set} and @code{\unset}:
7519 \set Context.propertyName = @var{value}
7522 Layout properties are use Scheme style variable naming, i.e. lower
7523 case words separated with dashes. They are symbols, and should always
7524 be quoted using @code{#'}. For example, this could be an imaginary
7525 layout property name:
7527 #'layout-property-name
7532 The introduction of the @ref{Technical manual} gives a more in-depth
7533 treatment of the difference between translation and layout.
7537 * Constructing a tweak::
7544 @node Tuning objects
7545 @subsection Tuning objects
7547 @cindex object description
7549 The definition of an object is a list of default object
7550 properties. For example, the definition of the Stem object (available
7551 in @file{scm/define-grobs.scm}), includes the following definitions
7552 for @internalsref{Stem}:
7556 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7557 (Y-extent-callback . ,Stem::height)
7562 Adding variables on top of this existing definition overrides the
7563 system default, and alters the resulting appearance of the layout
7569 Changing a variable for only one object is commonly achieved with
7573 \once \override @var{context}.@var{objectname}
7574 @var{symbol} = @var{value}
7576 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7577 and @var{objectname} is a string and @var{value} is a Scheme expression.
7578 This command applies a setting only during one moment in the score.
7580 In the following example, only one @internalsref{Stem} object is
7581 changed from its original setting:
7583 @lilypond[verbatim,fragment,relative=1]
7585 \once \override Voice.Stem #'thickness = #4
7589 @cindex @code{\once}
7591 For changing more objects, the same command, without @code{\once} can
7594 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7596 This command adds @code{@var{symbol} = @var{value}} to the definition
7597 of @var{objectname} in the context @var{context}, and this definition
7598 stays in place until it is removed.
7600 An existing definition may be removed by the following command:
7603 \property @var{context}.@var{objectname} \revert @var{symbol}
7608 @lilypond[verbatim,quote]
7609 c'4 \override Stem #'thickness = #4.0
7611 c'4 \revert Stem #'thickness
7615 The following example gives exactly the same result as the previous
7616 one (assuming the system default for stem thickness is 1.3):
7618 @lilypond[verbatim,quote]
7619 c'4 \override Stem #'thickness = #4.0
7621 c'4 \override Stem #'thickness = #1.3
7625 Reverting a setting which was not set in the first place has no
7631 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7632 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7633 @internalsref{All-layout-objects}.
7638 The backend is not very strict in type-checking object properties.
7639 Cyclic references in Scheme values for properties can cause hangs
7643 * Constructing a tweak::
7649 @node Constructing a tweak
7650 @subsection Constructing a tweak
7653 @cindex internal documentation
7654 @cindex finding graphical objects
7655 @cindex graphical object descriptions
7657 @cindex @code{\override}
7659 @cindex internal documentation
7663 Three pieces of information are required to use @code{\override} and
7664 @code{\set}: the name of the layout object, the context and the name
7665 of the property. We demonstrate how to glean this information from
7666 the notation manual and the generated documentation.
7668 The generated documentation is a set of HTML pages which should be
7669 included if you installed a binary distribution, typically in
7670 @file{/usr/share/doc/lilypond}. They are also available on the web:
7671 go to the @uref{http://lilypond.org,LilyPond website}, click
7672 ``Documentation'', select the correct version, and click then
7673 ``Program reference.'' It is advisable to bookmark the local HTML
7674 files. They will load faster than the ones on the web. If you use the
7675 version from the web, you must check whether the documentation matches
7676 the program version: it is generated from the definitions that the
7677 program uses, and therefore it is strongly tied to the LilyPond
7681 @c [TODO: revise for new site.]
7683 Suppose we want to move the fingering indication in the fragment below:
7685 @lilypond[relative=2,verbatim]
7691 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7692 instructions}), you will notice that there is written:
7697 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7704 In other words, the fingerings once entered, are internally stored as
7705 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7706 layout object is created for every @code{FingerEvent}.
7708 The Fingering object has a number of different functions, and each of
7709 those is captured in an interface. The interfaces are listed under
7710 @internalsref{Fingering} in the program reference.
7714 The @code{Fingering} object has a fixed size
7715 (@internalsref{item-interface}), the symbol is a piece of text
7716 (@internalsref{text-interface}), whose font can be set
7717 (@internalsref{font-interface}). It is centered horizontally
7718 (@internalsref{self-alignment-interface}), it is placed next to other
7719 objects (@internalsref{side-position-interface}) vertically, and its
7720 placement is coordinated with other scripts
7721 (@internalsref{text-script-interface}). It also has the standard
7722 @internalsref{grob-interface} (grob stands for Graphical object)
7724 @cindex graphical object
7725 @cindex layout object
7726 @cindex object, layout
7727 with all the variables that come with
7728 it. Finally, it denotes a fingering instruction, so it has
7729 @internalsref{finger-interface}.
7731 For the vertical placement, we have to look under
7732 @code{side-position-interface}:
7734 @code{side-position-interface}
7736 Position a victim object (this one) next to other objects (the
7737 support). In this case, the property @code{direction} signifies where to put the
7738 victim object relative to the support (left or right, up or down?)
7743 below this description, the variable @code{padding} is described as
7747 (dimension, in staff space)
7749 add this much extra space between objects that are next to each
7750 other. Default value: @code{0.6}
7754 By increasing the value of @code{padding}, we can move away the
7755 fingering. The following command inserts 3 staff spaces of white
7756 between the note and the fingering:
7758 \once \override Fingering #'padding = #3
7761 Inserting this command before the Fingering object is created,
7762 i.e. before @code{c2}, yields the following result:
7764 @lilypond[relative=2,fragment,verbatim]
7765 \once \override Fingering
7772 The context name @code{Voice} in the example above can be determined
7773 as follows. In the documentation for @internalsref{Fingering}, it says
7775 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
7778 Clicking @code{Fingering_engraver} shows the documentation of
7779 the module responsible for interpreting the fingering instructions and
7780 translating them to a @code{Fingering} object. Such a module is called
7781 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7784 Fingering_engraver is part of contexts: Voice
7786 so tuning the settings for Fingering should be done with
7788 \override Fingering @dots{}
7791 Of course, the tweak may also done in a larger context than
7792 @code{Voice}, for example, @internalsref{Staff} or
7793 @internalsref{Score}.
7797 Internals: the program reference also contains alphabetical lists of
7798 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7799 @internalsref{Music-expressions}, so you can also find which objects
7800 to tweak by browsing the internals document.
7804 @subsection Applyoutput
7806 The most versatile way of tuning an object is @code{\applyoutput}. Its
7809 \applyoutput @var{proc}
7813 where @var{proc} is a Scheme function, taking three arguments.
7815 When interpreted, the function @var{proc} is called for every layout
7816 object found in the context, with the following arguments:
7818 @item the layout object itself,
7819 @item the context where the layout object was created, and
7820 @item the context where @code{\applyoutput} is processed.
7824 In addition, the cause of the layout object, i.e. the music
7825 expression or object that was responsible for creating it, is in the
7826 object property @code{cause}. For example, for a note head, this is a
7827 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7828 this is a @internalsref{NoteHead} object.
7830 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7833 (define (blanker grob grob-origin context)
7834 (if (and (memq (ly:get-grob-property grob 'interfaces)
7835 note-head-interface)
7836 (eq? (ly:get-grob-property grob 'staff-position) 0))
7838 (ly:set-grob-property! grob 'transparent #t)))
7843 @node Font selection
7844 @subsection Font selection
7846 The most common thing to change about the appearance of fonts is their
7847 size. The font size of any context can be easily changed by setting
7848 the @code{fontSize} property for that context. Its value is a number:
7849 negative numbers make the font smaller, positive numbers larger. An
7850 example is given below:
7852 @lilypond[fragment,relative=1,verbatim,quote]
7853 c4 c4 \set fontSize = #-1
7856 This command will set @code{font-size} (see below), and does
7857 not change the size of variable symbols, such as beams or slurs.
7859 One of the uses of @code{fontSize} is to get smaller symbols for cue
7860 notes. An elaborate example of those is in
7861 @inputfileref{input/test,cue-notes.ly}.
7863 @cindex magnification
7866 The font used for printing a object can be selected by setting
7867 @code{font-name}, e.g.
7869 \override Staff.TimeSignature
7870 #'font-name = #"cmr17"
7874 Any font can be used, as long as it is available to @TeX{}. Possible
7875 fonts include foreign fonts or fonts that do not belong to the
7876 Computer Modern font family. The size of fonts selected in this way
7877 can be changed with the @code{font-magnification} property. For
7878 example, @code{2.0} blows up all letters by a factor 2 in both
7882 @cindex font magnification
7884 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7885 can also be adjusted with a more fine-grained mechanism. By setting
7886 the object properties described below, you can select a different font;
7887 all three mechanisms work for every object that supports
7888 @code{font-interface}:
7893 is a symbol indicating the general class of the typeface. Supported are
7894 @code{roman} (Computer Modern), @code{braces} (for piano staff
7895 braces), @code{music} (the standard music font, including ancient
7896 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7899 is a symbol indicating the shape of the font, there are typically several
7900 font shapes available for each font family. Choices are @code{italic},
7901 @code{caps} and @code{upright}.
7904 is a symbol indicating the series of the font. There are typically several
7905 font series for each font family and shape. Choices are @code{medium}
7910 For any of these properties, the value @code{*} (i.e. the symbol
7911 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7912 to override default setting, which are always present. For example:
7914 \override Lyrics .LyricText #'font-series = #'bold
7915 \override Lyrics .LyricText #'font-family = #'typewriter
7916 \override Lyrics .LyricText #'font-shape = #'*
7919 @cindex @code{font-style}
7921 The font size is set by modifying the @code{font-size} property. Its
7922 value is a number indicating the size relative to the standard size.
7923 Each step up is an increase of approximately 12% of the font size. Six
7924 steps is exactly a factor two. The Scheme function @code{magstep}
7925 converts a @code{font-size} number to a scaling factor.
7927 LilyPond has fonts in different design sizes: the music fonts for
7928 smaller sizes are chubbier, while the text fonts are relatively wider.
7929 Font size changes are achieved by scaling the design size that is
7930 closest to the desired size.
7932 The @code{font-size} mechanism does not work for fonts selected
7933 through @code{font-name}. These may be scaled with
7934 @code{font-magnification}.
7938 The following commands set @code{fontSize} for the current voice.
7940 @cindex @code{\tiny}
7942 @cindex @code{\small}
7944 @cindex @code{\normalsize}
7949 Init files: @file{ly/declarations-init.ly} contains hints how new
7950 fonts may be added to LilyPond.
7954 There is no style sheet provided for other fonts besides the @TeX{}
7955 Computer Modern family.
7957 @cindex font selection
7958 @cindex font magnification
7959 @cindex @code{font-interface}
7963 @section Text markup
7968 @cindex typeset text
7970 LilyPond has an internal mechanism to typeset texts. You can access it
7971 with the keyword @code{\markup}. Within markup mode, you can enter texts
7972 similar to lyrics: simply enter them, surrounded by spaces:
7975 @lilypond[verbatim,fragment,relative=1]
7976 c1^\markup { hello }
7977 c1_\markup { hi there }
7978 c1^\markup { hi \bold there, is \italic anyone home? }
7981 @cindex font switching
7983 The markup in the example demonstrates font switching commands. The
7984 command @code{\bold} and @code{\italic} only apply to the first
7985 following word; enclose a set of texts with braces to apply a command
7988 \markup @{ \bold @{ hi there @} @}
7992 For clarity, you can also do this for single arguments, e.g.
7995 \markup { is \italic { anyone } home }
7998 @cindex font size, texts
8001 In markup mode you can compose expressions, similar to mathematical
8002 expressions, XML documents and music expressions. The braces group
8003 notes into horizontal lines. Other types of lists also exist: you can
8004 stack expressions grouped with @code{<}, and @code{>} vertically with
8005 the command @code{\column}. Similarly, @code{\center} aligns texts by
8008 @lilypond[verbatim,fragment,relative=1]
8009 c1^\markup { \column < a bbbb c > }
8010 c1^\markup { \center < a bbbb c > }
8011 c1^\markup { \line < a b c > }
8015 Markups can be stored in variables, and these variables
8016 may be attached to notes, like
8018 allegro = \markup { \bold \large { Allegro } }
8019 \notes { a^\allegro b c d }
8023 Some objects have alignment procedures of their own, which cancel out
8024 any effects of alignments applied to their markup arguments as a
8025 whole. For example, the @internalsref{RehearsalMark} is horizontally
8026 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8027 effect. Similarly, whole texts over notes cannot be moved vertically
8028 with @code{\raise}. For moving and aligning complete objects, grob
8029 properties should be used.
8035 Init files: @file{scm/new-markup.scm}.
8040 Text layout is ultimately done by @TeX{}, which does kerning of
8041 letters. LilyPond does not account for kerning, so texts will be
8042 spaced slightly too wide.
8044 Syntax errors for markup mode are confusing.
8046 Markup texts cannot be used in the titling of the @code{\header}
8047 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8053 * Overview of text markup commands::
8054 * Markup construction in scheme::
8055 * Markup command definition::
8058 @node Overview of text markup commands
8059 @subsection Overview of text markup commands
8061 @include markup-commands.tely
8063 @node Markup construction in scheme
8064 @subsection Markup construction in scheme
8066 @cindex defining markup commands
8068 The @code{markup} macro builds markup expressions in Scheme while
8069 providing a LilyPond-like syntax. For example,
8071 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8072 #:bigger #:line ("foo" "bar" "baz")))
8078 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8079 \bigger @{ foo bar baz @} >
8083 This example exposes the main translation rules between regular
8084 LilyPond markup syntax and scheme markup syntax, which are summed up
8086 @multitable @columnfractions .5 .5
8087 @item @b{LilyPond} @tab @b{Scheme}
8088 @item @code{\command} @tab @code{#:command}
8089 @item @code{\variable} @tab @code{variable}
8090 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8091 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8092 @item @code{string} @tab @code{"string"}
8093 @item @code{#scheme-arg} @tab @code{scheme-arg}
8096 Besides, the whole scheme language is accessible inside the
8097 @code{markup} macro: thus, one may use function calls inside
8098 @code{markup} in order to manipulate character strings for
8099 instance. This proves useful when defining new markup commands (see
8100 @ref{Markup command definition}).
8104 One can not feed the @code{#:line} (resp @code{#:center},
8105 @code{#:column}) command with a variable or the result of a function
8108 (markup #:line (fun-that-returns-markups))
8110 is illegal. One should use the @code{make-line-markup} (resp
8111 @code{make-center-markup}, @code{make-column-markup}) function
8114 (markup (make-line-markup (fun-that-returns-markups)))
8117 @node Markup command definition
8118 @subsection Markup command definition
8120 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8122 (def-markup-command (@var{command-name} @var{paper} @var{props} @var{arg1} @var{arg2} ...)
8123 (@var{arg1-type?} @var{arg2-type?} ...)
8126 @var{argi}: i@var{th} command argument
8127 @var{argi-type?}: a type predicate for the i@var{th} argument
8128 @var{paper}: the `paper' definition
8129 @var{props}: a list of alists, containing all active properties.
8132 As a simple example, we show how to add a @code{\smallcaps} command,
8133 which selects @TeX{}'s small caps font. Normally, we could select the
8134 small caps font as follows:
8137 \markup { \override #'(font-shape . caps) Text-in-caps }
8140 This selects the caps font by setting the @code{font-shape} property to
8141 @code{#'caps} for interpreting @code{Text-in-caps}.
8143 To make the above available as @code{\smallcaps} command, we have to
8144 define a function using @code{def-markup-command}. The command should
8145 take a single argument, of markup type. Therefore, the start of the
8146 definition should read
8148 (def-markup-command (smallcaps paper props argument) (markup?)
8153 What follows is the content of the command: we should interpret
8154 the @code{argument} as a markup, i.e.
8157 (interpret-markup paper @dots{} argument)
8161 This interpretation should add @code{'(font-shape . caps)} to the active
8162 properties, so we substitute the the following for the @dots{} in the
8166 (cons (list '(font-shape . caps) ) props)
8170 The variable @code{props} is a list of alists, and we prepend to it by
8171 consing a list with the extra setting.
8173 However, suppose that we are using a font that does not have a
8174 small-caps variant. In that case, we have to fake the small caps font,
8175 by setting a string in upcase, with the first letter a little larger:
8178 #(def-markup-command (smallcaps paper props str) (string?)
8179 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8180 (interpret-markup paper props
8183 (if (= (string-length s) 0)
8185 (markup #:large (string-upcase (substring s 0 1))
8186 #:translate (cons -0.6 0)
8187 #:tiny (string-upcase (substring s 1)))))
8188 (string-split str #\Space)))))
8191 The @code{smallcaps} command first splits its string argument into
8192 tokens separated by spaces (@code{(string-split str #\Space)}); for
8193 each token, a markup is built with the first letter made large and
8194 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8195 second markup built with the following letters made tiny and upcased
8196 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8197 introduces a space between markups on a line, the second markup is
8198 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8199 the markups built for each token are put in a line
8200 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8201 passed to the @code{interpret-markup} function, with the @code{paper}
8202 and @code{props} arguments.
8204 Finally, suppose that we are typesetting a recitative in an opera, and
8205 we would like to define a command that will show character names in a
8206 custom manner. Names should be printed with small caps and translated a
8207 bit to the left and top. We will define a @code{\character} command
8208 that takes into account the needed translation, and uses the newly
8209 defined @code{\smallcaps} command:
8212 #(def-markup-command (character paper props name) (string?)
8213 "Print the character name in small caps, translated to the left and
8214 top. Syntax: \\character #\"name\""
8215 (interpret-markup paper props
8216 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8219 There is one complication that needs explanation: texts above and below
8220 the staff are moved vertically to be at a certain distance (the
8221 @code{padding} property) from the staff and the notes. To make sure
8222 that this mechanism does not annihilate the vertical effect of our
8223 @code{#:translate}, we add an empty string (@code{""}) before the
8224 translated text. Now the @code{""} will be put above the notes, and the
8225 @code{name} is moved in relation to that empty string. The net effect is
8226 that the text is moved to the upper left.
8228 The final result is as follows:
8232 c''^\markup \character #"Cleopatra"
8233 e'^\markup \character #"Giulio Cesare"
8238 @lilypond[raggedright]
8239 #(def-markup-command (smallcaps paper props str) (string?)
8240 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8241 (interpret-markup paper props
8244 (if (= (string-length s) 0)
8246 (markup #:large (string-upcase (substring s 0 1))
8247 #:translate (cons -0.6 0)
8248 #:tiny (string-upcase (substring s 1)))))
8249 (string-split str #\Space)))))
8251 #(def-markup-command (character paper props name) (string?)
8252 "Print the character name in small caps, translated to the left and
8253 top. Syntax: \\character #\"name\""
8254 (interpret-markup paper props
8255 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8259 c''^\markup \character #"Cleopatra"
8260 e'^\markup \character #"Giulio Cesare"
8268 @section Global layout
8270 The global layout determined by three factors: the page layout, the
8271 line breaks and the spacing. These all influence each other. The
8272 choice of spacing determines how densely each system of music is set,
8273 which influences where line breaks breaks are chosen, and thus
8274 ultimately how many pages a piece of music takes. This section
8275 explains how to tune the algorithm for spacing.
8277 Globally spoken, this procedure happens in three steps: first,
8278 flexible distances (``springs'') are chosen, based on durations. All
8279 possible line breaking combination are tried, and the one with the
8280 best results---a layout that has uniform density and requires as
8281 little stretching or cramping as possible---is chosen. When the score
8282 is processed by @TeX{}, each page is filled with systems, and page breaks
8283 are chosen whenever the page gets full.
8288 * Vertical spacing::
8289 * Horizontal spacing::
8296 @node Vertical spacing
8297 @subsection Vertical spacing
8299 @cindex vertical spacing
8300 @cindex distance between staves
8301 @cindex staff distance
8302 @cindex between staves, distance
8303 @cindex staffs per page
8304 @cindex space between staves
8306 The height of each system is determined automatically by LilyPond, to
8307 keep systems from bumping into each other, some minimum distances are
8308 set. By changing these, you can put staves closer together, and thus
8309 put more systems onto one page.
8311 Normally staves are stacked vertically. To make
8312 staves maintain a distance, their vertical size is padded. This is
8313 done with the property @code{minimumVerticalExtent}. It takes a pair
8314 of numbers, so if you want to make it smaller from its, then you could
8317 \set Staff.minimumVerticalExtent = #'(-4 . 4)
8319 This sets the vertical size of the current staff to 4 staff spaces on
8320 either side of the center staff line. The argument of
8321 @code{minimumVerticalExtent} is interpreted as an interval, where the
8322 center line is the 0, so the first number is generally negative. The
8323 staff can be made larger at the bottom by setting it to @code{(-6
8326 The piano staves are handled a little differently: to make cross-staff
8327 beaming work correctly, it is necessary that the distance between staves
8328 is fixed beforehand. This is also done with a
8329 @internalsref{VerticalAlignment} object, created in
8330 @internalsref{PianoStaff}. In this object the distance between the
8331 staves is fixed by setting @code{forced-distance}. If you want to
8332 override this, use a @code{\translator} block as follows:
8336 VerticalAlignment \override #'forced-distance = #9
8339 This would bring the staves together at a distance of 9 staff spaces,
8340 measured from the center line of each staff.
8344 Internals: Vertical alignment of staves is handled by the
8345 @internalsref{VerticalAlignment} object.
8349 @node Horizontal spacing
8350 @subsection Horizontal Spacing
8352 The spacing engine translates differences in durations into
8353 stretchable distances (``springs'') of differing lengths. Longer
8354 durations get more space, shorter durations get less. The shortest
8355 durations get a fixed amount of space (which is controlled by
8356 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8357 The longer the duration, the more space it gets: doubling a
8358 duration adds a fixed amount (this amount is controlled by
8359 @code{spacing-increment}) of space to the note.
8361 For example, the following piece contains lots of half, quarter and
8362 8th notes, the eighth note is followed by 1 note head width (NHW).
8363 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8364 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8368 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8369 width of a note head, and @code{shortest-duration-space} is set to
8370 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8371 @code{shortest-duration-space}) of space. For normal notes, this space
8372 is always counted from the left edge of the symbol, so the shortest
8373 notes are generally followed by one NHW of space.
8375 If one would follow the above procedure exactly, then adding a single
8376 32th note to a score that uses 8th and 16th notes, would widen up the
8377 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8378 thus adding 1 NHW to every note. To prevent this, the
8379 shortest duration for spacing is not the shortest note in the score,
8380 but the most commonly found shortest note. Notes that are even
8381 shorter this are followed by a space that is proportional to their
8382 duration relative to the common shortest note. So if we were to add
8383 only a few 16th notes to the example above, they would be followed by
8386 @lilypond[fragment,verbatim,relative=2]
8387 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8390 The most common shortest duration is determined as follows: in every
8391 measure, the shortest duration is determined. The most common short
8392 duration, is taken as the basis for the spacing, with the stipulation
8393 that this shortest duration should always be equal to or shorter than
8394 1/8th note. The shortest duration is printed when you run lilypond
8395 with @code{--verbose}. These durations may also be customized. If you
8396 set the @code{common-shortest-duration} in
8397 @internalsref{SpacingSpanner}, then this sets the base duration for
8398 spacing. The maximum duration for this base (normally 1/8th), is set
8399 through @code{base-shortest-duration}.
8401 @cindex @code{common-shortest-duration}
8402 @cindex @code{base-shortest-duration}
8403 @cindex @code{stem-spacing-correction}
8404 @cindex @code{spacing}
8406 In the introduction it was explained that stem directions influence
8407 spacing. This is controlled with @code{stem-spacing-correction}
8408 property in @internalsref{NoteSpacing}, which are generated for every
8409 @internalsref{Voice} context. The @code{StaffSpacing} object
8410 (generated at @internalsref{Staff} context) contains the same property
8411 for controlling the stem/barline spacing. The following example
8412 shows these corrections, once with default settings, and once with
8413 exaggerated corrections:
8419 \override Staff.NoteSpacing #'stem-spacing-correction
8421 \override Staff.StaffSpacing #'stem-spacing-correction
8426 \paper { raggedright = ##t } }
8429 @cindex SpacingSpanner, overriding properties
8431 Properties of the @internalsref{SpacingSpanner} must be overridden
8432 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8433 created before any property commands are interpreted.
8435 \paper @{ \translator @{
8437 SpacingSpanner \override #'spacing-increment = #3.0
8444 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8445 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8446 @internalsref{SeparatingGroupSpanner}.
8450 Spacing is determined on a score wide basis. If you have a score that
8451 changes its character (measured in durations) halfway during the
8452 score, the part containing the longer durations will be spaced too
8455 There is no convenient mechanism to manually override spacing.
8460 @subsection Font size
8461 @cindex font size, setting
8462 @cindex staff size, setting
8463 @cindex @code{paper} file
8465 The Feta font provides musical symbols at eight seven different
8466 sizes. Each font is tuned for a different staff size: at smaller sizes
8467 the font gets heavier, to match the relatively heavier staff lines.
8468 The recommended font sizes are listed in the following table:
8470 @multitable @columnfractions .25 .25 .25 .25
8473 @tab @b{staff height (pt)}
8474 @tab @b{staff height (mm)}
8516 @c modern rental material ?
8520 These fonts are available in any sizes. The context property
8521 @code{fontSize} and the layout property @code{staff-space} (in
8522 @internalsref{StaffSymbol}) can be used to tune size for individual
8523 staffs. The size of individual staffs are relative to the global size,
8524 which can be set in the following manner:
8527 #(set-global-staff-size 14)
8530 This sets the global default size to 14pt staff height, and scales all
8536 @subsection Line breaking
8539 @cindex breaking lines
8541 Line breaks are normally computed automatically. They are chosen such
8542 that lines look neither cramped nor loose, and that consecutive lines
8543 have similar density.
8545 Occasionally you might want to override the automatic breaks; you can
8546 do this by specifying @code{\break}. This will force a line break at
8547 this point. Line breaks can only occur at places where there are bar
8548 lines. If you want to have a line break where there is no bar line,
8549 you can force an invisible bar line by entering @code{\bar
8550 ""}. Similarly, @code{\noBreak} forbids a line break at a
8554 @cindex regular line breaks
8555 @cindex four bar music.
8557 For linebreaks at regular intervals use @code{\break} separated by
8558 skips and repeated with @code{\repeat}:
8560 << \repeat unfold 7 @{
8561 s1 \noBreak s1 \noBreak
8562 s1 \noBreak s1 \break @}
8563 @emph{the real music}
8568 This makes the following 28 measures (assuming 4/4 time) be broken every
8569 4 measures, and only there.
8573 @code{\break}, @code{\noBreak}
8574 @cindex @code{\break}
8575 @cindex @code{\noBreak}
8579 Internals: @internalsref{BreakEvent}.
8583 @subsection Page layout
8586 @cindex breaking pages
8588 @cindex @code{indent}
8589 @cindex @code{linewidth}
8591 The most basic settings influencing the spacing are @code{indent} and
8592 @code{linewidth}. They are set in the @code{\paper} block. They
8593 control the indentation of the first line of music, and the lengths of
8596 If @code{raggedright} is set to true in the @code{\paper}
8597 block, then the lines are justified at their natural length. This
8598 useful for short fragments, and for checking how tight the natural
8602 @cindex vertical spacing
8604 The page layout process happens outside the LilyPond formatting
8605 engine: variables controlling page layout are passed to the output,
8606 and are further interpreted by @code{lilypond} wrapper program. It
8607 responds to the following variables in the @code{\paper} block. The
8608 variable @code{textheight} sets the total height of the music on each
8609 page. The spacing between systems is controlled with
8610 @code{interscoreline}, its default is 16pt. The distance between the
8611 score lines will stretch in order to fill the full page
8612 @code{interscorelinefill} is set to a positive number. In that case
8613 @code{interscoreline} specifies the minimum spacing.
8615 @cindex @code{textheight}
8616 @cindex @code{interscoreline}
8617 @cindex @code{interscorelinefill}
8619 If the variable @code{lastpagefill} is defined,
8620 @c fixme: this should only be done if lastpagefill= #t
8621 systems are evenly distributed vertically on the last page. This
8622 might produce ugly results in case there are not enough systems on the
8623 last page. The @command{lilypond-book} command ignores
8624 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8627 @cindex @code{lastpagefill}
8629 Page breaks are normally computed by @TeX{}, so they are not under
8630 direct control of LilyPond. However, you can insert a commands into
8631 the @file{.tex} output to instruct @TeX{} where to break pages. This
8632 is done by setting the @code{between-systems-strings} on the
8633 @internalsref{NonMusicalPaperColumn} where the system is broken.
8634 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8635 The predefined command @code{\newpage} also does this.
8639 @cindex @code{papersize}
8641 To change the paper size, use the following Scheme code:
8644 #(set-paper-size "a4")
8651 @cindex @code{\newpage}
8657 In this manual: @ref{Invoking lilypond}.
8659 Examples: @inputfileref{input/regression,between-systems.ly}.
8661 Internals: @internalsref{NonMusicalPaperColumn}.
8665 LilyPond has no concept of page layout, which makes it difficult to
8666 reliably choose page breaks in longer pieces.
8675 Entered music can also be converted to MIDI output. The performance
8676 is good enough for proof-hearing the music for errors.
8678 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8679 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8680 marks translate to a fixed fraction of the available MIDI volume
8681 range, crescendi and decrescendi make the volume vary linearly between
8682 their two extremities. The fractions can be adjusted by
8683 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8684 For each type of MIDI instrument, a volume range can be defined. This
8685 gives a basic equalizer control, which can enhance the quality of
8686 the MIDI output remarkably. The equalizer can be controlled by
8687 setting @code{instrumentEqualizer}.
8691 Many musically interesting effects, such as swing, articulation,
8692 slurring, etc., are not translated to MIDI.
8694 Since slurs are not interpreted, @code{\lyricsto} and
8695 @code{\addlyrics} sections will be interpreted wrongly.
8697 The MIDI output allocates a channel for each Staff, and one for global
8698 settings. Hence, the MIDI file should not have more than 15 staves
8699 (or 14 if you do not use drums).
8704 * MIDI instrument names::
8709 @subsection MIDI block
8713 The MIDI block is analogous to the paper block, but it is somewhat
8714 simpler. The @code{\midi} block can contain:
8718 @item a @code{\tempo} definition, and
8719 @item context definitions.
8722 Assignments in the @code{\midi} block are not allowed.
8724 A number followed by a period is interpreted as a real number, so
8725 for setting the tempo for dotted notes, an extra space should be
8726 inserted, for example:
8729 \midi @{ \tempo 4 . = 120 @}
8733 @cindex context definition
8735 Context definitions follow precisely the same syntax as within the
8736 \paper block. Translation modules for sound are called performers.
8737 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8740 @node MIDI instrument names
8741 @subsection MIDI instrument names
8743 @cindex instrument names
8744 @cindex @code{Staff.midiInstrument}
8746 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8747 property. The instrument name should be chosen from the list in
8748 @ref{MIDI instruments}.
8752 If the selected string does not exactly match, then the default is
8753 used, which is the Grand Piano.