3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
22 <!--- @@WEB-TITLE@@=Reference Manual --->
25 This document describes GNU LilyPond and its input format. The last
26 revision of this document was made for LilyPond 1.4.1. It supposes a
27 passing familiarity with how LilyPond input works. New users are
28 encouraged to study the tutorial first.
33 * Easier music entry::
52 @c FIXME: Note entry vs Music entry at top level menu is confusing.
58 The most basic forms of music are notes. Notes on their own don't
59 form valid input, but for the sake of brevity we omit @code{\score}
60 blocks and @code{\paper} declarations.
66 * Chromatic alterations::
71 * Automatic note splitting ::
73 * Easy Notation note heads ::
81 A note is printed by specifying its pitch, and then its duration.
82 @lilypond[fragment,verbatim]
91 @cindex Note specification
93 @cindex entering notes
95 The verbose syntax for pitch specification is
102 @var{scmpitch} is a pitch scheme object.
104 In Note and Chord mode, pitches may be designated by names. The default
105 names are the Dutch note names. The notes are specified by the letters
106 @code{a} through @code{g} (where the octave is formed by notes ranging
107 from @code{c} to @code{b}). The pitch @code{c} is an octave below
108 middle C and the letters span the octave above that C.
110 @cindex note names, Dutch
112 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
113 name and a flat is formed by adding @code{-es}. Double sharps and double
114 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
115 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
116 both forms are accepted.
118 LilyPond has predefined sets of note names for various other languages.
119 To use them, simply include the language specific init file. For
120 example: @code{\include "english.ly"}. The available language files and
121 the names they define are:
124 Note Names sharp flat
125 nederlands.ly c d e f g a bes b -is -es
126 english.ly c d e f g a bf b -s/-sharp -f/-flat
127 deutsch.ly c d e f g a b h -is -es
128 norsk.ly c d e f g a b h -iss/-is -ess/-es
129 svenska.ly c d e f g a b h -iss -ess
130 italiano.ly do re mi fa sol la sib si -d -b
131 catalan.ly do re mi fa sol la sib si -d/-s -b
132 espanol.ly do re mi fa sol la sib si -s -b
141 The optional octave specification takes the form of a series of
142 single quote (`@code{'}') characters or a series of comma
143 (`@code{,}') characters. Each @code{'} raises the pitch by one
144 octave; each @code{,} lowers the pitch by an octave.
146 @lilypond[fragment,verbatim,center]
147 c' c'' es' g' as' gisis' ais'
150 @node Chromatic alterations
151 @subsection Chromatic alterations
153 Normally, accidentals are printed automatically, but you may force
154 accidentals in the following ways: A reminder accidental
155 @cindex reminder accidental
157 can be forced by adding an exclamation mark @code{!} after the pitch. A
158 cautionary accidental,
159 @cindex cautionary accidental
160 @cindex parenthesized accidental
161 i.e., an accidental within parentheses can be obtained by adding the
162 question mark `@code{?}' after the pitch.
164 The automatic production of accidentals can be tuned in many
165 ways. Refer to @ref{Accidentals} for more information.
172 A rest is entered like a note, with note name `@code{r}':
174 @lilypond[singleline,verbatim]
178 Whole bar rests centered in the bar are specified using @code{R}, see
179 @ref{Multi measure rests}. See also @seeinternals{Rest}.
181 For polyphonic music, it can be convenient to specify the rest position
182 directly. You can do that by entering a note, with the keyword
183 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
185 @lilypond[singleline,verbatim]
195 @cindex Invisible rest
198 An invisible rest, or skip, can be entered like a note with note name
199 @code{s}, or with @code{\skip @var{duration}}:
201 @lilypond[singleline,verbatim]
205 The @code{s} syntax is only available in Note mode and Chord mode.
206 In other situations, you should use the @code{\skip} command, and it is
207 only available in Note mode and Chord mode.
209 @c FIXME: in lyrics mode, we have " " and _
211 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
212 @lilypond[singleline,verbatim]
214 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
215 \notes\relative c'' { a2 a4 a a2 a4 a }
219 The unabbreviated `@code{\skip} @var{duration}' also works outside of
222 @lilypond[singleline,verbatim]
225 { \time 4/8 \skip 2 \time 4/4 }
226 \notes\relative c'' { a2 a1 }
231 The skip command is merely a empty musical placeholder. It does not
232 produce any output, not even transparent output.
237 @subsection Durations
241 @cindex @code{\duration}
244 In Note, Chord, and Lyrics mode, durations may be designated by numbers
245 and dots: durations are entered as their reciprocal values. For notes
246 longer than a whole you must use identifiers.
250 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
252 r1 r2 r4 r8 r16 r32 r64 r64
258 \notes \relative c'' {
260 a1 a2 a4 a8 a16 a32 a64 a64
262 r1 r2 r4 r8 r16 r32 r64 r64
267 \remove "Clef_engraver"
268 \remove "Staff_symbol_engraver"
269 \remove "Time_signature_engraver"
270 \consists "Pitch_squash_engraver"
277 If the duration is omitted then it is set to the previous duration
278 entered. At the start of parsing a quarter note is assumed. The
279 duration can be followed by dots (`@code{.}') to obtain dotted note
283 @lilypond[fragment,verbatim,center]
289 You can alter the length of duration by a fraction @var{N/M} by
290 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
291 will not affect the appearance of the notes or rests produced.
293 Durations can also be produced through GUILE extension mechanism.
294 @lilypond[verbatim,fragment]
295 c\duration #(make-duration 2 1)
301 Dot placement for chords is not perfect. In some cases, dots overlap:
303 \context Voice { <f,4. c'' d e f> }
314 A tie connects two adjacent note heads of the same pitch. The tie in
315 effect extends the length of a note. A tie is entered with @code{~}.
317 @lilypond[fragment,verbatim,center]
318 e' ~ e' <c' e' g'> ~ <c' e' g'>
321 When ties are used with chords, all note heads whose pitches match are
322 connected. Ties are indicated using the tilde symbol `@code{~}'. If
323 you try to tie together chords which have no common pitches then no
324 ties will be created.
326 If you want less ties created for a chord, you can set
327 @code{Voice.sparseTies} to true. In this case, a single tie is used
328 for every tied chord.
329 @lilypond[fragment,verbatim,center]
330 \property Voice.sparseTies = ##t
331 <c' e' g'> ~ <c' e' g'>
334 In its meaning a tie is just a way of extending a note duration, similar
335 to the augmentation dot: the following example are two ways of notating
336 exactly the same concept.
338 @lilypond[fragment, singleline]
339 \time 3/4 c'2. c'2 ~ c'4
341 Ties should not be confused with slurs, which indicate articulation,
342 and phrasing slurs, which indicate musical phrasing.
344 See also @seeinternals{Tie}.
349 At present, the tie is represented as a separate event, temporally
350 located in between the notes. Tieing only a subset of the note heads
351 of a chord is not supported in a simple way. It can be achieved by
352 moving the tie-engraver into the Thread context and turning on and off
355 Switching staffs when a tie is active will not work.
357 @node Automatic note splitting
358 @subsection Automatic note splitting
359 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
361 There is a facility for automatically converting long notes to tied
362 notes. This is done by replacing the @code{Note_heads_engraver} by the
363 @code{Completion_heads_engraver}.
365 @lilypond[verbatim,center]
367 \notes\relative c'{ \time 2/4
368 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
372 \remove "Note_heads_engraver"
373 \consists "Completion_heads_engraver"
377 This engraver splits all running notes at the bar line, and inserts
378 ties. One of its uses is to debug complex scores: if the measures are
379 not entirely filled, then the ties exactly show how much each measure
384 Not all durations (especially those containing tuplets) can be
385 represented exactly; the engraver will not insert tuplets.
392 @cindex @code{\times}
394 Tuplets are made out of a music expression by multiplying all duration
397 @cindex @code{\times}
399 \times @var{fraction} @var{musicexpr}
402 The duration of @var{musicexpr} will be multiplied by the fraction.
403 In print, the fraction's denominator will be printed over the notes,
404 optionally with a bracket. The most common tuplet is the triplet in
405 which 3 notes have the length of 2, so the notes are 2/3 of
406 their written length:
408 @lilypond[fragment,verbatim,center]
409 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
412 The property @code{tupletSpannerDuration} specifies how long each bracket
413 should last. With this, you can make lots of tuplets while typing
414 @code{\times} only once, thus saving typing work.
416 @lilypond[fragment, relative, singleline, verbatim]
417 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
418 \times 2/3 { c'8 c c c c c }
421 The format of the number is determined by the property
422 @code{tupletNumberFormatFunction}. The default prints only the
423 denominator, but if you set it to the Scheme function
424 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
428 @cindex @code{tupletNumberFormatFunction}
429 @cindex tuplet formatting
431 See also @seeinternals{TupletBracket}.
435 Nested tuplets are not formatted automatically. In this case, outer
436 tuplet brackets should be moved automatically.
438 @node Easy Notation note heads
439 @subsection Easy Notation note heads
441 @cindex easy notation
444 A entirely different type of note head is the "easyplay" note head: a
445 note head that includes a note name. It is used in some publications by
446 Hal-Leonard Inc. music publishers.
448 @lilypond[singleline,verbatim,26pt]
450 \notes { c'2 e'4 f' | g'1 }
451 \paper { \translator { \EasyNotation } }
455 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
456 probably will want to print it with magnification or a large font size to make it more
463 If you view the result with Xdvi, then staff lines will show through
464 the letters. Printing the PostScript file obtained with ly2dvi does
465 produce the correct result.
468 @node Easier music entry
469 @section Easier music entry
472 * Graphical interfaces::
476 * Skipping corrected music::
479 When entering music with LilyPond, it is easy to introduce errors. This
480 section deals with tricks and features that help you enter music, and
481 find and correct mistakes.
483 @node Graphical interfaces
484 @subsection Graphical interfaces
487 @cindex graphical interface
494 One way to avoid entering notes using the keyboard is to use a
495 graphical user interface. The following programs are known to have
496 a lilypond export option:
500 @uref{http://denemo.sourceforge.net/, Denemo} was once intended as
501 a LilyPond graphical user interface. It run on Gnome/GTK.
503 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html, Noteedit}
504 is a graphical score editor that runs under KDE/Qt.
506 @uref{http://rosegarden.sf.net/, RoseGarden}
507 was the inspiration for naming LilyPond. Nowadays it has been
508 rewritten from scratch and supports LilyPond export as of version
512 Another option is to enter the music using your favorite MIDI
513 sequencer, and then import it using midi2ly. midi2ly is described in
514 @ref{Importing MIDI}.
517 @node Relative octaves
518 @subsection Relative octaves
520 @cindex relative octave specification
522 Octaves are specified by adding @code{'} and @code{,} to pitch names.
523 When you copy existing music, it is easy to accidentally put a pitch in
524 the wrong octave and hard to find such an error. To prevent these
525 errors, LilyPond features octave entry.
527 @cindex @code{\relative}
529 \relative @var{startpitch} @var{musicexpr}
532 The octave of notes that appear in @var{musicexpr} are calculated as
533 follows: If no octave changing marks are used, the basic interval
534 between this and the last note is always taken to be a fourth or less
535 (This distance is determined without regarding alterations; a
536 @code{fisis} following a @code{ceses} will be put above the
539 The octave changing marks @code{'} and @code{,} can be added to raise or
540 lower the pitch by an extra octave. Upon entering relative mode, an
541 absolute starting pitch must be specified that will act as the
542 predecessor of the first note of @var{musicexpr}.
544 Entering music that changes octave frequently is easy in relative mode.
545 @lilypond[fragment,singleline,verbatim,center]
551 And octave changing marks are used for intervals greater than a fourth.
552 @lilypond[fragment,verbatim,center]
557 If the preceding item is a chord, the first note of the chord is used
558 to determine the first note of the next chord. However, other notes
559 within the second chord are determined by looking at the immediately
562 @lilypond[fragment,verbatim,center]
569 @cindex @code{\notes}
571 The pitch after the @code{\relative} contains a note name. To parse
572 the pitch as a note name, you have to be in note mode, so there must
573 be a surrounding @code{\notes} keyword (which is not
576 The relative conversion will not affect @code{\transpose},
577 @code{\chords} or @code{\relative} sections in its argument. If you
578 want to use relative within transposed music, you must place an
579 additional @code{\relative} inside the @code{\transpose}.
584 @subsection Bar check
588 @cindex @code{barCheckSynchronize}
592 Whenever a bar check is encountered during interpretation, a warning
593 message is issued if it doesn't fall at a measure boundary. This can
594 help you find errors in the input. Depending on the value of
595 @code{barCheckSynchronize}, the beginning of the measure will be
596 relocated, so this can also be used to shorten measures.
598 A bar check is entered using the bar symbol, @code{|}:
600 \time 3/4 c2 e4 | g2.
605 @cindex skipTypesetting
607 Failed bar checks are most often caused by entering incorrect
608 durations. Incorrect durations often completely garble up the score,
609 especially if it is polyphonic, so you should start correcting the score
610 by scanning for failed bar checks and incorrect durations. To speed up
611 this process, you can use @code{skipTypesetting} (See @ref{Skipping
614 @c . {Point and click}
615 @node Point and click
616 @subsection Point and click
617 @cindex poind and click
619 Point and click lets you find notes in the input by clicking on them in
620 the Xdvi window. This makes it very easy to find input that causes some
621 error in the sheet music.
623 To use it, you need the following software
625 @item A dvi viewer that supports src specials.
627 @item Plain Xdvi, version 22.36 or newer. Available from
628 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
630 Note that most @TeX{} distributions ship with xdvik, which is a
631 different and less well maintained program. To find out which xdvi you
632 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
633 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
634 newer. Enablle the menu Settings -> Inverse search.
636 @item An editor with a client/server interface (or a lightweight GUI editor).
638 @item Emacs. Emacs is an extensible text-editor. It is available from
639 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
641 @item XEmacs. Xemacs is very similar to emacs.
642 @item NEdit. NEdit runs under Windows, and Unix.
643 It is available from @uref{http://www.nedit.org}.
644 @item GVim. GVim is a lightweight GUI variant of VIM, the popular VI
645 clone. It is available from @uref{http://www.vim.org}.
650 Xdvi must be configured to find the @TeX{} fonts and music
651 fonts. Refer to the Xdvi documentation for more information.
653 To use point-and-click, add one of these lines to the top of your .ly
656 #(set! point-and-click line-location)
658 @cindex line-location
660 When viewing, Control-Mousebutton 1 will take you to the originating
661 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
664 If you correct large files with point-and-click, be sure to start
665 correcting at the end of the file. When you start at the top, and
666 insert one line, all following locations will be off by a line.
669 For using point-and-click with emacs, add the following
670 In your emacs startup file (usually @file{~/.emacs}),
675 Make sure that the environment variable @var{XEDITOR} is set to
677 emacsclient --no-wait +%l %f
679 @cindex @var{XEDITOR}
680 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
681 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
683 For using Vim, set @code{XEDITOR} to @code{gvim +%l %f}, or use this
684 argument with xdvi's @code{-editor} option.
686 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
687 use this argument with xdvi's @code{-editor} option.
689 If can also make your editor jump to the exact location of the note
690 you clicked. This is only supported on Emacs. Users of version 20 must
691 apply the patch @file{emacsclient.patch}. Users of version 21 must
692 apply @file{server.el.patch} (version 21.2 and earlier). At the top
693 of the @code{ly} file, replace the @code{set!} line with the following
696 #(set! point-and-click line-column-location)
698 @cindex line-colomn-location
699 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
703 When you convert the @TeX{} file to PostScript using @code{dvips}, it
704 will complain about not finding @code{src:X:Y} files. These complaints
705 are harmless, and can be ignored.
707 @node Skipping corrected music
708 @subsection Skipping corrected music
710 The property @code{Score.skipTypesetting} can be used to switch on and
711 off typesetting completely during the interpretation phase. When
712 typesetting is switched off, the music is processed much more quickly.
713 You can use this to skip over the parts of a score that you have already
716 @lilypond[fragment,singleline,verbatim]
718 \property Score.skipTypesetting = ##t
720 \property Score.skipTypesetting = ##f
728 @section Staff notation
730 This section deals with music notation that occurs on staff level,
731 such as keys, clefs and time signatures.
733 @cindex Staff notation
745 @subsection Staff symbol
748 @cindex adjusting staff symbol
749 @cindex StaffSymbol, using \property
750 @cindex staff lines, setting number of
753 The lines of the staff symbol are formed by the
754 @internalsref{StaffSymbol} grob. This grob is created at the moment
755 that their context is created. You can not change the appearance of
756 the staff symbol by using @code{\override} or @code{\set}. At the
757 moment that @code{\property Staff} is interpreted, a Staff context is
758 made, and the StaffSymbol is created before any @code{\override} is
759 effective. You can deal with this either overriding properties in a
760 @code{\translator} definition, or by using @code{\outputproperty}.
765 If you end a staff half way a piece, the staff symbol may not end
766 exactly on the barline.
771 @subsection Key signature
776 Setting or changing the key signature is done with the @code{\key}
779 @code{\key} @var{pitch} @var{type}
782 @cindex @code{\minor}
783 @cindex @code{\major}
784 @cindex @code{\minor}
785 @cindex @code{\ionian}
786 @cindex @code{\locrian}
787 @cindex @code{\aeolian}
788 @cindex @code{\mixolydian}
789 @cindex @code{\lydian}
790 @cindex @code{\phrygian}
791 @cindex @code{\dorian}
793 Here, @var{type} should be @code{\major} or @code{\minor} to get
794 @var{pitch}-major or @var{pitch}-minor, respectively.
795 The standard mode names @code{\ionian},
796 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
797 @code{\phrygian}, and @code{\dorian} are also defined.
799 This command sets the context property @code{Staff.keySignature}.
800 Non-standard key signatures can be specified by setting this property
803 The printed signature is a @internalsref{KeySignature} grob, typically
804 created in @internalsref{Staff} context.
806 @cindex @code{keySignature}
813 The clef can be set or changed with the @code{\clef} command:
814 @lilypond[fragment,verbatim]
815 \key f\major c''2 \clef alto g'2
818 Supported clef-names include
819 @c Moved standard clefs to the top /MB
821 @item treble, violin, G, G2
830 G clef on 1st line, so-called French violin clef
845 By adding @code{_8} or @code{^8} to the clef name, the clef is
846 transposed one octave down or up, respectively. Note that you have to
847 enclose @var{clefname} in quotes if you use underscores or digits in the
853 The grob for this symbol is @internalsref{Clef}.
856 This command is equivalent to setting @code{clefGlyph},
857 @code{clefPosition} (which controls the Y position of the clef),
858 @code{centralCPosition} and @code{clefOctavation}. A clef is created
859 when any of these properties are changed.
862 @c . {Time signature}
864 @subsection Time signature
865 @cindex Time signature
869 The time signature is set or changed by the @code{\time}
871 @lilypond[fragment,verbatim]
872 \time 2/4 c'2 \time 3/4 c'2.
875 The actual symbol that's printed can be customized with the @code{style}
876 property. Setting it to @code{#'()} uses fraction style for 4/4 and
880 The grob for this symbol is @internalsref{TimeSignature}. There are
881 many more options for its layout. They are selected through the
882 @code{style} grob property. See @file{input/test/time.ly} for more
885 This command sets the property @code{timeSignatureFraction},
886 @code{beatLength} and @code{measureLength}. The property
887 @code{timeSignatureFraction} determine where bar lines should be
888 inserted, and how automatic beams should be generated. Changing the
889 value of @code{timeSignatureFraction} also causes a time signature
890 symbol to be printed.
897 @cindex partial measure
898 @cindex measure, partial
899 @cindex shorten measures
900 @cindex @code{\partial}
902 Partial measures, for example in upbeats, are entered using the
903 @code{\partial} command:
904 @lilypond[fragment,verbatim]
905 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
908 The syntax for this command is
910 \partial @var{duration}
912 This is internally translated into
914 \property Score.measurePosition = -@var{length of duration}
917 The property @code{measurePosition} contains a rational number
918 indicating how much of the measure has passed at this point.
921 @node Unmetered music
922 @subsection Unmetered music
924 Bar lines and bar numbers are calculated automatically. For unmetered
925 music (e.g. cadenzas), this is not desirable. The commands
926 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
929 @lilypond[fragment,relative,singleline,verbatim]
937 The property @code{Score.timing} can be used to switch off this
942 @subsection Bar lines
946 @cindex measure lines
949 Bar lines are inserted automatically, but if you need a special type
950 of barline, you can force one using the @code{\bar} command:
951 @lilypond[fragment,verbatim] c4 \bar "|:" c4
954 The following bar types are available
955 @lilypond[fragment, relative, singleline, verbatim]
967 You are encouraged to use @code{\repeat} for repetitions. See
970 In scores with many staffs, the barlines are automatically placed at
971 top level, and they are connected between different staffs of a
972 @internalsref{StaffGroup}:
973 @lilypond[fragment, verbatim]
974 < \context StaffGroup <
975 \context Staff = up { e'4 d'
978 \context Staff = down { \clef bass c4 g e g } >
979 \context Staff = pedal { \clef bass c2 c2 } >
982 The grobs that are created at @internalsref{Staff} level. The name is
983 @internalsref{BarLine}.
985 The command @code{\bar @var{bartype}} is a short cut for
986 doing @code{\property Score.whichBar = @var{bartype}}
987 Whenever @code{whichBar} is set to a string, a bar line of that type is
988 created. @code{whichBar} is usually set automatically: at the start of
989 a measure it is set to @code{defaultBarType}. The contents of
990 @code{repeatCommands} is used to override default measure bars.
992 @code{whichBar} can also be set directly, using @code{\property} or
993 @code{\bar }. These settings take precedence over the automatic
994 @code{whichBar} settings.
997 @cindex Bar_line_engraver
999 @cindex repeatCommands
1000 @cindex defaultBarType
1009 The easiest way to enter such fragments with more than one voice on a
1010 staff is to split chords using the separator @code{\\}. You can use
1011 it for small, short-lived voices (make a chord of voices) or for
1014 @lilypond[verbatim,fragment]
1015 \context Voice = VA \relative c'' {
1016 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
1020 The separator causes @internalsref{Voice} contexts to be instantiated,
1021 bearing the names @code{"1"}, @code{"2"}, etc.
1023 Sometimes, it is necessary to instantiate these contexts by hand: For
1024 Instantiate a separate Voice context for each part, and use
1025 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
1026 and horizontal shift for each part.
1029 @lilypond[singleline, verbatim]
1031 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1032 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1033 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1036 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1037 ties, slurs and stems, and set shift directions.
1039 If you want more than four voices, you can also manually set
1040 horizontal shifts and stem directions, as is shown in the following example:
1041 @lilypond[fragment, verbatim]
1042 \context Staff \notes\relative c''<
1043 \context Voice=one {
1044 \shiftOff \stemUp e4
1046 \context Voice=two {
1047 \shiftOn \stemUp cis
1049 \context Voice=three {
1050 \shiftOnn \stemUp ais
1052 \context Voice=four {
1053 \shiftOnnn \stemUp fis
1059 Normally, note heads with a different number of dots are not merged, but
1060 if you set the grob property @code{merge-differently-dotted}, they are:
1061 @lilypond[verbatim,fragment,singleline]
1064 \property Staff.NoteCollision \override
1065 #'merge-differently-dotted = ##t
1067 } \\ { [g'8. f16] [g'8. f'16] }
1071 Similarly, you can merge half note heads with eighth notes, by setting
1072 @code{merge-differently-headed}:
1073 @lilypond[fragment, relative=2,verbatim]
1076 \property Staff.NoteCollision
1077 \override #'merge-differently-headed = ##t
1078 c8 c4. } \\ { c2 c2 } >
1081 LilyPond also vertically shifts rests that are opposite of a stem.
1083 @lilypond[singleline,fragment,verbatim]
1084 \context Voice < c''4 \\ r4 >
1087 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1091 Resolving collisions is a very intricate subject, and LilyPond only
1092 handles a few situations. When it can not cope, you are advised to use
1093 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
1094 rests to override typesetting decisions.
1099 Beams are used to group short notes into chunks that are aligned with
1100 the metrum. They are inserted automatically in most cases.
1102 @lilypond[fragment,verbatim, relative=2]
1103 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1106 If you're not satisfied with the automatic beaming, you can enter the
1107 beams explicitly. If you have beaming patterns that differ from the
1108 defaults, you can also set the patterns for automatic beamer.
1110 See also @internalsref{Beam}.
1113 @cindex Automatic beams
1114 @subsection Manual beams
1115 @cindex beams, manual
1119 In some cases it may be necessary to override LilyPond's automatic
1120 beaming algorithm. For example, the auto beamer will not beam over
1121 rests or bar lines, If you want that, specify the begin and end point
1122 manually using a @code{[} before the first beamed note and a @code{]}
1123 after the last note:
1125 @lilypond[fragment,relative,verbatim]
1127 r4 [r8 g' a r8] r8 [g | a] r8
1131 @cindex @code{stemLeftBeamCount}
1133 Normally, beaming patterns within a beam are determined automatically.
1134 When this mechanism fouls up, the properties
1135 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1136 be used to control the beam subdivision on a stem. If you set either
1137 property, its value will be used only once, and then it is erased.
1139 @lilypond[fragment,relative,verbatim]
1142 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1145 @cindex @code{stemRightBeamCount}
1148 The property @code{subdivideBeams} can be set in order to subdivide
1149 all 16th or shorter beams at beat positions. This accomplishes the
1150 same effect as twiddling with @code{stemLeftBeamCount} and
1151 @code{stemRightBeamCount}, but it take less typing.
1156 \property Voice.subdivideBeams = ##t
1158 [c32 c c c c c c c c c c c c c c c]
1159 \property Score.beatLength = #(make-moment 1 8)
1160 [c32 c c c c c c c c c c c c c c c]
1164 \notes \relative c' {
1166 \property Voice.subdivideBeams = ##t
1168 [c32 c c c c c c c c c c c c c c c]
1169 \property Score.beatLength = #(make-moment 1 8)
1170 [c32 c c c c c c c c c c c c c c c]
1174 @cindex subdivideBeams
1176 Kneed beams are inserted automatically, when a large gap between two
1177 adjacent beamed notes is detected. This behavior can be tuned through
1178 the grob property @code{auto-knee-gap}.
1180 @cindex beams, kneed
1182 @cindex auto-knee-gap
1186 @c TODO -> why this ref? Document?
1187 @cindex @code{neutral-direction}
1191 Auto knee beams can not be used together with hara kiri staffs.
1195 The Automatic beamer does not put @strong{unfinished} beams on the
1196 last notes of a score.
1198 Formatting of ties is a difficult subject. LilyPond often does not
1199 give optimal results.
1202 * Setting automatic beam behavior ::
1206 @no de Beam typography
1207 @sub section Beam typography
1209 One of the strong points of LilyPond is how beams are formatted. Beams
1210 are quantized, meaning that the left and right endpoints beams start
1211 exactly on staff lines. Without quantization, small wedges of white
1212 space appear between the beam and staff line, and this looks untidy.
1214 Beams are also slope-damped: melodies that go up or down should also
1215 have beams that go up or down, but the slope of the beams should be
1216 less than the slope of the notes themselves.
1218 Some beams should be horizontal. These are so-called concave beams.
1220 [TODO: some pictures.]
1223 @c . {Automatic beams}
1224 @node Setting automatic beam behavior
1225 @subsection Setting automatic beam behavior
1227 @cindex @code{autoBeamSettings}
1228 @cindex @code{(end * * * *)}
1229 @cindex @code{(begin * * * *)}
1230 @cindex automatic beams, tuning
1231 @cindex tuning automatic beaming
1233 In normal time signatures, automatic beams can start on any note but can
1234 only end in a few positions within the measure: beams can end on a beat,
1235 or at durations specified by the properties in
1236 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1237 are defined in @file{scm/auto-beam.scm}.
1239 The value of @code{autoBeamSettings} is changed using
1240 @code{\override} and unset using @code{\revert}:
1242 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1243 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1245 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1246 whether the rule applies to begin or end-points. The quantity
1247 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1248 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1249 signature (wildcards, `@code{* *}' may be entered to designate all time
1252 For example, if you want automatic beams to end on every quarter note,
1253 you can use the following:
1255 \property Voice.autoBeamSettings \override
1256 #'(end * * * *) = #(make-moment 1 4)
1258 Since the duration of a quarter note is 1/4 of a whole note, it is
1259 entered as @code{(make-moment 1 4)}.
1261 The same syntax can be used to specify beam starting points. In this
1262 example, automatic beams can only end on a dotted quarter note.
1264 \property Voice.autoBeamSettings \override
1265 #'(end * * * *) = #(make-moment 3 8)
1267 In 4/4 time signature, this means that automatic beams could end only on
1268 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1269 3/8 has passed within the measure).
1271 You can also restrict rules to specific time signatures. A rule that
1272 should only be applied in @var{N}/@var{M} time signature is formed by
1273 replacing the second asterisks by @var{N} and @var{M}. For example, a
1274 rule for 6/8 time exclusively looks like
1276 \property Voice.autoBeamSettings \override
1277 #'(begin * * 6 8) = ...
1280 If you want a rule to apply to certain types of beams, you can use the
1281 first pair of asterisks. Beams are classified according to the shortest
1282 note they contain. For a beam ending rule that only applies to beams
1283 with 32nd notes (and no shorter notes), you would use @code{(end 1
1287 @c Automatic beams can not be put on the last note in a score.
1289 If a score ends while an automatic beam has not been ended and is still
1290 accepting notes, this last beam will not be typeset at all.
1292 @cindex automatic beam generation
1294 @cindex @code{Voice.autoBeaming}
1297 For melodies that have lyrics, you may want to switch off
1298 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1304 It is not possible to specify beaming parameters for beams with mixed
1305 durations, that differ from the beaming parameters of all separate
1306 durations, i.e., you'll have to specify manual beams to get:
1307 @lilypond[fragment,singleline,relative]
1308 \property Voice.autoBeamSettings
1309 \override #'(end * * * *) = #(make-moment 3 8)
1310 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1313 It is not possible to specify beaming parameters that act differently in
1314 different parts of a measure. This means that it is not possible to use
1315 automatic beaming in irregular meters such as @code{5/8}.
1318 @section Accidentals
1320 This section describes how to change the way that LilyPond automatically
1321 inserts accidentals before the running notes.
1324 * Using the predefined accidental macros::
1325 * Defining your own accidental typesettings::
1328 @node Using the predefined accidental macros
1329 @subsection Using the predefined accidental macros
1330 The constructs for describing the accidental typesetting rules are
1331 quite hairy, so non-experts should stick to the macros defined in
1332 @file{ly/property-init.ly}.
1333 @cindex @file{property-init.ly}
1335 The macros operate on the ``Current'' context (see @ref{Context properties}). This
1336 means that the macros shuold normally be invoked right after the
1337 creation of the context in which the accidental typesetting described
1338 by the macro is to take effect. I.e. if you want to use
1339 piano-accidentals in a pianostaff then you issue
1340 @code{\pianoAccidentals} first thing after the creation of the piano
1344 \notes \relative c'' <
1345 \context Staff = sa @{ cis4 d e2 @}
1346 \context GrandStaff <
1348 \context Staff = sb @{ cis4 d e2 @}
1349 \context Staff = sc @{ es2 c @}
1351 \context Staff = sd @{ es2 c @}
1355 @lilypond[singleline]
1357 \notes \relative c'' <
1358 \context Staff = sa { cis4 d e2 }
1359 \context GrandStaff <
1361 \context Staff = sb { cis4 d e2 }
1362 \context Staff = sc { es2 c }
1364 \context Staff = sd { es2 c }
1369 minimumVerticalExtent = #'(-4.0 . 4.0)
1377 @item \defaultAccidentals
1378 @cindex @code{\defaultAccidentals}
1379 This is the default typesetting behaviour. It should correspond
1380 to 18th century common practice: Accidentals are
1381 remembered to the end of the measure in which they occur and
1382 only on their own octave.
1384 @item \voiceAccidentals
1385 @cindex @code{\voiceAccidentals}
1386 The normal behaviour is to remember the accidentals on
1388 This macro, however, typesets accidentals individually for each
1390 Apart from that the rule is similar to
1391 @code{\defaultAccidentals}.
1393 Warning: This leads to some weird and often unwanted results
1394 because accidentals from one voice DO NOT get cancelled in other
1396 @lilypond[singleline,relative,fragment,verbatim]
1399 \context Voice=va { \voiceOne es g }
1400 \context Voice=vb { \voiceTwo c, e }
1403 Hence you should only use @code{\voiceAccidentals}
1404 if the voices are to be read solely by
1405 individual musicians. if the staff should be readable also
1406 by one musician/conductor then you should use
1407 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1410 @item \modernAccidentals
1411 @cindex @code{\modernAccidentals}
1412 This rule should correspond to the common practice in the 20th
1414 The rule is a bit more complex than @code{\defaultAccidentals}:
1415 You get all the same accidentals, but temporary
1416 accidentals also get cancelled in other octaves. Further more,
1417 in the same octave, they also get cancelled in the following measure:
1418 @lilypond[singleline,fragment,verbatim]
1420 cis' c'' cis'2 | c'' c'
1423 @item \modernCautionaries
1424 @cindex @code{\modernCautionaries}
1425 This rule is similar to @code{\modernAccidentals}, but the
1426 ``extra'' accidentals (the ones not typeset by
1427 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1428 (i.e. in reduced size):
1429 @lilypond[singleline,fragment,verbatim]
1431 cis' c'' cis'2 | c'' c'
1434 @item \modernVoiceAccidentals
1435 @cindex @code{\modernVoiceAccidentals}
1436 Multivoice accidentals to be read both by musicians playing one voice
1437 and musicians playing all voices.
1439 Accidentals are typeset for each voice, but they ARE cancelled
1440 across voices in the same @internalsref{Staff}.
1442 @item \modernVoiceCautionaries
1443 @cindex @code{\modernVoiceCautionaries}
1444 The same as @code{\modernVoiceAccidentals}, but with the
1445 extra accidentals (the ones not typeset by
1446 @code{\voiceAccidentals}) typeset as cautionaries.
1447 Notice that even though all accidentals typeset by
1448 @code{\defaultAccidentals} ARE typeset by this macro then some
1449 of them are typeset as cautionaries.
1451 @item \pianoAccidentals
1452 @cindex @code{\pianoAccidentals}
1453 20th century practice for piano notation. Very similar to
1454 @code{\modernAccidentals} but accidentals also get cancelled
1455 across the staves in the same @internalsref{GrandStaff} or
1456 @internalsref{PianoStaff}.
1458 @item \pianoCautionaries
1459 @cindex @code{\pianoCautionaries}
1460 As @code{\pianoAccidentals} but with the extra accidentals
1461 typeset as cationaries.
1464 @cindex @code{\noResetKey}
1465 Same as @code{\defaultAccidentals} but with accidentals lasting
1466 ``forever'' and not only until the next measure:
1467 @lilypond[singleline,fragment,verbatim,relative]
1472 @item \forgetAccidentals
1473 @cindex @code{\forgetAccidentals}
1474 This is sort of the opposite of @code{\noResetKey}: Accidentals
1475 are not remembered at all - and hence all accidentals are
1476 typeset relative to the key signature, regardless of what was
1477 before in the music:
1478 @lilypond[singleline,fragment,verbatim,relative]
1480 \key d\major c4 c cis cis d d dis dis
1484 @node Defining your own accidental typesettings
1485 @subsection Defining your own accidental typesettings
1487 This section must be considered gurus-only, and hence it must be
1488 sufficient with a short description of the system and a reference to
1489 the internal documentation.
1491 The idea of the algorithm is to try several different rules and then
1492 use the rule that gives the highest number of accidentals.
1493 Each rule cosists of
1496 In which context is the rule applied. I.e. if context is
1497 @internalsref{Score} then all staves share accidentals, and if
1498 context is @internalsref{Staff} then all voices in the same
1499 staff share accidentals, but staves don't - like normally.
1501 Whether the accidental changes all octaves or only the current
1504 Over how many barlines the accidental lasts.
1505 If lazyness is @code{-1} then the accidental is forget
1506 immidiately, and if lazyness is @code{#t} then the accidental
1510 As described in the internal documentation of
1511 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1512 @code{autoCautionaries} contain lists of rule descriptions. Notice
1513 that the contexts must be listed from in to out - that is
1514 @internalsref{Thread} before @internalsref{Voice},
1515 @internalsref{Voice} before @internalsref{Staff}, etc.
1516 see the macros in @file{ly/property-init.ly} for examples of how the
1521 Currently the simultaneous notes are considered to be entered in
1522 sequential mode. This means that in a chord the accidentals are
1523 typeset as if the notes in the chord happened one at a time - in the
1524 order in which they appear in the input file.
1526 Of course this is only a problem when you have simultainous notes
1527 which accidentals should depend on each other.
1528 Notice that the problem only occurs when using non-default accidentals
1529 - as the default accidentals only depend on other accidentals on the
1530 same staff and same pitch and hence cannot depend on other
1533 This example shows two examples of the same music giving different
1534 accidentals depending on the order in which the notes occur in the
1537 @lilypond[singleline,fragment,verbatim]
1538 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1539 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1542 The only solution is to manually insert the problematic
1543 accidentals using @code{!} and @code{?}.
1545 @node Expressive marks
1546 @section Expressive marks
1561 A slur indicates that notes are to be played bound or @emph{legato}.
1562 They are entered using parentheses:
1563 @lilypond[fragment,verbatim,center]
1564 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1567 See also @seeinternals{Slur}.
1569 Slurs avoid crossing stems, and are generally attached to note heads.
1570 However, in some situations with beams, slurs may be attached to stem
1571 ends. If you want to override this layout you can do this through the
1572 grob-property @code{attachment} of @internalsref{Slur} in
1573 @internalsref{Voice} context It's value is a pair of symbols, specifying
1574 the attachment type of the left and right end points.
1576 @lilypond[fragment,relative,verbatim]
1578 \property Voice.Stem \set #'length = #5.5
1580 \property Voice.Slur \set #'attachment = #'(stem . stem)
1584 If a slur would strike through a stem or beam, the slur will be moved
1585 away upward or downward. If this happens, attaching the slur to the
1586 stems might look better:
1588 @lilypond[fragment,relative,verbatim]
1591 \property Voice.Slur \set #'attachment = #'(stem . stem)
1596 Similarly, the curvature of a slur is adjusted to stay clear of note
1597 heads and stems. When that would increase the curvature too much, the
1598 slur is reverted to its default shape. The threshold for this
1599 decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
1600 It is loosely related to the enclosed area between the slur and the
1601 notes. Usually, the default setting works well, but in some cases you
1602 may prefer a curved slur when LilyPond decides for a vertically moved
1603 one. You can indicate this preference by increasing the
1604 @code{beautiful} value:
1606 @lilyp ond[verbatim,singleline,relative]
1608 c16( a' f' a a f a, )c,
1609 c( a' f' a a f d, )c
1610 \property Voice.Slur \override #'beautiful = #5.0
1611 c( a' f' a a f d, )c
1617 Producing nice slurs is a difficult problem, and LilyPond currently
1618 uses a simple, empiric method to produce slurs. In some cases, the
1619 results of this method are ugly.
1622 This is reflected by the
1623 @code{beautiful} property, which it is an arbitrary parameter in the
1624 slur formatter. Useful values can only be determined by trial and
1628 @cindex Adjusting slurs
1630 @node Phrasing slurs
1631 @subsection Phrasing slurs
1633 @cindex phrasing slurs
1634 @cindex phrasing marks
1636 A phrasing slur (or phrasing mark) connects chords and is used to
1637 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1640 @lilypond[fragment,verbatim,center,relative]
1641 \time 6/4 c' \( d () e f () e \) d
1644 Typographically, the phrasing slur behaves almost exactly like a normal
1645 slur. See also @seeinternals{PhrasingSlur}.
1649 @subsection Breath marks
1651 Breath marks are entered using @code{\breathe}. See also
1652 @seeinternals{BreathingSign}.
1654 @lilypond[fragment,relative]
1663 @cindex beats per minute
1664 @cindex metronome marking
1666 Metronome settings can be entered as follows:
1668 @cindex @code{\tempo}
1670 \tempo @var{duration} = @var{perminute}
1673 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1678 The tempo setting is not printed, but is only used in the MIDI
1679 output. You can trick lily into producing a metronome mark,
1680 though. Details are in @ref{Text markup}.
1685 @subsection Text spanners
1686 @cindex Text spanners
1688 Some textual indications, e.g. rallentando or accelerando, often extend
1689 over many measures. This is indicated by following the text with a
1690 dotted line. You can create such texts using text spanners. The syntax
1693 \spanrequest \start "text"
1694 \spanrequest \stop "text"
1696 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1697 in @internalsref{Voice} context). The string to be printed, as well as the
1698 style is set through grob properties.
1700 An application---or rather, a hack---is to fake octavation indications.
1701 @lilypond[fragment,relative,verbatim]
1702 \relative c' { a''' b c a
1703 \property Voice.TextSpanner \set #'type = #'dotted-line
1704 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1705 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1706 \property Staff.centralCPosition = #-13
1707 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1725 @subsection Articulations
1726 @cindex Articulations
1728 @cindex articulations
1732 A variety of symbols can appear above and below notes to indicate
1733 different characteristics of the performance. They are added to a note
1734 by adding a dash and the the character signifying the
1735 articulation. They are demonstrated here.
1736 @lilypond[singleline]
1738 \notes \context Voice {
1739 \property Voice.TextScript \set #'font-family = #'typewriter
1740 \property Voice.TextScript \set #'font-shape = #'upright
1746 c''4-^_"c-\\^{ }" s4
1751 The script is automatically placed, but if you need to force
1752 directions, you can use @code{_} to force them down, or @code{^} to
1754 @lilypond[fragment, verbatim]
1759 Other symbols can be added using the syntax
1760 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1761 using @code{^} and @code{_}.
1765 @cindex staccatissimo
1773 @cindex organ pedal marks
1782 @cindex prallmordent
1786 @cindex thumb marking
1793 \property Score.LyricText \override #'font-family =#'typewriter
1794 \property Score.LyricText \override #'font-shape = #'upright
1795 \context Staff \notes {
1796 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1797 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1798 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1799 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1800 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1801 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1802 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1803 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1805 \context Lyrics \lyrics {
1806 accent__ marcato__ staccatissimo__ fermata
1807 stopped__ staccato__ tenuto__ upbow
1808 downbow__ lheel__ rheel__ ltoe
1809 rtoe__ turn__ open__ flageolet
1810 reverseturn__ trill__ prall__ mordent
1811 prallprall__ prallmordent__ uprall__ downprall
1812 upmordent__ downmordent__ pralldown__ prallup__
1813 lineprall__ thumb__ segno__ coda
1817 linewidth = 5.875\in
1826 Fingering instructions can also be entered in this shorthand. For
1827 finger changes, use markup texts:
1829 @lilypond[verbatim, singleline, fragment]
1830 c'4-1 c'4-2 c'4-3 c'4-4
1835 @cindex @code{\script}
1840 See also @seeinternals{Script} and @seeinternals{Fingering}.
1844 All of these note ornaments appear in the printed output but have no
1845 effect on the MIDI rendering of the music.
1847 Unfortunately, there is no support for adding fingering instructions or
1848 ornaments to individual note heads. Some hacks exist, though. See
1849 @file{input/test/script-horizontal.ly}.
1854 @subsection Text scripts
1855 @cindex Text scripts
1857 In addition, it is possible to place arbitrary strings of text or markup
1858 text (see @ref{Text markup}) above or below notes by using a string:
1861 By default, these indications do not influence the note spacing, but
1862 by using the command @code{\fatText}, the widths will be taken into
1865 @lilypond[fragment,singleline,verbatim] \relative c' {
1866 c4^"longtext" \fatText c4_"longlongtext" c4 }
1869 It is possible to use @TeX{} commands in the strings, but this should be
1870 avoided because it makes it impossible for LilyPond to compute the
1871 exact length of the string, which may lead to collisions. Also, @TeX{}
1872 commands won't work with direct PostScript output.
1873 @c (see @ref{PostScript output}).
1875 Text scripts are created in form of @internalsref{TextScript} grobs, in
1876 @internalsref{Voice} context.
1878 @ref{Text markup} describes how to change the font or access
1879 special symbols in text scripts.
1884 @subsection Grace notes
1888 @cindex @code{\grace}
1892 Grace notes are ornaments are written out ornaments
1893 @lilypond[relative=2,verbatim,ifragment]
1894 c4 \grace c16 c4 \grace { [c16 d16] } c4
1897 In normal notation, grace notes are supposed to take up no logical
1898 time in a measure. Such an idea is practical for normal notation, but
1899 is not strict enough to put it into a program. The model that LilyPond
1900 uses for grace notes internally is that all timing is done in two
1903 Every point in musical time consists of two rational numbers: one
1904 denotes the logical time, one denotes the grace timing. The above
1905 example is shown here with timing tuples.
1908 \score { \notes \relative c''{
1909 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1910 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1912 \paper { linewidth = 8.\cm }
1916 The advantage of this approach is that you can use almost any lilypond
1917 construction together with grace notes, for example slurs and clef
1918 changes may appear halfway in between grace notes:
1920 @lilypond[relative=2,verbatim,fragment]
1921 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
1924 The placement of these grace notes is synchronized between different
1925 staffs, using this grace timing.
1927 @lilypond[relative=2,verbatim,fragment]
1928 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
1929 \context Staff = SB { c4 \grace { g8 b } c4 } >
1933 Unbeamed eighth notes and shorter by default have a slash through the
1934 stem. This can be controlled with grob property @code{flag-style} of
1935 @internalsref{Stem}. The change in formatting is accomplished by
1936 inserting @code{\startGraceMusic} before handling the grace notes, and
1937 @code{\stopGraceMusic} after finishing the grace notes. You can add to
1938 these definitions to globally change grace note formatting. The
1939 standard definitions are in @file{ly/grace-init.ly}.
1942 @lilypond[fragment,verbatim]
1943 \relative c'' \context Voice {
1944 \grace c8 c4 \grace { [c16 c16] } c4
1946 \property Voice.Stem \override #'flag-style = #'()
1948 \property Voice.Stem \revert #'flag-style
1955 Grace note synchronization can also lead to surprises. Staff notation,
1956 such as key signatures, barlines, etc. are also synchronized. Take
1957 care when you mix staffs with grace notes and staffs without.
1959 @lilypond[relative=2,verbatim,fragment]
1960 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
1961 \context Staff = SB { c4 \bar "|:" d4 } >
1964 Grace sections should only be used within sequential music
1965 expressions. Nesting, juxtaposing, or ending sequential music with a
1966 grace section is not supported, and might produce crashes or other
1978 @subsection Glissando
1981 @cindex @code{\glissando}
1983 A glissando line can be requested by attaching a @code{\glissando} to
1986 @lilypond[fragment,relative,verbatim]
1992 Printing of an additional text (such as @emph{gliss.}) must be done
1993 manually. See also @seeinternals{Glissando}.
1999 @subsection Dynamics
2012 @cindex @code{\ffff}
2022 Absolute dynamic marks are specified using an identifier after a
2023 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2024 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2025 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2026 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2028 @lilypond[verbatim,singleline,fragment,relative]
2029 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2035 @cindex @code{\decr}
2036 @cindex @code{\rced}
2042 A crescendo mark is started with @code{\cr} and terminated with
2043 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
2044 started with @code{\decr} and terminated with @code{\rced}. There are
2045 also shorthands for these marks. A crescendo can be started with
2046 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2047 can be terminated with @code{\!}. Note that @code{\!} must go before
2048 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2049 after the last note. Because these marks are bound to notes, if you
2050 want several marks during one note, you have to use spacer notes.
2052 @lilypond[fragment,verbatim,center]
2053 c'' \< \! c'' d'' \decr e'' \rced
2054 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2057 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2058 is an example how to do it:
2060 @lilypond[fragment,relative=2,verbatim]
2061 c4 \cresc c4 \endcresc c4
2068 You can also supply your own texts:
2069 @lilypond[fragment,relative,verbatim]
2071 \property Voice.crescendoText = "cresc. poco"
2072 \property Voice.crescendoSpanner = #'dashed-line
2079 Dynamics are grobs of @internalsref{DynamicText} and
2080 @internalsref{Hairpin}. Vertical positioning of these symbols is
2081 handled by the @internalsref{DynamicLineSpanner} grob. If you want to
2082 adjust padding or vertical direction of the dynamics, you must set
2083 properties for the @internalsref{DynamicLineSpanner} grob. Predefined
2084 identifiers to set the vertical direction are \dynamicUp and
2087 @cindex direction, of dynamics
2088 @cindex @code{\dynamicDown}
2089 @cindex @code{\dynamicUp}
2097 @cindex @code{\repeat}
2099 To specify repeats, use the @code{\repeat} keyword. Since repeats
2100 should work differently when played or printed, there are a few
2101 different variants of repeats.
2105 Repeated music is fully written (played) out. Useful for MIDI
2106 output, and entering repetitive music.
2109 This is the normal notation: Repeats are not written out, but
2110 alternative endings (voltas) are printed, left to right.
2113 Alternative endings are written stacked. This has limited use but may be
2114 used to typeset two lines of lyrics in songs with repeats, see
2115 @file{input/star-spangled-banner.ly}.
2121 Make beat or measure repeats. These look like percent signs.
2127 * Repeats and MIDI::
2128 * Manual repeat commands::
2130 * Tremolo subdivisions::
2135 @subsection Repeat syntax
2137 The syntax for repeats is
2140 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2143 If you have alternative endings, you may add
2144 @cindex @code{\alternative}
2146 \alternative @code{@{} @var{alternative1}
2148 @var{alternative3} @dots{} @code{@}}
2150 where each @var{alternative} is a music expression.
2152 Normal notation repeats are used like this:
2153 @lilypond[fragment,verbatim]
2155 \repeat volta 2 { c'4 d' e' f' }
2156 \repeat volta 2 { f' e' d' c' }
2159 With alternative endings:
2160 @lilypond[fragment,verbatim]
2162 \repeat volta 2 {c'4 d' e' f'}
2163 \alternative { {d'2 d'} {f' f} }
2166 Folded repeats look like this:
2169 @lilypond[fragment,verbatim]
2171 \repeat fold 2 {c'4 d' e' f'}
2172 \alternative { {d'2 d'} {f' f} }
2176 If you don't give enough alternatives for all of the repeats, then
2177 the first alternative is assumed to be repeated often enough to equal
2178 the specified number of repeats.
2180 @lilypond[fragment,verbatim]
2184 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2185 \alternative { { g4 g g } { a | a a a a | b2. } }
2190 @node Repeats and MIDI
2191 @subsection Repeats and MIDI
2193 @cindex expanding repeats
2195 For instructions on how to unfoldi repeats for MIDI output, see
2196 the example file @file{input/test/unfold-all-repeats.ly}.
2201 Notice that timing information is not remembered at the start of an
2202 alternative, so you have to reset timing information after a repeat,
2203 e.g. using a bar-check (See @ref{Bar check}), setting
2204 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2205 are also not repeated.
2207 It is possible to nest @code{\repeat}s, although this probably is only
2208 meaningful for unfolded repeats.
2210 Folded repeats offer little more over simultaneous music.
2212 @node Manual repeat commands
2213 @subsection Manual repeat commands
2215 @cindex @code{repeatCommands}
2217 The property @code{repeatCommands} can be used to control the layout of
2218 repeats. Its value is a Scheme list of repeat commands, where each repeat
2226 @item (volta . @var{text})
2227 Print a volta bracket saying @var{text}.
2229 Stop a running volta bracket
2232 @lilypond[verbatim, fragment]
2234 \property Score.repeatCommands = #'((volta "93") end-repeat)
2236 \property Score.repeatCommands = #'((volta #f))
2241 Repeats brackets are @internalsref{VoltaBracket} grobs.
2243 @node Tremolo repeats
2244 @subsection Tremolo repeats
2245 @cindex tremolo beams
2247 To place tremolo marks between notes, use @code{\repeat} with tremolo
2249 @lilypond[verbatim,center,singleline]
2251 \context Voice \notes\relative c' {
2252 \repeat "tremolo" 8 { c16 d16 }
2253 \repeat "tremolo" 4 { c16 d16 }
2254 \repeat "tremolo" 2 { c16 d16 }
2255 \repeat "tremolo" 4 c16
2260 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
2261 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2262 entered without @code{@{} and @code{@}}.
2266 Only powers of two and undotted notes are supported repeat counts.
2268 @node Tremolo subdivisions
2269 @subsection Tremolo subdivisions
2270 @cindex tremolo marks
2271 @cindex @code{tremoloFlags}
2273 Tremolo marks can be printed on a single note by adding
2274 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2275 A @var{length} value of 8 gives one line across the note stem. If the
2276 length is omitted, then then the last value (stored in
2277 @code{Voice.tremoloFlags}) is used.
2279 @lilypond[verbatim,fragment,center]
2280 c'2:8 c':32 | c': c': |
2286 Tremolos in this style do not carry over into the MIDI output.
2289 @node Measure repeats
2290 @subsection Measure repeats
2292 @cindex percent repeats
2293 @cindex measure repeats
2295 In the @code{percent} style, a note pattern can be repeated. It is
2296 printed once, and then the pattern is replaced with a special sign.
2297 Patterns of a one and two measures are replaced by percent-like signs,
2298 patterns that divide the measure length are replaced by slashes.
2300 @lilypond[verbatim,singleline]
2301 \context Voice { \repeat "percent" 4 { c'4 }
2302 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2306 The signs are represented by these grobs: @internalsref{RepeatSlash} and
2307 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2311 You can not nest percent repeats, e.g. by filling in the first measure
2312 with slashes, and repeating that measure with percents.
2314 @node Rhythmic music
2315 @section Rhythmic music
2317 Sometimes you might want to show only the rhythm of a melody. This can
2318 be done with the rhythmic staff. All pitches of notes on such a staff
2319 are squashed, and the staff itself looks has a single staff line:
2321 @lilypond[fragment,relative,verbatim]
2322 \context RhythmicStaff {
2324 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2329 * Percussion staves::
2332 @node Percussion staves
2333 @subsection Percussion staves
2336 To typeset more than one piece of percussion to be played by the same
2337 musician one typically uses a multiline staff where each staff
2338 position refers to a specific piece of percussion.
2340 LilyPond is shipped with a bunch of scheme functions which allows you
2341 to do this fairly easily.
2343 The system is based on the general midi drum-pitches.
2344 In order to use the drum pitches you include
2345 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2346 variable @code{drum-pitch-names} - which definition can be read in
2347 @file{scm/drums.scm}. You see that each piece of percussion has a full
2348 name and an abbreviated name - and you may freely select whether to
2349 refer to the full name or the abbreviation in your music definition.
2351 To typeset the music on a staff you apply the scheme function
2352 @code{drums->paper} to the percussion music. This function takes a
2353 list of percussion instrument names, notehead scripts and staff
2354 positions (that is: pitches relative to the C-clef) and uses this to
2355 transform the input music by moving the pitch, changing the notehead
2356 and (optionally) adding a script:
2357 @lilypond[singleline,verbatim]
2358 \include "drumpitch-init.ly"
2359 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2360 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2362 \apply #(drums->paper 'drums) \context Staff <
2364 \context Voice = up { \voiceOne \up }
2365 \context Voice = down { \voiceTwo \down }
2370 In the above example the music was transformed using the list @code{'drums}.
2371 Currently the following lists are defined in @file{scm/drums.scm}:
2374 To typeset a typical drum kit on a five line staff.
2376 \include "drumpitch-init.ly"
2377 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2378 bd sn ss tomh tommh tomml toml tomfh tomfl }
2379 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2380 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2383 \apply #(drums->paper 'drums) \context Staff <
2387 \context Lyrics \nam
2392 \remove Bar_engraver
2393 \remove Time_signature_engraver
2394 minimumVerticalExtent = #'(-4.0 . 5.0)
2398 \remove Stem_engraver
2403 Notice that the scheme supports six different toms.
2404 If you are using fewer toms then you simply select the toms that produce
2405 the desired result - i.e. to get toms on the three middle lines you
2406 use @code{tommh}, @code{tomml} and @code{tomfh}.
2408 Because the general midi contain no rimshots we use the sidestick for
2409 this purpose instead.
2411 To typeset timbales on a two line staff.
2412 @lilypond[singleline]
2413 \include "drumpitch-init.ly"
2414 nam = \lyrics { timh ssh timl ssl cb }
2415 mus = \notes { timh ssh timl ssl cb s16 }
2418 \apply #(drums->paper 'timbales) \context Staff <
2422 \context Lyrics \nam
2427 \remove Bar_engraver
2428 \remove Time_signature_engraver
2429 StaffSymbol \override #'line-count = #2
2430 StaffSymbol \override #'staff-space = #2
2431 minimumVerticalExtent = #'(-3.0 . 4.0)
2435 \remove Stem_engraver
2442 To typeset congas on a two line staff.
2443 @lilypond[singleline]
2444 \include "drumpitch-init.ly"
2445 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2446 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2449 \apply #(drums->paper 'congas) \context Staff <
2453 \context Lyrics \nam
2458 \remove Bar_engraver
2459 \remove Time_signature_engraver
2460 StaffSymbol \override #'line-count = #2
2461 StaffSymbol \override #'staff-space = #2
2462 minimumVerticalExtent = #'(-3.0 . 4.0)
2466 \remove Stem_engraver
2472 To typeset bongos on a two line staff.
2473 @lilypond[singleline]
2474 \include "drumpitch-init.ly"
2475 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2476 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2479 \apply #(drums->paper 'bongos) \context Staff <
2483 \context Lyrics \nam
2488 \remove Bar_engraver
2489 \remove Time_signature_engraver
2490 StaffSymbol \override #'line-count = #2
2491 StaffSymbol \override #'staff-space = #2
2492 minimumVerticalExtent = #'(-3.0 . 4.0)
2496 \remove Stem_engraver
2502 To typeset all kinds of simple percussion on one line staves.
2503 @lilypond[singleline]
2504 \include "drumpitch-init.ly"
2505 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2506 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2509 \apply #(drums->paper 'percussion) \context Staff <
2513 \context Lyrics \nam
2518 \remove Bar_engraver
2519 \remove Time_signature_engraver
2520 StaffSymbol \override #'line-count = #1
2521 minimumVerticalExtent = #'(-2.0 . 3.0)
2525 \remove Stem_engraver
2532 If you don't like any of the predefined lists you can define your own
2533 list at the top of your file:
2535 @lilypond[singleline, verbatim]
2537 (bassdrum default #f ,(make-pitch -1 2 0))
2538 (snare default #f ,(make-pitch 0 1 0))
2539 (hihat cross #f ,(make-pitch 0 5 0))
2540 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2541 (lowtom diamond #f ,(make-pitch -1 6 0))
2543 \include "drumpitch-init.ly"
2544 up = \notes { hh8 hh hh hh hhp4 hhp }
2545 down = \notes { bd4 sn bd toml8 toml }
2547 \apply #(drums->paper 'mydrums) \context Staff <
2549 \context Voice = up { \voiceOne \up }
2550 \context Voice = down { \voiceTwo \down }
2555 To use a modified existing list instead of building your own from
2556 scratch you can append your modifications to the start of the existing
2560 #(define mydrums (append `(
2561 (bassdrum default #f ,(make-pitch -1 2 0))
2562 (lowtom diamond #f ,(make-pitch -1 6 0))
2566 @c FIXME: Too many levels of headers when using subsubsections.
2567 @c Perhaps junk subsection ``Percussion staves''
2568 @subsubsection Percussion staves with normal staves
2569 When you include @file{drumpitch-init.ly} then the default pitches
2570 are overridden so that you after the inclusion cannot use the common
2571 dutch pitch names anymore. Hence you might wan't to reinclude
2572 @file{nederlands.ly} after the drum-pattern-definitions:
2573 @lilypond[singleline,verbatim]
2574 \include "drumpitch-init.ly"
2575 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2576 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2577 \include "nederlands.ly"
2578 bass = \notes \transpose c, { a4. e8 r e g e }
2581 \apply #(drums->paper 'drums) \context Staff = drums <
2583 \context Voice = up { \voiceOne \up }
2584 \context Voice = down { \voiceTwo \down }
2586 \context Staff = bass { \clef "F_8" \bass }
2591 @subsubsection Percussion midi output
2592 In order to produce correct midi output you need to produce two score
2593 blocks - one for the paper and one for the midi.
2594 To use the percussion channel you set the property @code{instrument}
2595 to @code{'drums}. Because the drum-pitches themself are similar to the
2596 general midi pitches all you have to do is to insert the voices with
2597 none of the scheme functions to get the correct midi output:
2601 \apply #(drums->paper 'mydrums) \context Staff <
2603 \context Voice = up @{ \voiceOne \up @}
2604 \context Voice = down @{ \voiceTwo \down @}
2610 \property Staff.instrument = #'drums
2619 This scheme is to be considered a temporary implementation. Even
2620 though the scheme will probably keep on working then the future might
2621 bring some other way of typesetting drums, and probably
2622 there will be made no great efforts in keeping things downwards
2627 @section Piano music
2629 Piano music is an odd type of notation. Piano staves are two normal
2630 staves coupled with a brace. The staves are largely independent, but
2631 sometimes voices can cross between the two staves. The
2632 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2633 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2634 other pianistic peculiarities.
2637 * Automatic staff changes::
2638 * Manual staff switches::
2641 * Voice follower lines::
2645 @c . {Automatic staff changes}
2646 @node Automatic staff changes
2647 @subsection Automatic staff changes
2648 @cindex Automatic staff changes
2650 Voices can switch automatically between the top and the bottom
2651 staff. The syntax for this is
2653 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2655 The autochanger switches on basis of pitch (central C is the turning
2656 point), and it looks ahead skipping over rests to switch rests in
2657 advance. Here is a practical example:
2659 @lilypond[verbatim,singleline]
2660 \score { \notes \context PianoStaff <
2661 \context Staff = "up" {
2662 \autochange Staff \context Voice = VA < \relative c' {
2663 g4 a b c d r4 a g } > }
2664 \context Staff = "down" {
2669 Spacer rests are used to prevent the bottom staff from
2670 terminating too soon.
2673 @node Manual staff switches
2674 @subsection Manual staff switches
2676 @cindex manual staff switches
2677 @cindex staff switch, manual
2679 Voices can be switched between staves manually, using the following command:
2681 \translator Staff = @var{staffname} @var{music}
2683 The string @var{staffname} is the name of the staff. It switches the
2684 current voice from its current staff to the Staff called
2685 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2693 Piano pedal instruction can be expressed using
2694 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2695 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2697 These identifiers are shorthands for spanner commands of the types
2698 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2700 @lilypond[fragment,verbatim]
2701 c''4 \spanrequest \start "Sustain" c''4
2702 c''4 \spanrequest \stop "Sustain"
2705 The symbols that are printed can be modified by setting
2706 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2707 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2708 @rgrob{SustainPedal}, for example, for more information.
2710 Pedals can also be indicated by a sequence of brackets, by setting the
2711 @code{pedal-type} property of SustainPedal grobs:
2713 @lilypond[fragment,verbatim]
2714 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2715 c''4 \sustainDown d''4 e''4 a'4
2716 \sustainUp \sustainDown
2717 f'4 g'4 a'4 \sustainUp
2720 A third style of pedal notation is a mixture of text and brackets,
2721 obtained by setting @code{pedal-type} to @code{mixed}:
2723 @lilypond[fragment,verbatim]
2724 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2725 c''4 \sustainDown d''4 e''4 c'4
2726 \sustainUp \sustainDown
2727 f'4 g'4 a'4 \sustainUp
2730 The default '*Ped' style for sustain and damper pedals corresponds to
2731 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2732 for a sostenuto pedal:
2734 @lilypond[fragment,verbatim]
2735 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2738 For fine-tuning of the appearance of a pedal bracket, the properties
2739 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2740 @code{PianoPedalBracket} grobs (see the detailed documentation of
2741 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2742 may be extended to the end of the note head.
2744 @lilypond[fragment,verbatim]
2745 \property Staff.PianoPedalBracket \override
2746 #'shorten-pair = #'(0 . -1.0)
2747 c''4 \sostenutoDown d''4 e''4 c'4
2748 f'4 g'4 a'4 \sostenutoUp
2755 @subsection Arpeggio
2758 @cindex broken arpeggio
2759 @cindex @code{\arpeggio}
2761 You can specify an arpeggio sign on a chord by attaching an
2762 @code{\arpeggio} to a note of the chord.
2765 @lilypond[fragment,relative,verbatim]
2766 \context Voice <c\arpeggio e g c>
2769 When an arpeggio crosses staves in piano music, you attach an arpeggio
2770 to the chords in both staves, and set
2771 @code{PianoStaff.connectArpeggios}.
2773 @lilypond[fragment,relative,verbatim]
2774 \context PianoStaff <
2775 \property PianoStaff.connectArpeggios = ##t
2776 \context Voice = one { <c'\arpeggio e g c> }
2777 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2781 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2782 are @code{PianoStaff.Arpeggio}.
2784 To add an arrow head to explicitly specify the direction of the
2785 arpeggio, you should set the arpeggio grob property
2786 @code{arpeggio-direction}.
2788 @lilypond[fragment,relative,verbatim]
2790 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2792 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2797 A square bracket on the left indicates that the player should not
2798 arpeggiate the chord. To draw these brackets, set the
2799 @code{molecule-callback} property of @code{Arpeggio} or
2800 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2801 @code{\arpeggio} statements within the chords as before.
2803 @lilypond[fragment,relative,verbatim]
2804 \context PianoStaff <
2805 \property PianoStaff.connectArpeggios = ##t
2806 \property PianoStaff.Arpeggio \override
2807 #'molecule-callback = \arpeggioBracket
2808 \context Voice = one { <c'\arpeggio e g c> }
2809 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2816 It is not possible to mix connected arpeggios and unconnected
2817 arpeggios in one PianoStaff at the same time.
2821 @node Voice follower lines
2822 @subsection Voice follower lines
2824 @cindex follow voice
2825 @cindex staff switching
2828 @cindex @code{followVoice}
2830 Whenever a voice switches to another staff a line connecting the notes
2831 can be printed automatically. This is enabled if the property
2832 @code{PianoStaff.followVoice} is set to true:
2834 @lilypond[fragment,relative,verbatim]
2835 \context PianoStaff <
2836 \property PianoStaff.followVoice = ##t
2837 \context Staff \context Voice {
2839 \translator Staff=two
2842 \context Staff=two {\clef bass \skip 1*2 }
2846 The associated grob is @internalsref{VoiceFollower}.
2852 Tablature notation is used music for plucked string instruments. It
2853 notates pitches not by using note heads, but by indicating on which
2854 string and fret a note must be played. LilyPond offers limited
2855 support for tablature, by abusing the fingering system.
2858 * Tablatures basic::
2859 * Non-guitar tablatures::
2860 * Tablature in addition to normal staff::
2863 @node Tablatures basic
2864 @subsection Tablatures basic
2865 @cindex Tablatures basic
2867 Tablature can be typeset with Lilypond by using the
2868 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2869 tablature is a recent feature in Lilypond, most of the guitar special
2870 effects such as hammer, pull, bend are not yet supported.
2872 With the @internalsref{TabStaff}, the string number associated to a note
2873 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2874 quarter on the third string. The string 1 is the lowest one, and the
2875 tuning defaults to the standard guitar tuning (with 6 strings).
2877 @lilypond[fragment,verbatim]
2880 \property Staff.Stem \override #'direction = #1
2889 @node Non-guitar tablatures
2890 @subsection Non-guitar tablatures
2891 @cindex Non-guitar tablatures
2893 There are many ways to customize Lilypond tablatures.
2895 First you can change the number of strings, by setting the number of
2896 lines in the @internalsref{TabStaff}. You can change the strings
2897 tuning. A string tuning is given as a Scheme list with one integer
2898 number for each string, the number being the pitch of an open string.
2900 Finally, it is possible to change the Scheme function to format the
2901 tablature note text. The default is @var{fret-number-tablature-format},
2902 which uses the fret number, but for some instruments that may not use
2903 this notation, just create your own tablature-format function. This
2904 function takes three argument: the string number, the string tuning and
2908 @node Tablature in addition to normal staff
2909 @subsection Tablature in addition to normal staff
2910 @cindex Tablature in addition to normal staff
2912 It is possible to typeset both tablature and a "normal" staff, as
2913 commonly done in many parts.
2915 A common trick for that is to put the notes in a variables, and to hide
2916 the fingering information (which correspond to the string number) for
2925 \context StaffGroup <
2927 % Hide fingering number
2928 \property Staff.Fingering \override #'transparent = ##t
2933 \property Staff.Stem \override #'direction = #1
2947 LilyPond has support for both entering and printing chords.
2948 @lilypond[verbatim,singleline]
2949 twoWays = \notes \transpose c'' {
2959 < \context ChordNames \twoWays
2960 \context Voice \twoWays > }
2963 This example also shows that the chord printing routines do not try to
2964 be intelligent. If you enter @code{f bes d}, it does not interpret
2965 this as an inversion.
2967 As you can see chords really are a set of pitches. They are internally
2968 stored as simultaneous music expressions. This means you can enter
2969 chords by name and print them as notes, enter them as notes and print
2970 them as chord names, or (the most common case) enter them by name, and
2975 * Printing named chords::
2980 @subsection Chords mode
2983 Chord mode is a mode where you can input sets of pitches using common
2984 names. It is introduced by the keyword @code{\chords}. It is similar
2985 to note mode, but words are also looked up in a chord modifier table
2986 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
2987 to indicate chord additions and subtractions, so articulation scripts
2988 can not be entered in Chord mode.
2990 Throughout these examples, chords have been shifted around the staff
2991 using @code{\transpose}.
2993 @lilypond[fragment,verbatim]
2997 c:9 c:9-.5+.7+ c:3-.5-
3007 The second type of modifier that may appear after the @code{:} is a
3008 named modifier. Named modifiers are listed in the file
3009 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
3010 @code{min} which lower the 3rd half a step, `@code{aug}' which
3011 raises the 5th, `@code{dim}' which lowers the 5th,
3012 `@code{maj}' which adds a raised 7th, and `@code{sus}'
3013 which replaces the 5th with a 4th.
3015 @lilypond[fragment,verbatim]
3018 c1:m c:min7 c:maj c:aug c:dim c:sus
3024 Chord subtractions are used to eliminate notes from a chord. The
3025 notes to be subtracted are listed after a @code{^} character,
3028 @lilypond[fragment,verbatim,center]
3037 Chord inversions can be specified by appending `@code{/}' and the name
3038 of a single note to a chord. In a chord inversion, the inverted note is
3039 transposed down until it is the lowest note in the chord. If the note
3040 is not in the chord, a warning will be printed.
3042 @lilypond[fragment,verbatim,center]
3052 Bass notes can be added by `@code{/+}' and
3053 the name of a single note to a chord. This has the effect of
3054 adding the specified note to the chord, lowered by an octave,
3055 so it becomes the lowest note in the chord.
3057 @lilypond[fragment,verbatim,center]
3066 The formal syntax for named chords is as follows:
3068 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
3071 @var{tonic} should be the tonic note of the chord, and @var{duration} is
3072 the chord duration in the usual notation. There are two kinds of
3073 modifiers. One type is formed by @emph{chord additions}. Additions are
3074 obtained by listing intervals separated by dots. An interval is written
3075 by its number with an optional @code{+} or @code{-} to indicate raising
3076 or lowering by half a step. Chord additions have two effects: they adds
3077 the specified interval and all lower odd numbered intervals to the
3078 chord, and they may lower or raise the specified interval.
3083 Implementation details are gory. For example @code{c:4} not only adds
3084 a fourth, but also removes the third.
3087 @c . {Printing named chords}
3088 @node Printing named chords
3089 @subsection Printing named chords
3091 @cindex printing chord names
3095 For displaying printed chord names, use the @internalsref{ChordNames} context.
3096 The chords may be entered either using the notation described above, or
3097 directly using simultaneous music.
3099 @lilypond[verbatim,singleline]
3101 \chords {a1 b c} <d f g> <e g b>
3105 \context ChordNames \scheme
3106 \context Staff \transpose c'' \scheme
3111 You can make the chord changes stand out by setting
3112 @code{ChordNames.chordChanges} to true. This will only display chord
3113 names when there's a change in the chords scheme and at the start of a
3118 c1:m c:m \break c:m c:m d
3122 \context ChordNames {
3123 \property ChordNames.chordChanges = ##t
3125 \context Staff \transpose c'' \scheme
3127 \paper{linewidth= 9.\cm}
3131 LilyPond examines chords specified as lists of notes to determine a name
3132 to give the chord. LilyPond will not try to identify chord inversions or
3133 an added bass note, which may result in strange chord names when chords
3134 are entered as a list of pitches:
3136 @lilypond[verbatim,center,singleline]
3145 \context ChordNames \scheme
3146 \context Staff \scheme
3152 By default, a chord name system proposed by Harald Banter (See
3153 @ref{Literature}) is used. The system is very regular and predictable.
3154 Typical American style chord names may be selected by setting the
3155 @code{style} property of the @code{ChordNames.ChordName} grob to
3156 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3158 Routines that determine the names to be printed are written in Scheme,
3159 and may be customized by the user. The code can be found in
3160 @file{scm/chord-name.scm}. Here's an example showing the differences in
3164 @c maybe just junk verbatim option?
3165 @lilypond[verbatim,singleline]
3175 \context ChordNames = banter \scheme
3176 \context ChordNames = american {
3177 \property ChordNames.ChordName \override
3178 #'style = #'american \scheme }
3179 \context ChordNames = jazz {
3180 \property ChordNames.ChordName \override
3181 #'style = #'jazz \scheme }
3182 \context Staff \transpose c'' \scheme
3189 @section Writing parts
3191 Orchestral music involves some special notation, both in the full score,
3192 as in the individual parts. This section explains how to tackle common
3193 problems in orchestral music.
3200 * Instrument names::
3202 * Multi measure rests::
3203 * Automatic part combining::
3204 * Hara kiri staves::
3205 * Sound output for transposing instruments::
3208 @c . {Rehearsal marks}
3209 @node Rehearsal marks
3210 @subsection Rehearsal marks
3211 @cindex Rehearsal marks
3213 @cindex @code{\mark}
3215 To print a rehearsal mark, use the @code{\mark} command.
3216 @lilypond[fragment,verbatim]
3227 As you can see, the mark is incremented automatically if you use
3228 @code{\mark \default}. The value to use is stored in the property
3229 @code{rehearsalMark} is used and automatically incremented. The grob
3230 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3231 @code{input/test/boxed-molecule.ly} if you need boxes around the
3234 The @code{\mark} command can also be used to put signs like coda,
3235 segno and fermatas on a barline. The trick is to use the text markup
3236 mechanism to access the fermata symbol.
3237 @lilypond[fragment,verbatim,relative=1]
3238 c1 \mark #'(music "scripts-ufermata")
3242 The problem is that marks that occur at a line break are typeset only
3243 at the beginning of the next line, opposite to what you want for the
3244 fermata. This can be corrected by the following property setting
3246 \property Score.RehearsalMark \override
3247 #'visibility-lambda = #begin-of-line-invisible
3253 @cindex barlines, putting symbols on
3257 @subsection Bar numbers
3261 @cindex measure numbers
3262 @cindex currentBarNumber
3264 Bar numbers are printed by default at the start of the line. The
3265 number itself is a property that can be set by modifying the
3266 @code{currentBarNumber} property, i.e.
3268 \property Score.currentBarNumber = #217
3271 If you want boxed bar numbers, see the example file
3272 @code{input/test/boxed-molecule.ly}.
3274 See also @seeinternals{BarNumber}.
3278 Printing bar numbers at regular intervals is not implemented.
3279 Barnumbers can collide with the StaffGroup, if there is one at the
3280 top. To solve this, You have to twiddle with the
3281 @internalsref{padding} property of @internalsref{BarNumber} if your
3282 score starts with a @internalsref{StaffGroup}.
3284 @node Instrument names
3285 @subsection Instrument names
3287 In scores, the instrument name is printed before the staff. This can
3288 be done by setting @code{Staff.instrument} and
3289 @code{Staff.instr}. This will print a string before the start of the
3290 staff. For the first start, @code{instrument} is used, for the next
3291 ones @code{instr} is used.
3293 @lilypond[verbatim,singleline]
3294 \property Staff.instrument = "ploink " { c''4 }
3297 You can also use markup texts to construct more complicated instrument
3301 @lilypond[verbatim,singleline]
3303 '((font-relative-size . -2 ) (music "accidentals--1")))
3306 \property Staff.instrument = #`((kern . 0.5) (lines
3307 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3315 When you put a name on a grand staff or piano staff the width of the
3316 brace is not taken into account. You must add extra spaces to the end of
3317 the name to avoid a collision.
3320 @subsection Transpose
3322 @cindex transposition of pitches
3323 @cindex @code{\transpose}
3325 A music expression can be transposed with @code{\transpose}. The syntax
3328 \transpose @var{pitch} @var{musicexpr}
3331 This means that middle C in @var{musicexpr} is transposed to
3334 @code{\transpose} distinguishes between enharmonic pitches: both
3335 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3336 a tone. The first version will print sharps and the second version
3339 @lilypond[singleline, verbatim]
3340 mus =\notes { \key d \major cis d fis g }
3341 \score { \notes \context Staff {
3349 If you want to use both @code{\transpose} and @code{\relative}, then
3350 you must use @code{\transpose} first. @code{\relative} will have no
3351 effect music that appears inside a @code{\transpose}.
3353 @c . {Multi measure rests}
3354 @node Multi measure rests
3355 @subsection Multi measure rests
3356 @cindex Multi measure rests
3360 Multi measure rests are entered using `@code{R}'. It is specifically
3361 meant for full bar rests and for entering parts: the rest can expand to
3363 rests, or it can be printed as a single multimeasure rest This expansion
3364 is controlled by the property @code{Score.skipBars}. If this is set to true,
3365 Lily will not expand empty measures, and the appropriate number is added
3368 @lilypond[fragment,verbatim]
3369 \time 3/4 r2. | R2. | R2.*2
3370 \property Score.skipBars = ##t R2.*17 R2.*4
3373 Notice that the @code{R2.} is printed as a whole rest, centered in the
3376 @cindex whole rests for a full measure
3378 The grob for this object is @internalsref{MultiMeasureRest}.
3382 Currently, there is no way to automatically condense multiple rests
3383 into a single multimeasure rest. Multi measure rests do not take part
3386 @cindex condensing rests
3388 @node Automatic part combining
3389 @subsection Automatic part combining
3390 @cindex automatic part combining
3391 @cindex part combiner
3394 Automatic part combining is used to merge two parts of music onto a
3395 staff in an intelligent way. It is aimed primarily at typesetting
3396 orchestral scores. When the two parts are identical for a period of
3397 time, only one is shown. In places where the two parts differ, they
3398 are typeset as separate voices, and stem directions are set
3399 automatically. Also, solo and @emph{a due} parts can be identified
3402 The syntax for part combining is
3405 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3407 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3408 combined into one context of type @var{context}. The music expressions
3409 must be interpreted by contexts whose names should start with @code{one}
3412 The most useful function of the part combiner is to combine parts into
3413 one voice, as common for wind parts in orchestral scores:
3415 @lilypond[verbatim,singleline,fragment]
3417 \context Voice=one \partcombine Voice
3418 \context Thread=one \relative c'' {
3421 \context Thread=two \relative c'' {
3427 Notice that the first @code{g} appears only once, although it was
3428 specified twice (once in each part). Stem, slur and tie directions are
3429 set automatically, depending whether there is a solo or unisono. The
3430 first part (with context called @code{one}) always gets up stems, and
3431 `solo', while the second (called @code{two}) always gets down stems and
3434 If you just want the merging parts, and not the textual markings, you
3435 may set the property @var{soloADue} to false.
3437 @lilypond[verbatim,singleline,fragment]
3439 \property Staff.soloADue = ##f
3440 \context Voice=one \partcombine Voice
3441 \context Thread=one \relative c'' {
3444 \context Thread=two \relative c'' {
3450 There are a number of other properties that you can use to tweak the
3451 behavior of part combining, refer to the automatically generated
3452 documentation of @reng{Thread_devnull_engraver} and
3453 @reng{Voice_devnull_engraver}. Look at the documentation of the
3454 responsible engravers, @code{Thread_devnull_engraver},
3455 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3459 In @code{soloADue} mode, when the two voices play the same notes on and
3460 off, the part combiner may typeset @code{a2} more than once in a
3463 @lilypond[fragment,singleline]
3465 \context Voice=one \partcombine Voice
3466 \context Thread=one \relative c'' {
3469 \context Thread=two \relative c'' {
3475 @cindex @code{Thread_devnull_engraver}
3476 @cindex @code{Voice_engraver}
3477 @cindex @code{A2_engraver}
3479 @node Hara kiri staves
3480 @subsection Hara kiri staves
3482 In orchestral scores, staff lines that only have rests are usually removed.
3483 This saves some space. LilyPond also supports this through the hara
3484 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3485 the Japanese Samourai warriors.} staff. This staff commits suicide when
3486 it finds itself to be empty after the line-breaking process. It will
3487 not disappear when it contains normal rests, you must use multi measure
3490 The hara kiri staff is specialized version of the @internalsref{Staff}
3491 context. It is available as the context identifier
3492 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3493 example disappears in the second line.
3497 \notes \relative c' <
3498 \context Staff = SA { e4 f g a \break c1 }
3499 \context Staff = SB { c4 d e f \break R1 }
3503 \translator { \HaraKiriStaffContext }
3509 @node Sound output for transposing instruments
3510 @subsection Sound output for transposing instruments
3512 When you want to make a MIDI file from a score containing transposed
3513 and untransposed instruments, you have to instruct LilyPond the pitch
3514 offset (in semitones) for the transposed instruments. This is done
3515 using the @code{transposing} property. It does not affect printed
3518 @cindex @code{transposing}
3521 \property Staff.instrument = #"Cl. in B-flat"
3522 \property Staff.transposing = #-2
3528 @node Ancient notation
3529 @section Ancient notation
3532 * Ancient note heads::
3539 @node Ancient note heads
3540 @subsection Ancient note heads
3542 To get a longa note head, you have to use mensural note heads. This
3543 is accomplished by setting the @code{style} property of the
3544 NoteHead grob to @code{mensural}. There is also a note head style
3545 @code{baroque} which gives mensural note heads for @code{\longa} and
3546 @code{\breve} but standard note heads for shorter notes.
3548 @lilypond[fragment,singleline,verbatim]
3549 \property Voice.NoteHead \set #'style = #'mensural
3550 \property Voice.NoteHead \set #'font-family = #'ancient
3555 @subsection Custodes
3560 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3561 staff context symbol that appears at the end of a staff line. It
3562 anticipates the pitch of the first note(s) of the following line and
3563 thus helps the player or singer to manage line breaks during
3564 performance, thus enhancing readability of a score.
3569 \property Staff.Custos \set #'style = #'mensural
3574 \consists Custos_engraver
3580 Custodes were frequently used in music notation until the 17th century.
3581 There were different appearances for different notation styles.
3582 Nowadays, they have survived only in special forms of musical notation
3583 such as via the @emph{editio vaticana} dating back to the beginning of
3586 For typesetting custodes, just put a @code{Custos_engraver} into the
3587 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3588 block, you can also globally control the appearance of the custos symbol
3589 by setting the custos @code{style} property. Currently supported styles
3590 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3597 \consists Custos_engraver
3598 Custos \override #'style = #'mensural
3603 The property can also be set locally, for example in a @code{\notes}
3608 \property Staff.Custos \override #'style = #'vaticana
3609 c'1 d' e' d' \break c' d' e' d'
3614 @subsection Ancient clefs
3616 LilyPond supports a variety of clefs, many of them ancient. These can
3617 be selected from the @code{ancient} font family, by setting
3618 @code{Staff.clefGlyph}) to one of the following values
3627 @item clefs-vaticana_do
3628 Editio Vaticana style do clef
3629 @item clefs-vaticana_fa
3630 Editio Vaticana style fa clef
3631 @item clefs-medicaea_do
3632 Editio Medicaea style do clef
3633 @item clefs-medicaea_fa
3634 Editio Medicaea style fa clef
3635 @item clefs-mensural1_c
3636 modern style mensural C clef
3637 @item clefs-mensural2_c
3638 historic style small mensural C clef
3639 @item clefs-mensural3_c
3640 historic style big mensural C clef
3641 @item clefs-mensural1_f
3642 historic style traditional mensural F clef
3643 @item clefs-mensural2_f
3644 historic style new mensural F clef
3645 @item clefs-mensural_g
3646 historic style mensural G clef
3647 @item clefs-hufnagel_do
3648 historic style hufnagel do clef
3649 @item clefs-hufnagel_fa
3650 historic style hufnagel fa clef
3651 @item clefs-hufnagel_do_fa
3652 historic style hufnagel combined do/fa clef
3653 @item clefs-percussion
3654 modern style percussion clef
3657 @emph{Modern style} means ``as is typeset in current editions.''
3658 @emph{Historic style} means ``as was typeset or written in contemporary
3659 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3662 @cindex Vaticana, Editio
3663 @cindex Medicaea, Editio
3664 @cindex hufnagel clefs
3668 @subsection Figured bass
3670 @cindex Basso continuo
3672 LilyPond has limited support for figured bass:
3674 @lilypond[verbatim,fragment]
3676 \context FiguredBass
3681 \context Voice { c4 g8 }
3685 The support for figured bass consists of two parts: there is an input
3686 mode, introduced by @code{\figures}, where you can enter bass figures
3687 as numbers, and there is a context called @internalsref{FiguredBass}
3688 that takes care of making @internalsref{BassFigure} grobs.
3690 In figures input mode, a group of bass figures is delimited by
3691 @code{<} and @code{>}. The duration is entered after the @code{>}.
3696 \context FiguredBass
3700 Accidentals are added to the numbers if you alterate them by
3701 appending @code{-}, @code{!} and @code{+}.
3707 \context FiguredBass
3708 \figures { <4- 6+ 7!> }
3711 Spaces or dashes may be inserted by using @code{_}. Brackets are
3712 introduced with @code{[} and @code{]}.
3718 \context FiguredBass
3719 \figures { < [4 6] 8 [_ 12]> }
3722 Although the support for figured bass may superficially resemble chord
3723 support, it works much simpler: in figured bass simply stores the
3724 numbers, and then prints the numbers you entered. There is no
3725 conversion to pitches, and no realizations of the bass are played in
3729 @c . {Tuning output}
3731 @section Tuning output
3733 LilyPond tries to take as much formatting as possible out of your
3734 hands. Nevertheless, there are situations where it needs some help, or
3735 where you want to override its decisions. In this section we discuss
3736 ways to do just that.
3738 Formatting is internally done by manipulating so called grobs (graphic
3739 objects). Each grob carries with it a set of properties (grob
3740 properties) specific to that object. For example, a stem grob has
3741 properties that specify its direction, length and thickness.
3743 The most direct way of tuning the output is by altering the values of
3744 these properties. There are two ways of doing that: first, you can
3745 temporarily change the definition of a certain type of grob, thus
3746 affecting a whole set of objects. Second, you can select one specific
3747 object, and set a grob property in that object.
3750 * Tuning groups of grobs ::
3751 * Tuning per grob ::
3756 @node Tuning groups of grobs
3757 @subsection Tuning groups of grobs
3759 @cindex grob description
3763 A grob definition is a Scheme association list, that is stored in a
3764 context property. By assigning to that property (using plain
3765 @code{\property}), you can change the resulting grobs.
3767 @lilypond[verbatim, fragment]
3768 c'4 \property Voice.Stem = #'()
3771 The @code{\property} assignment effectively empties the definition of
3772 the Stem object. One of the effects is that the recipe of how it should be
3773 printed is erased, with the effect of rendering it invisible. The above
3774 assignment is available as a standard identifier, for the case that you
3778 \property Voice.Stem = \turnOff
3785 This mechanism is fairly crude, since you can only set, but not modify,
3786 the definition of a grob. For this reason, there is a more advanced
3789 The definition of a grob is actually a list of default grob
3790 properties. For example, the definition of the Stem grob (available in
3791 @file{scm/grob-description.scm}), defines the following values for
3796 (beamed-lengths . (0.0 2.5 2.0 1.5))
3797 (Y-extent-callback . ,Stem::height)
3801 You can add a property on top of the existing definition, or remove a
3802 property, thus overriding the system defaults:
3804 c'4 \property Voice.Stem \override #'thickness = #4.0
3805 c'4 \property Voice.Stem \revert #'thickness
3808 You should balance @code{\override} and @code{\revert}. If that's too
3809 much work, you can use the @code{\set} shorthand. It performs a revert
3810 followed by an override. The following example gives exactly the same
3811 result as the previous one.
3813 c'4 \property Voice.Stem \set #'thickness = #4.0
3814 c'4 \property Voice.Stem \set #'thickness = #0.8
3817 If you use @code{\set}, you must explicitly restore the default.
3820 Formally the syntax for these constructions is
3822 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3823 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3824 \property @var{context}.@var{grobname} \revert @var{symbol}
3826 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3827 and @var{grobname} are strings and @var{value} is a Scheme expression.
3830 If you revert a setting which was not set in the first place, then it
3831 has no effect. However, if the setting was set as a system default, it
3832 may remove the default value, and this may give surprising results,
3833 including crashes. In other words, @code{\override} and @code{\revert},
3834 must be carefully balanced.
3836 These are examples of correct nesting of @code{\override}, @code{\set},
3839 A clumsy but correct form:
3841 \override \revert \override \revert \override \revert
3844 Shorter version of the same:
3846 \override \set \set \revert
3849 A short form, using only @code{\set}. This requires you to know the
3852 \set \set \set \set @var{to default value}
3855 If there is no default (i.e. by default, the grob property is unset),
3858 \set \set \set \revert
3861 For the digirati, the grob description is an Scheme association
3862 list. Since a Scheme list is a singly linked list, we can treat it as a
3863 stack, and @code{\override} and @code{\revert} are just push and pop
3864 operations. This pushing and popping is also used for overriding
3865 automatic beaming settings.
3869 LilyPond will hang or crash if @var{value} contains cyclic references.
3870 The backend is not very strict in type-checking grob properties. If you
3871 @code{\revert} properties that are expected to be set by default,
3877 @node Tuning per grob
3878 @subsection Tuning per grob
3880 @cindex \outputproperty
3882 A second way of tuning grobs is the more arcane @code{\outputproperty}
3883 feature. The syntax is as follows:
3885 \outputproperty @var{predicate} @var{symbol} = @var{value}
3887 Here @code{predicate} is a Scheme function taking a grob argument, and
3888 returning a boolean. This statement is processed by the
3889 @code{Output_property_engraver}. It instructs the engraver to feed all
3890 grobs that it sees to @var{predicate}. Whenever the predicate returns
3891 true, the grob property @var{symbol} will be set to @var{value}.
3893 You will need to combine this statement with @code{\context} to select
3894 the appropriate context to apply this to.
3896 Here are some random examples.
3899 In the following example, all note heads occurring at current staff
3900 level, are shifted up and right by setting their @code{extra-offset}
3903 @lilypond[fragment,verbatim,singleline]
3905 \context Staff \outputproperty
3906 #(make-type-checker 'note-head-interface)
3907 #'extra-offset = #'(0.5 . 0.75)
3911 @cindex @code{extra-offset}
3913 In this example, the predicate checks the @code{text} grob property, to
3914 shift only the `m.d.' text, but not the fingering instruction "2".
3915 @lilypond[verbatim,singleline]
3916 #(define (make-text-checker text)
3917 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3920 \notes\relative c''' {
3921 \property Voice.Stem \set #'direction = #1
3922 \outputproperty #(make-text-checker "m.d.")
3923 #'extra-offset = #'(-3.5 . -4.5)
3931 If possible, avoid this feature: the semantics are not very clean, and
3932 the syntax and semantics are up for rewrite.
3937 @node Font selection
3938 @subsection Font selection
3940 The most common thing to change about the appearance of fonts is
3941 their size. The font size of a @internalsref{Voice},
3942 @internalsref{Staff} or @internalsref{Thread} context, can be easily
3943 changed by setting the @code{fontSize} property for that context:
3944 @lilypond[fragment,relative=1]
3945 c4 c4 \property Voice.fontSize = #-1
3948 This command will not change the size of variable symbols, such as
3949 beams or slurs. You can use this command to get smaller symbol for
3950 cue notes, but that involves some more subtleties. An elaborate
3951 example of those is in @file{input/test/cue-notes.ly}.
3957 The font used for printing a grob can be selected by setting
3958 @code{font-name}, e.g.
3960 \property Staff.TimeSignature
3961 \set #'font-name = #"cmr17"
3963 You may use any font which is available to @TeX{}, such as foreign
3964 fonts or fonts that do not belong to the Computer Modern font family.
3965 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
3966 can also be adjusted with a more fine-grained mechanism. By setting
3967 the grob properties described below, you can select a different font.
3968 All three mechanisms work for every grob that supports
3969 @code{font-interface}.
3973 A symbol indicating the general class of the typeface. Supported are
3974 @code{roman} (Computer Modern), @code{braces} (for piano staff
3975 braces), @code{music} (the standard music font), @code{ancient} (the
3976 ancient notation font) @code{dynamic} (font for dynamic signs) and
3980 A symbol indicating the shape of the font, there are typically several
3981 font shapes available for each font family. Choices are @code{italic},
3982 @code{caps} and @code{upright}
3985 A symbol indicating the series of the font. There are typically several
3986 font series for each font family and shape. Choices are @code{medium}
3989 @item font-relative-size
3990 A number indicating the size relative the standard size. For example,
3991 with 20pt staff height, relative size -1 corresponds to 16pt staff
3992 height, and relative size +1 corresponds to 23 pt staff height.
3994 @item font-design-size
3995 A number indicating the design size of the font.
3997 This is a feature of the Computer Modern Font: each point size has a
3998 slightly different design. Smaller design sizes are relatively wider,
3999 which enhances readability.
4002 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
4003 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
4004 to override default setting, which are always present. For example:
4006 \property Lyrics . LyricText \override #'font-series = #'bold
4007 \property Lyrics . LyricText \override #'font-family = #'typewriter
4008 \property Lyrics . LyricText \override #'font-shape = #'*
4011 @cindex @code{font-style}
4013 There are also pre-cooked font selection qualifiers. These are
4014 selected through the grob property @code{font-style}. For example,
4015 the style @code{finger} selects family @code{number} and relative size
4016 @code{-3}. Styles available include @code{volta}, @code{finger},
4017 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
4018 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
4019 tables for selecting fonts are located in @file{scm/font.scm}. Refer
4020 to this file for more information.
4022 @cindex magnification
4024 The size of the font may be scaled with the grob property
4025 @code{font-magnification}. For example, @code{2.0} blows up all
4026 letters by a factor 2 in both directions.
4030 Relative size is not linked to any real size.
4032 There is no style sheet provided for other fonts besides the @TeX{}
4033 family, and the style sheet can not be modified easiyl.
4035 @cindex font selection
4036 @cindex font magnification
4037 @cindex @code{font-interface}
4041 @subsection Text markup
4045 LilyPond has an internal mechanism to typeset texts. You can
4046 form text markup expressions by composing scheme expressions
4047 in the following way.
4049 @lilypond[verbatim, singleline]
4054 c^#'(italic "italic")
4055 d_#'((bold italic) "ff")
4057 f_#'(lines "one" (bold "two"))
4058 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
4062 Normally, the Scheme markup text is stored in the @code{text} property
4063 of a grob. Formally, it is defined as follows:
4066 text: string | (head? text+)
4067 head: markup | (markup+)
4068 markup-item: property | abbrev
4069 property: (@var{key} . @var{value})
4070 abbrev: @code{columns lines roman music bold italic named super sub}
4071 @code{overstrike text finger volta timesig mmrest mark script}
4072 @code{large Large dynamic}
4075 The markup is broken down and converted into a list of grob properties,
4076 which are prepended to the property list. The @var{key}-@var{value}
4077 pair is a grob property. A list of properties available is included in
4078 the generated documentation for @rint{Text_interface}.
4080 The following abbreviations are defined:
4083 horizontal mode: set all text on one line (default)
4085 vertical mode: set every text on a new line
4089 selects the Feta font (the standard font for music notation glyphs),
4090 and uses named lookup
4097 lookup by character name
4099 plain text lookup (by character value)
4105 the next text or character overstrikes this one
4107 select fingering number fontstyle
4109 select volta number fontstyle
4111 select time signature number fontstyle
4113 select multi measure rest number fontstyle
4115 select mark number fontstyle
4117 select scriptsize roman fontstyle
4119 select large roman fontstyle
4121 select Large roman fontstyle
4123 select dynamics fontstyle
4127 @cindex metronome mark
4129 One practical application of complicated markup is to fake a metronome
4133 #(define note '(columns
4134 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4135 #(define eight-note `(columns ,note ((kern . -0.1)
4136 (music ((raise . 3.5) "flags-u3")))))
4137 #(define dotted-eight-note
4138 `(columns ,eight-note (music "dots-dot")))
4141 \notes\relative c'' {
4142 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
4148 TextScript \override #'font-shape = #'upright
4156 The syntax and semantics of markup texts are not clean, and both
4157 syntax and semantics are slated for a rewrite.
4159 LilyPond does not do kerning, and there generally spaces texts
4165 @section Global layout
4167 The global layout determined by three factors: the page layout, the
4168 iline breaks and the spacing. These all influence each other: The
4169 choice of spacing determines how densely each system of music is set,
4170 whree line breaks breaks are chosen, and thus ultimately how many
4171 pages a piece of music takes. In this section we will explain how the
4172 lilypond spacing engine works, and how you can tune its results.
4174 Globally spoken, this procedure happens in three steps: first,
4175 flexible distances (``springs'') are chosen, based on durations. All
4176 possible line breaking combination are tried, and the one with the
4177 best results---a layout that has uniform density and requires as
4178 little stretching or cramping as possible---is chosen. When the score
4179 is processed by @TeX{}, page are filled with systems, and page breaks
4180 are chosen whenever the page gets full.
4183 * Vertical spacing::
4184 * Horizontal spacing::
4191 @node Vertical spacing
4192 @subsection Vertical spacing
4194 @cindex vertical spacing
4195 @cindex distance between staffs
4196 @cindex staff distance
4197 @cindex between staves, distance
4199 The height of each system is determined automatically by lilypond, to
4200 keep systems from bumping into each other, some minimum distances are
4201 set. By changing these, you can put staffs closer together, and thus
4202 put more systems onto one page.
4204 Normally staves are stacked vertically. To make
4205 staves maintain a distance, their vertical size is padded. This is
4206 done with the property @code{minimumVerticalExtent}. It takes a pair
4207 of numbers, so if you want to make it smaller from its, then you could
4210 \property Staff.minimumVerticalExtent = #'(-4 . 4)
4212 This sets the vertical size of the current staff to 4 staff-space on
4213 either side of the center staff line. The argument of
4214 @code{minimumVerticalExtent} is interpreted as an interval, where the
4215 center line is the 0, so the first number is generally negative. you
4216 could also make the staff larger at the bottom by setting it to
4217 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
4219 Vertical aligment of staves is handled by the
4220 @internalsref{VerticalAlignment} grob, which lives at
4221 @internalsref{Score} level.
4223 The piano staffs are handled a little differently: to make cross-staff
4224 beaming work correctly, it necessary that the distance between staves
4225 is fixed. This is also done with a @internalsref{VerticalAlignment}
4226 grob, created in @internalsref{PianoStaff}, but a forced distance is
4227 set. This is done with the grob property #'forced-distance. If you
4228 want to override this, use a @code{\translator} block as follows:
4232 VerticalAlignment \override #'forced-distance = #9
4235 This would bring the staffs together at a distance of 9 staff spaces,
4236 and again this is measured from the center line of each staff.
4240 @node Horizontal spacing
4241 @subsection Horizontal Spacing
4243 The spacing engine translates differences in durations into
4244 stretchable distances (``springs'') of differing lengths. Longer
4245 durations get more space, shorter durations get less. The basis for
4246 assigning spaces to durations, is that the shortest durations get a
4247 fixed amount of space, and the longer durations get more: doubling a
4248 duration adds a fixed amount of space to the note.
4250 For example, the following piece contains lots of half, quarter and
4251 8th notes, the eighth note is followed by 1 note head width. The The
4252 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4253 @lilypond[fragment, verbatim, relative=1]
4254 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4257 These two amounts of space are @code{shortest-duration-space}
4258 @code{spacing-increment}, grob properties of
4259 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4260 set to 1.2, which is the width of a note head, and
4261 @code{shortest-duration-space} is set to 2.0, meaning that the
4262 shortest note gets 2 noteheads of space. For normal notes, this space
4263 is always counted from the left edge of the symbol, so the short notes
4264 in a score is generally followed by one note head width of space.
4266 If one would follow the above procedure exactly, then adding a single
4267 32th note to a score that uses 8th and 16th notes, would widen up the
4268 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4269 thus adding 2 noteheads of space to every note. To prevent this, the
4270 shortest duration for spacing is not the shortest note in the score,
4271 but the most commonly found shortest note. Notes that are even
4272 shorter this are followed by a space that is proportonial to their
4273 duration relative to the common shortest note. So if we were to add
4274 only a few 16th notes to the example above, they would be followed by
4277 @lilypond[fragment, verbatim, relative=1]
4278 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4281 The most common shortest duration is determined as follows: in every
4282 measure, the shortest duration is determined. The most common short
4283 duration, is taken as the basis for the spacing, with the stipulation
4284 that this shortest duration should always be equal to or shorter than
4285 1/8th note. The shortest duration is printed when you run lilypond
4286 with @code{--verbose}. These durations may also be customized. If you
4287 set the @code{common-shortest-duration} in
4288 @internalsref{SpacingSpanner}, then this sets the base duration for
4289 spacing. The maximum duration for this base (normally 1/8th), is set
4290 through @code{base-shortest-duration}.
4292 @cindex @code{common-shortest-duration}
4293 @cindex @code{base-shortest-duration}
4294 @cindex @code{stem-spacing-correction}
4295 @cindex @code{spacing}
4297 In the introduction it was explained that stem directions influence
4298 spacing. This is controlled with @code{stem-spacing-correction} in
4299 @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
4300 same property for controlling the stem/barline spacing. In the
4301 following example shows these corrections, once with default settings,
4302 and once with exaggerated corrections.
4308 \property Staff.NoteSpacing \override #'stem-spacing-correction
4310 \property Staff.StaffSpacing \override #'stem-spacing-correction
4315 \paper { linewidth = -1. } }
4322 Spacing is determined on a score wide basis. If you have a score that
4323 changes its character (measured in durations) half way during the
4324 score, the part containing the longer durations will be spaced too
4327 Generating optically pleasing spacing is black magic. LilyPond tries
4328 to deal with a number of frequent cases. Here is an example that is
4329 not handled correctly, due to the combination of chord collisions and
4334 \context PianoStaff \notes \transpose c''' <
4335 \context Staff = up { s1 }
4336 \context Staff = down { [c8 c \translator Staff=up <c d> c
4337 \translator Staff=down c c c] }
4339 \paper { linewidth = -1 }
4346 @subsection Font size
4347 @cindex font size, setting
4348 @cindex staff size, setting
4349 @cindex @code{paper} file
4351 The Feta font provides musical symbols at seven different sizes.
4352 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4353 point, and 26 point. The point size of a font is the height of the
4354 five lines in a staff when displayed in the font.
4356 Definitions for these sizes are the files @file{paperSZ.ly}, where
4357 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4358 of these files, the identifiers @code{paperEleven},
4359 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4360 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4361 are defined respectively. The default @code{\paper} block is also
4362 set. These files should be imported at toplevel, i.e.
4364 \include "paper26.ly"
4368 The font definitions are generated using a Scheme function. For more
4369 details, see the file @file{scm/font.scm}.
4374 @subsection Line breaking
4377 @cindex breaking lines
4379 Line breaks are normally computed automatically. They are chosen such
4380 that it looks neither cramped nor loose, and that consecutive lines have
4383 Occasionally you might want to override the automatic breaks; you can
4384 do this by specifying @code{\break}. This will force a line break at
4385 this point. Line breaks can only occur at places where there are bar
4386 lines. If you want to have a line break where there is no bar line,
4387 you can force an invisible bar line by entering @code{\bar
4388 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4392 @cindex regular line breaks
4393 @cindex four bar music.
4395 If you want linebreaks at regular intervals, you can use the following:
4397 < \repeat 7 unfold @{ s1 * 4 \break @}
4401 This makes the following 28 measures (assuming 4/4 time) be broken every
4405 @subsection Page layout
4408 @cindex breaking pages
4410 @cindex @code{indent}
4411 @cindex @code{linewidth}
4413 The most basic settings influencing the spacing are @code{linewidth}
4414 and @code{indent}, both set in the @code{\paper} block. They control
4415 the indentation of the first line of music, and the lengths of the
4416 lines. If @code{linewidth} set to a negative value, a single
4417 unjustified line is produced. A similar effect for scores that are
4418 longer than one line, can be produced by setting @code{raggedright} to
4419 true in the @code{\paper} block.
4423 The page layout process happens outside lilypond. Ly2dvi sets page
4424 layout instructions. Ly2dvi responds to the following variables in the
4425 @code{\paper} block. The variable @code{textheight} sets the total
4426 height of the music on each page. The spacing between systems is
4427 controlled with @code{interscoreline}, its default is 16pt.
4428 The distance between the score lines will stretch in order to fill the
4429 full page @code{interscorelinefill} is set to a positive number. In
4430 that case @code{interscoreline} specifies the minimum spacing.
4432 @cindex @code{textheight}
4433 @cindex @code{interscoreline}
4434 @cindex @code{interscorelinefill}
4436 If the variable @code{lastpagefill} is defined (that is, it gets any
4437 value assigned in the @code{\paper} block), systems are evenly
4438 distributed vertically on the last page. This might produce ugly
4439 results in case there are not enough systems on the last page. Note
4440 that @command{lilypond-book} ignores @code{lastpagefill}. See
4441 @ref{Insert music snippets into your texts using lilypond-book} for
4444 @cindex @code{lastpagefill}
4446 Page breaks are normally computed by @TeX{}, so they are not under
4447 direct control of LilyPond. However, you can insert a commands into
4448 the @file{.tex} output to instruct @TeX{} where to break pages. You
4449 can insert a @code{\newpage} from within lilypond. This is done by
4450 setting the @code{between-systems-strings} on the
4451 @internalsref{NonMusicalPaperColumn} where the system is broken.
4455 @cindex @code{papersize}
4457 To change the paper size, you must first set the
4458 @code{papersize} paper variable variable. Set it to
4459 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4460 specification, you must set the font as described above. If you want
4461 the default font, then use the 20 point font.
4464 \paper@{ papersize = "a4" @}
4465 \include "paper16.ly"
4468 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4469 will set the paper variables @code{hsize} and @code{vsize} (used by
4470 Lilypond and @code{ly2dvi})
4480 LilyPond can produce MIDI output. The performance lacks lots of
4481 interesting effects, such as swing, articulation, slurring, etc., but it
4482 is good enough for proof-hearing the music you have entered. Ties,
4483 dynamics and tempo changes are interpreted.
4485 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4486 levels. Dynamic marks translate to a fixed fraction of the available
4487 MIDI volume range, crescendi and decrescendi make the the volume vary
4488 linearly between their two extremities. The fractions be adjusted by
4489 overriding the @code{absolute-volume-alist} defined in
4490 @file{scm/midi.scm}.
4492 For each type of musical instrument (that MIDI supports), a volume range
4493 can be defined. This gives you basic equalizer control, which can
4494 enhance the quality of the MIDI output remarkably. You can add
4495 instruments and ranges or change the default settings by overriding the
4496 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4498 Both loudness controls are combined to produce the final MIDI volume.
4504 * MIDI instrument names::
4509 @subsection MIDI block
4513 The MIDI block is analogous to the paper block, but it is somewhat
4514 simpler. The @code{\midi} block can contain:
4518 @item a @code{\tempo} definition
4519 @item context definitions
4522 Assignments in the @code{\midi} block are not allowed.
4526 @cindex context definition
4528 Context definitions follow precisely the same syntax as within the
4529 \paper block. Translation modules for sound are called performers.
4530 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4533 @node MIDI instrument names
4534 @subsection MIDI instrument names
4536 @cindex instrument names
4537 @cindex @code{Staff.midiInstrument}
4538 @cindex @code{Staff.instrument}
4540 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4541 property or, if that property is not set, the @code{Staff.instrument}
4542 property. The instrument name should be chosen from the list in
4543 @ref{MIDI instruments}.
4547 If the selected string does not exactly match, then LilyPond uses the
4548 default (Grand Piano). It is not possible to select an instrument by