3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
14 <!--- @@WEB-TITLE@@=Notation manual --->
20 * Easier music entry::
27 * Fingering instructions::
36 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
53 * Chromatic alterations::
61 * Easy Notation note heads ::
69 A note is printed by specifying its pitch and then its duration.
70 @footnote{Notes constitute the most basic elements of LilyPond input,
71 but they do not form valid input on their own without a @code{\score}
72 block. However, for the sake of brevity and simplicity we will
73 generally omit @code{\score} blocks and @code{\paper} declarations in
76 @lilypond[fragment,verbatim]
85 @cindex Note specification
87 @cindex entering notes
89 The most common syntax for pitch entry is used in @code{\chords} and
90 @code{\notes} mode. In Note and Chord mode, pitches may be designated
91 by names. The notes are specified by the letters @code{a} through
92 @code{g}, while the octave is formed with notes ranging from @code{c}
93 to @code{b}. The pitch @code{c} is an octave below middle C and the
94 letters span the octave above that C.
96 @lilypond[fragment,verbatim]
98 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
101 @cindex note names, Dutch
103 A sharp is formed by adding @code{-is} to the end of a pitch
104 name and a flat is formed by adding @code{-es}. Double sharps and
105 double flats are obtained by adding @code{-isis} or @code{-eses}.
107 These default names are the Dutch note names. In Dutch, @code{aes} is
108 contracted to @code{as} in Dutch, but both forms are
109 accepted. Similarly, both @code{es} and @code{ees} are accepted.
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are:
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
136 The optional octave specification takes the form of a series of
137 single quote (`@code{'}') characters or a series of comma
138 (`@code{,}') characters. Each @code{'} raises the pitch by one
139 octave; each @code{,} lowers the pitch by an octave.
141 @lilypond[fragment,verbatim,center]
142 c' c'' es' g' as' gisis' ais'
146 The verbose syntax for pitch specification is
148 @cindex @code{\pitch}
150 \pitch @var{scmpitch}
154 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
158 Dots are normally moved up to avoid staff lines, except in polyphonic
159 situations. The following commands may be used to force a particular
166 Notes can be hidden and unhidden with the following commands.
168 @refcommand hideNotes
169 @refcommand unHideNotes
174 @internalsref{NoteEvent}, @internalsref{NoteHead}
176 @node Chromatic alterations
177 @subsection Chromatic alterations
179 Normally accidentals are printed automatically, but you may also
180 print them manually. A reminder accidental
181 @cindex reminder accidental
183 can be forced by adding an exclamation mark @code{!}
184 after the pitch. A cautionary accidental
185 @cindex cautionary accidental
186 @cindex parenthesized accidental
187 (an accidental within parentheses) can be obtained by adding the
188 question mark `@code{?}' after the pitch.
190 @lilypond[fragment,verbatim]
191 cis' cis' cis'! cis'?
195 The automatic production of accidentals can be tuned in many
196 ways. For more information, refer to @ref{Accidentals}.
201 A chord is formed by a enclosing a set of pitches in @code{<<} and
202 @code{>>}. A chord may be followed by a duration, and a set of
203 articulations, just like simple notes.
205 Additionally, fingerings and articulations may be attached to
206 individual pitches of the chord:
208 @lilypond[singleline,verbatim,relative 1]
221 Rests are entered like notes, with the note name @code{r}.
223 @lilypond[singleline,verbatim]
227 Whole bar rests, centered in middle of the bar, are specified using
228 @code{R} (capital R); see @ref{Multi measure rests}. See also
231 For some music, you may wish to explicitly specify the rest's vertical
232 position. This can be achieved by entering a note with the @code{\rest}
233 keyword appended. Rest collision testing will leave these rests alone.
235 @lilypond[singleline,verbatim]
241 @internalsref{RestEvent}, @internalsref{Rest}
248 @cindex Invisible rest
251 An invisible rest (also called a `skip') can be entered like a note
252 with note name `@code{s}' or with @code{\skip @var{duration}}:
254 @lilypond[singleline,verbatim]
258 The @code{s} syntax is only available in Note mode and Chord
259 mode. In other situations, you should use the @code{\skip} command,
260 which will work outside of those two modes:
262 @lilypond[singleline,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
276 @internalsref{SkipEvent}
281 @subsection Durations
285 @cindex @code{\duration}
288 In Note, Chord, and Lyrics mode, durations are designated by numbers
289 and dots: durations are entered as their reciprocal values. For example,
290 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
291 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
292 longer than a whole you must use variables.
294 @c FIXME: what is an identifier? I do not think it's been introduced yet.
295 @c and if it has, I obviously skipped that part. - Graham
299 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
301 r1 r2 r4 r8 r16 r32 r64 r64
306 \notes \relative c'' {
308 a1 a2 a4 a8 a16 a32 a64 a64
310 r1 r2 r4 r8 r16 r32 r64 r64
315 \remove "Clef_engraver"
316 \remove "Staff_symbol_engraver"
317 \remove "Time_signature_engraver"
318 \consists "Pitch_squash_engraver"
325 If the duration is omitted then it is set to the previously entered
326 duration. Default for the first note is a quarter note. The duration
327 can be followed by dots (`@code{.}') in order to obtain dotted note
331 @lilypond[fragment,verbatim,center]
332 a' b' c''8 b' a'4 a'4. b'4.. c'8.
337 You can alter the length of duration by a fraction @var{N/M}
338 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
339 will not affect the appearance of the notes or rests produced.
341 @lilypond[fragment,verbatim]
342 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
345 Durations can also be produced through GUILE extension mechanism.
346 @lilypond[verbatim,fragment]
347 c'\duration #(ly:make-duration 2 1)
353 Dot placement for chords is not perfect. In some cases, dots overlap:
361 Whenever a note is found, a
362 @internalsref{Stem} object is created automatically. For whole notes
363 and rests, stem objects are also created, but in those cases, the stem
380 A tie connects two adjacent note heads of the same pitch. The tie in
381 effect extends the length of a note. Ties should not be confused with
382 slurs, which indicate articulation, or phrasing slurs, which indicate
383 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
385 @lilypond[fragment,verbatim,center]
386 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
389 When a tie is applied to a chord, all note heads whose pitches match
390 are connected. When no note heads match, no ties will be created.
392 In its meaning a tie is just a way of extending a note duration, similar
393 to the augmentation dot: the following example are two ways of notating
394 exactly the same concept.
396 @lilypond[fragment, singleline,quote]
397 \time 3/4 c'2. c'2 ~ c'4
399 If you need to tie notes over bars, it may be easier to use automatic
400 note splitting (See @ref{Automatic note splitting}).
408 @refcommand tieDotted
413 @internalsref{TieEvent}, @internalsref{NewTieEvent},
414 @internalsref{Tie}, @ref{Automatic note splitting}.
417 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
421 Tieing only a subset of the note heads of a pair of chords is not
422 supported in a simple way. It can be achieved by moving the
423 tie-engraver into the @internalsref{Thread} context and turning on and
424 off ties per @internalsref{Thread}.
426 Switching staves when a tie is active, will produce a horizontal tie
429 Formatting of ties is a difficult subject. The results are often not
439 @cindex @code{\times}
441 Tuplets are made out of a music expression by multiplying all durations
444 @cindex @code{\times}
446 \times @var{fraction} @var{musicexpr}
449 The duration of @var{musicexpr} will be multiplied by the fraction.
450 In the sheet music, the fraction's denominator will be printed over
451 the notes, optionally with a bracket. The most common tuplet is the
452 triplet in which 3 notes have the length of 2, so the notes are 2/3
453 of their written length:
455 @lilypond[fragment,verbatim,center]
456 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
459 The property @code{tupletSpannerDuration} specifies how long each bracket
460 should last. With this, you can make lots of tuplets while typing
461 @code{\times} only once, saving lots of typing.
463 @lilypond[fragment, relative, singleline, verbatim]
464 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
465 \times 2/3 { c'8 c c c c c }
468 The format of the number is determined by the property
469 @code{tupletNumberFormatFunction}. The default prints only the
470 denominator, but if it is set to the Scheme function
471 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
475 @cindex @code{tupletNumberFormatFunction}
476 @cindex tuplet formatting
482 @refcommand tupletDown
483 @refcommand tupletBoth
487 @seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
491 Nested tuplets are not formatted automatically. In this case, outer
492 tuplet brackets should be moved manually.
494 @node Easy Notation note heads
495 @subsection Easy Notation note heads
497 @cindex easy notation
500 The `easyplay' note head includes a note name inside the head. It is
501 used in music aimed at beginners.
503 @lilypond[singleline,verbatim,26pt]
505 \notes { c'2 e'4 f' | g'1 }
506 \paper { \translator { \EasyNotation } }
510 The @code{EasyNotation} variable overrides a @internalsref{Score}
511 context. You probably will want to print it with magnification or a
512 large font size to make it more readable. To print with
513 magnification, you must create a DVI file (with @file{ly2dvi}) and
514 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
515 See @file{man dvips} for details. To print with a larger font, see
522 If you view the result with Xdvi, then staff lines will show through
523 the letters. Printing the PostScript file obtained with ly2dvi does
524 produce the correct result.
527 @node Easier music entry
528 @section Easier music entry
531 When entering music it is easy to introduce errors. This section deals
532 with tricks and features of the input language that help when entering
533 music, and find and correct mistakes.
535 Some features of the input language ease entering music, for example
536 the use of variables (for splitting up large pieces of music), and
537 unfolded repeats for writing repetitive parts. They are described in
538 other sections (see @ref{Repeats} and @ref{Assignments}), since they
539 are not especially aimed at easing entry
541 It is also possible to use external programs, for example GUI
542 interfaces, or MIDI transcription programs, to enter or edit
543 music. Refer to the website for more information. Finally, there are
544 tools make debugging easier, by linking the input file and the output
545 shown on screen. See @ref{Point and click} for more information.
551 * Skipping corrected music::
552 * Automatic note splitting ::
558 @node Relative octaves
559 @subsection Relative octaves
561 @cindex relative octave specification
563 Octaves are specified by adding @code{'} and @code{,} to pitch names.
564 When you copy existing music, it is easy to accidentally put a pitch
565 in the wrong octave and hard to find such an error. The relative
566 octave mode prevents these errors
568 @cindex @code{\relative}
570 \relative @var{startpitch} @var{musicexpr}
573 The octave of notes that appear in @var{musicexpr} are calculated as
574 follows: If no octave changing marks are used, the basic interval
575 between this and the last note is always taken to be a fourth or less
576 (This distance is determined without regarding alterations; a
577 @code{fisis} following a @code{ceses} will be put above the
580 The octave changing marks @code{'} and @code{,} can be added to raise or
581 lower the pitch by an extra octave. Upon entering relative mode, an
582 absolute starting pitch must be specified that will act as the
583 predecessor of the first note of @var{musicexpr}.
585 Entering music that changes octave frequently is easy in relative mode.
586 @lilypond[fragment,singleline,verbatim,center]
592 And octave changing marks are used for intervals greater than a fourth.
593 @lilypond[fragment,verbatim,center]
598 If the preceding item is a chord, the first note of the chord is used
599 to determine the first note of the next chord. However, other notes
600 within the second chord are determined by looking at the immediately
603 @lilypond[fragment,verbatim,center]
610 @cindex @code{\notes}
612 The pitch after the @code{\relative} contains a note name. To parse
613 the pitch as a note name, you have to be in note mode, so there must
614 be a surrounding @code{\notes} keyword (which is not
617 The relative conversion will not affect @code{\transpose},
618 @code{\chords} or @code{\relative} sections in its argument. If you
619 want to use relative within transposed music, you must place an
620 additional @code{\relative} inside the @code{\transpose}.
624 @subsection Bar check
628 @cindex @code{barCheckSynchronize}
632 Whenever a bar check is encountered during interpretation, a warning
633 message is issued if it does not fall at a measure boundary. This can
634 help find errors in the input. Depending on the value of
635 @code{barCheckSynchronize}, the beginning of the measure will be
636 relocated. A bar check is entered using the bar symbol, `@code{|}'.
639 \time 3/4 c2 e4 | g2.
644 @cindex skipTypesetting
646 Failed bar checks are caused by entering incorrect
647 durations. Incorrect durations often completely garble up the score,
648 especially if it is polyphonic, so you should start correcting the
649 score by scanning for failed bar checks and incorrect durations. To
650 speed up this process, you can use @code{skipTypesetting}, described
653 @node Skipping corrected music
654 @subsection Skipping corrected music
656 The property @code{Score.skipTypesetting} can be used to switch on and
657 off typesetting completely during the interpretation phase. When
658 typesetting is switched off, the music is processed much more quickly.
659 This can be used to skip over the parts of a score that have already
660 been checked for errors.
662 @lilypond[fragment,singleline,verbatim]
664 \property Score.skipTypesetting = ##t
666 \property Score.skipTypesetting = ##f
670 @node Automatic note splitting
671 @subsection Automatic note splitting
673 Long notes can be converted automatically to tied notes. This is done
674 by replacing the @internalsref{Note_heads_engraver} by the
675 @internalsref{Completion_heads_engraver}.
678 \paper @{ \translator @{
680 \remove "Note_heads_engraver"
681 \consists "Completion_heads_engraver"
688 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
695 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
697 \paper { \translator {
699 \remove "Note_heads_engraver"
700 \consists "Completion_heads_engraver"
705 This engraver splits all running notes at the bar line, and inserts
706 ties. One of its uses is to debug complex scores: if the measures are
707 not entirely filled, then the ties exactly show how much each measure
712 Not all durations (especially those containing tuplets) can be
713 represented exactly; the engraver will not insert tuplets.
719 @section Staff notation
721 This section describes with music notation that occurs on staff level,
722 such as keys, clefs and time signatures.
724 @cindex Staff notation
737 @subsection Staff symbol
739 @cindex adjusting staff symbol
740 @cindex StaffSymbol, using \property
741 @cindex staff lines, setting number of
743 Notes, dynamic signs, etc. are grouped
744 with a set of horizontal lines, into a staff (plural `staves'). In our
745 system, these lines are drawn using a separate layout object called
748 This object is created whenever a @internalsref{Staff} context is
749 created. The appearance of the staff symbol cannot be changed by
750 using @code{\override} or @code{\set}. At the moment that
751 @code{\property Staff} is interpreted, a @internalsref{Staff} context
752 is made, and the @internalsref{StaffSymbol} is created before any
753 @code{\override} is effective. Properties can be changed in a
754 @code{\translator} definition, or by using @code{\outputproperty}.
758 If a staff is ended halfway a piece, the staff symbol may not end
759 exactly on the barline.
763 @subsection Key signature
764 @cindex Key signature
768 The key signature indicates the scale in which a piece is played. It
769 is denoted by a set of alterations (flats or sharps) at the start of
774 Setting or changing the key signature is done with the @code{\key}
777 @code{\key} @var{pitch} @var{type}
780 @cindex @code{\minor}
781 @cindex @code{\major}
782 @cindex @code{\minor}
783 @cindex @code{\ionian}
784 @cindex @code{\locrian}
785 @cindex @code{\aeolian}
786 @cindex @code{\mixolydian}
787 @cindex @code{\lydian}
788 @cindex @code{\phrygian}
789 @cindex @code{\dorian}
791 Here, @var{type} should be @code{\major} or @code{\minor} to get
792 @var{pitch}-major or @var{pitch}-minor, respectively.
793 The standard mode names @code{\ionian},
794 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
795 @code{\phrygian}, and @code{\dorian} are also defined.
797 This command sets the context property
798 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
799 can be specified by setting this property directly.
803 The ordering of a key restoration (alterations that change back to
804 natural) is wrong when combined with a repeat barline.
808 @internalsref{KeyChangeEvent}, @internalsref{KeySignature}.
810 @cindex @code{keySignature}
817 The clef indicates which lines of the staff correspond to which
822 The clef can be set or changed with the @code{\clef} command:
823 @lilypond[fragment,verbatim]
824 \key f\major c''2 \clef alto g'2
827 Supported clef-names include
828 @c Moved standard clefs to the top /MB
830 @item treble, violin, G, G2
839 G clef on 1st line, so-called French violin clef
854 By adding @code{_8} or @code{^8} to the clef name, the clef is
855 transposed one octave down or up, respectively. @var{clefname} must
856 be enclosed in quotes when it contains underscores or digits. For
862 This command is equivalent to setting @code{clefGlyph},
863 @code{clefPosition} (which controls the Y position of the clef),
864 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
865 when any of these properties are changed.
869 The object for this symbol is @internalsref{Clef}.
873 @node Ottava brackets
874 @subsection Ottava brackets
876 ``Ottava'' brackets introduce an extra transposition of an octave for
877 the staff. They are created by invoking the function
878 @code{set-octavation}
884 @lilypond[verbatim,fragment]
893 Internally the @code{set-octavation} sets @code{ottavation} (eg. to
894 @code{"8va"}) and @code{centralCPosition} properties.
898 @internalsref{OttavaBracket}
902 @code{set-octavation} will get confused when clef changes happen
903 during an octavation bracket.
906 @subsection Time signature
907 @cindex Time signature
911 Time signature indicates the metrum of a piece: a regular pattern of
912 strong and weak beats. It is denoted by a fraction at the start of the
917 The time signature is set or changed by the @code{\time}
919 @lilypond[fragment,verbatim]
920 \time 2/4 c'2 \time 3/4 c'2.
923 The actual symbol that is printed can be customized with the
924 @code{style} property. Setting it to @code{#'()} uses fraction style
925 for 4/4 and 2/2 time. There are many more options for its layout.
926 See @inputfileref{input/test,time.ly} for more examples.
929 This command sets the property @code{timeSignatureFraction},
930 @code{beatLength} and @code{measureLength} in the @code{Timing}
931 context, which is normally aliased to @internalsref{Score}. The
932 property @code{timeSignatureFraction} determines where bar lines
933 should be inserted, and how automatic beams should be generated.
934 Changing the value of @code{timeSignatureFraction} also causes the
935 symbol to be printed.
937 More options are available through the Scheme function
938 @code{set-time-signature}. In combination with the
939 @internalsref{Measure_grouping_engraver}, it will create
940 @internalsref{MeasureGrouping} signs. Such signs ease reading
941 rhythmically complex modern music. In the following example, the 9/8
942 measure is subdivided in 2, 2, 2 and 3. This is passed to
943 @code{set-time-signature} as the third argument @code{(2 2 2 3)}.
946 \score { \notes \relative c'' {
947 #(set-time-signature 9 8 '(2 2 2 3))
948 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
949 #(set-time-signature 5 8 '(3 2))
954 \translator { \StaffContext
955 \consists "Measure_grouping_engraver"
961 @internalsref{TimeSignature}, @internalsref{Timing_engraver}.
966 Automatic beaming does not use measure grouping specified with
967 @code{set-time-signature}.
974 @cindex partial measure
975 @cindex measure, partial
976 @cindex shorten measures
977 @cindex @code{\partial}
979 Partial measures, for example in upbeats, are entered using the
980 @code{\partial} command:
981 @lilypond[fragment,verbatim]
982 \partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
985 The syntax for this command is
987 \partial @var{duration}
989 This is internally translated into
991 \property Timing.measurePosition = -@var{length of duration}
994 The property @code{measurePosition} contains a rational number
995 indicating how much of the measure has passed at this point.
997 @node Unmetered music
998 @subsection Unmetered music
1000 Bar lines and bar numbers are calculated automatically. For unmetered
1001 music (e.g. cadenzas), this is not desirable. By setting
1002 @code{Score.timing} to false, this automatic timing can be switched
1008 @refcommand cadenzaOn
1009 @refcommand cadenzaOff
1012 @subsection Bar lines
1016 @cindex measure lines
1020 Bar lines delimit measures, but are also used to indicate
1021 repeats. Line breaks may only happen on barlines.
1025 Bar lines are inserted automatically. Special types
1026 of barlines can be forced with the @code{\bar} command:
1027 @lilypond[relative=1,fragment,verbatim]
1031 The following bar types are available
1032 @lilypond[fragment, relative, singleline, verbatim]
1044 In scores with many staves, the barlines are automatically placed at
1045 top level, and they are connected between different staves of a
1046 @internalsref{StaffGroup}:
1047 @lilypond[fragment, verbatim]
1048 < \context StaffGroup <
1049 \context Staff = up { e'4 d'
1052 \context Staff = down { \clef bass c4 g e g } >
1053 \context Staff = pedal { \clef bass c2 c2 } >
1057 The command @code{\bar @var{bartype}} is a short cut for
1058 doing @code{\property Score.whichBar = @var{bartype}}
1059 Whenever @code{whichBar} is set to a string, a bar line of that type is
1060 created. @code{whichBar} is usually set automatically: at the start of
1061 a measure it is set to @code{defaultBarType}. The contents of
1062 @code{repeatCommands} is used to override default measure bars.
1064 @code{whichBar} can also be set directly, using @code{\property} or
1065 @code{\bar }. These settings take precedence over the automatic
1066 @code{whichBar} settings.
1069 @cindex repeatCommands
1070 @cindex defaultBarType
1072 You are encouraged to use @code{\repeat} for repetitions. See
1082 The bar line objects that are created at @internalsref{Staff} level
1083 are called @internalsref{BarLine}, the bar lines that span staffs are
1084 @internalsref{SpanBar}s.
1091 The easiest way to enter fragments with more than one voice on a staff
1092 is to split chords using the separator @code{\\}. You can use it for
1093 small, short-lived voices or for single chords:
1095 @lilypond[verbatim,fragment]
1096 \context Voice = VA \relative c'' {
1097 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
1101 The separator causes @internalsref{Voice} contexts to be instantiated,
1102 bearing the names @code{"1"}, @code{"2"}, etc. In each of these
1103 contexts, vertical direction of slurs, stems, etc. are set
1106 This can also be done by instantiating @internalsref{Voice} contexts
1107 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1108 a stem directions and horizontal shift for each part.
1111 @lilypond[singleline, verbatim]
1113 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1114 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1115 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1118 Normally, note heads with a different number of dots are not merged, but
1119 when the object property @code{merge-differently-dotted} is set in
1120 the @internalsref{NoteCollision} object, they are:
1121 @lilypond[verbatim,fragment,singleline]
1122 \relative c'' \context Voice < {
1124 \property Staff.NoteCollision \override
1125 #'merge-differently-dotted = ##t
1127 } \\ { g8.-[ f16-] g8.-[ f16-] }
1131 Similarly, you can merge half note heads with eighth notes, by setting
1132 @code{merge-differently-headed}:
1133 @lilypond[fragment, relative=2,verbatim]
1136 \property Staff.NoteCollision
1137 \override #'merge-differently-headed = ##t
1138 c8 c4. } \\ { c2 c2 } >
1141 LilyPond also vertically shifts rests that are opposite of a stem.
1144 @lilypond[singleline,fragment,verbatim]
1145 \context Voice < c''4 \\ r4 >
1153 @refcommand oneVoice
1154 @refcommand voiceOne
1155 @refcommand voiceTwo
1156 @refcommand voiceThree
1157 @refcommand voiceFour
1159 The following commands specify in what chords of the current voice
1160 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1161 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1165 @refcommand shiftOnn
1166 @refcommand shiftOnnn
1167 @refcommand shiftOff
1173 The objects responsible for resolving collisions are
1174 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1175 also example files @inputfileref{input/regression,collision-dots.ly},
1176 @inputfileref{input/regression,collision-head-chords.ly},
1177 @inputfileref{input/regression,collision-heads.ly},
1178 @inputfileref{input/regression,collision-mesh.ly}, and
1179 @inputfileref{input/regression,collisions.ly}.
1184 Resolving collisions is a intricate subject, and only a few situations
1185 are handled. When LilyPond cannot cope, the @code{force-hshift}
1186 property of the @internalsref{NoteColumn} object and pitched rests can
1187 be used to override typesetting decisions.
1192 Beams are used to group short notes into chunks that are aligned with
1193 the metrum. They are inserted automatically in most cases.
1195 @lilypond[fragment,verbatim, relative=2]
1196 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1199 When these automatic decisions are not good enough, beaming can be
1200 entered explicitly. It is also possible to define beaming patterns
1201 that differ from the defaults.
1205 @internalsref{Beam}.
1208 @cindex Automatic beams
1209 @subsection Manual beams
1210 @cindex beams, manual
1214 In some cases it may be necessary to override the automatic beaming
1215 algorithm. For example, the auto beamer will not beam over rests or
1216 bar lines, If you want that, specify the begin and end point manually
1217 using @code{[} and @code{]}.
1219 @lilypond[fragment,relative,verbatim]
1221 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1225 @cindex @code{stemLeftBeamCount}
1227 Normally, beaming patterns within a beam are determined automatically.
1228 When this mechanism fouls up, the properties
1229 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1230 be used to control the beam subdivision on a stem. If either property
1231 is set, its value will be used only once, and then it is erased.
1233 @lilypond[fragment,relative,verbatim]
1236 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1239 @cindex @code{stemRightBeamCount}
1242 The property @code{subdivideBeams} can be set in order to subdivide
1243 all 16th or shorter beams at beat positions. This accomplishes the
1244 same effect as twiddling with @code{stemLeftBeamCount} and
1245 @code{stemRightBeamCount}, but it take less typing.
1248 @lilypond[relative=1,verbatim,noindent]
1249 c16-[ c c c c c c c-]
1250 \property Voice.subdivideBeams = ##t
1251 c16-[ c c c c c c c-]
1252 \property Score.beatLength = #(ly:make-moment 1 8)
1253 c16-[ c c c c c c c-]
1255 @cindex subdivideBeams
1257 Kneed beams are inserted automatically, when a large gap is detected
1258 between the note heads. This behavior can be tuned through the object
1259 property @code{auto-knee-gap}.
1261 @cindex beams, kneed
1263 @cindex auto-knee-gap
1271 Automatically kneed beams cannot be used together with Hara Kiri
1276 * Setting automatic beam behavior ::
1280 @no de Beam typography
1281 @sub section Beam typography
1283 One of the strong points of LilyPond is how beams are formatted. Beams
1284 are quantized, meaning that the left and right endpoints beams start
1285 exactly on staff lines. Without quantization, small wedges of white
1286 space appear between the beam and staff line, and this looks untidy.
1288 Beams are also slope-damped: melodies that go up or down should also
1289 have beams that go up or down, but the slope of the beams should be
1290 less than the slope of the notes themselves.
1292 Some beams should be horizontal. These are so-called concave beams.
1294 [TODO: some pictures.]
1298 @node Setting automatic beam behavior
1299 @subsection Setting automatic beam behavior
1301 @cindex @code{autoBeamSettings}
1302 @cindex @code{(end * * * *)}
1303 @cindex @code{(begin * * * *)}
1304 @cindex automatic beams, tuning
1305 @cindex tuning automatic beaming
1307 @c [TODO: use \applycontext]
1309 In normal time signatures, automatic beams can start on any note but can
1310 only end in a few positions within the measure: beams can end on a beat,
1311 or at durations specified by the properties in
1312 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1313 are defined in @file{scm/auto-beam.scm}.
1315 The value of @code{autoBeamSettings} is changed using
1316 @code{\override} and unset using @code{\revert}:
1318 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1319 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1321 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1322 whether the rule applies to begin or end-points. The quantity
1323 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1324 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1325 signature (wildcards, `@code{* *}' may be entered to designate all time
1328 For example, if automatic beams should end on every quarter note, use
1331 \property Voice.autoBeamSettings \override
1332 #'(end * * * *) = #(ly:make-moment 1 4)
1334 Since the duration of a quarter note is 1/4 of a whole note, it is
1335 entered as @code{(ly:make-moment 1 4)}.
1337 The same syntax can be used to specify beam starting points. In this
1338 example, automatic beams can only end on a dotted quarter note.
1340 \property Voice.autoBeamSettings \override
1341 #'(end * * * *) = #(ly:make-moment 3 8)
1343 In 4/4 time signature, this means that automatic beams could end only on
1344 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1345 3/8 has passed within the measure).
1347 Rules can also be restricted to specific time signatures. A rule that
1348 should only be applied in @var{N}/@var{M} time signature is formed by
1349 replacing the second asterisks by @var{N} and @var{M}. For example, a
1350 rule for 6/8 time exclusively looks like
1352 \property Voice.autoBeamSettings \override
1353 #'(begin * * 6 8) = ...
1356 If a rule should be to applied only to certain types of beams, use the
1357 first pair of asterisks. Beams are classified according to the
1358 shortest note they contain. For a beam ending rule that only applies
1359 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1362 If a score ends while an automatic beam has not been ended and is still
1363 accepting notes, this last beam will not be typeset at all.
1365 @cindex automatic beam generation
1367 @cindex @code{Voice.autoBeaming}
1370 For melodies that have lyrics, you may want to switch off
1371 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1376 @refcommand autoBeamOff
1377 @refcommand autoBeamOn
1382 It is not possible to specify beaming parameters for beams with mixed
1383 durations, that differ from the beaming parameters of all separate
1384 durations, i.e., you will have to specify manual beams to get:
1386 @lilypond[singleline,fragment,relative,noverbatim,quote]
1387 \property Voice.autoBeamSettings
1388 \override #'(end * * * *) = #(ly:make-moment 3 8)
1389 \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
1391 It is not possible to specify beaming parameters that act differently in
1392 different parts of a measure. This means that it is not possible to use
1393 automatic beaming in irregular meters such as @code{5/8}.
1396 @section Accidentals
1399 This section describes how to change the way that LilyPond automatically
1400 inserts accidentals before the running notes.
1404 * Using the predefined accidental variables::
1405 * Customized accidental rules::
1408 @node Using the predefined accidental variables
1409 @subsection Using the predefined accidental variables
1411 The constructs for describing the accidental typesetting rules are
1412 quite hairy, so non-experts should stick to the variables
1413 defined in @file{ly/property-init.ly}.
1414 @cindex @file{property-init.ly}
1416 The variables set properties in the ``Current'' context (see
1417 @ref{Context properties}). This means that the variables should
1418 normally be added right after the creation of the context in which the
1419 accidental typesetting described by the variable is to take
1420 effect. For example, if you want to use piano-accidentals in a piano
1421 staff then issue @code{\pianoAccidentals} first thing after the
1422 creation of the piano staff:
1425 \notes \relative c'' <
1426 \context Staff = sa @{ cis4 d e2 @}
1427 \context GrandStaff <
1429 \context Staff = sb @{ cis4 d e2 @}
1430 \context Staff = sc @{ es2 c @}
1432 \context Staff = sd @{ es2 c @}
1436 @lilypond[singleline]
1438 \notes \relative c'' <
1439 \context Staff = sa { cis4 d e2 }
1440 \context GrandStaff <
1442 \context Staff = sb { cis4 d e2 }
1443 \context Staff = sc { es2 c }
1445 \context Staff = sd { es2 c }
1450 minimumVerticalExtent = #'(-4.0 . 4.0)
1458 @item \defaultAccidentals
1459 @cindex @code{\defaultAccidentals}
1460 This is the default typesetting behaviour. It should correspond
1461 to 18th century common practice: Accidentals are
1462 remembered to the end of the measure in which they occur and
1463 only on their own octave.
1465 @item \voiceAccidentals
1466 @cindex @code{\voiceAccidentals}
1468 The normal behaviour is to
1469 remember the accidentals on Staff-level. This variable, however,
1470 typesets accidentals individually for each voice. Apart from that the
1471 rule is similar to @code{\defaultAccidentals}.
1473 This leads to some weird and often unwanted results
1474 because accidentals from one voice do not get cancelled in other
1476 @lilypond[singleline,relative,fragment,verbatim,quote]
1484 Hence you should only use @code{\voiceAccidentals} if the voices
1485 are to be read solely by individual musicians. If the staff is to be
1486 used by one musician (e.g., a conductor) then you use
1487 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1490 @item \modernAccidentals
1491 @cindex @code{\modernAccidentals}
1492 This rule corresponds to the common practice in the 20th
1494 The rule is more complex than @code{\defaultAccidentals}.
1495 You get all the same accidentals, but temporary
1496 accidentals also get cancelled in other octaves. Further more,
1497 in the same octave, they also get cancelled in the following measure:
1498 @lilypond[singleline,fragment,verbatim]
1500 cis' c'' cis'2 | c'' c'
1503 @item \modernCautionaries
1504 @cindex @code{\modernCautionaries}
1505 This rule is similar to @code{\modernAccidentals}, but the
1506 ``extra'' accidentals (the ones not typeset by
1507 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1508 (i.e. in reduced size):
1509 @lilypond[singleline,fragment,verbatim]
1511 cis' c'' cis'2 | c'' c'
1514 @cindex @code{\modernVoiceAccidentals}
1515 @item \modernVoiceAccidentals
1516 is used for multivoice accidentals to be read both by musicians
1517 playing one voice and musicians playing all voices. Accidentals are
1518 typeset for each voice, but they @emph{are} cancelled across voices in
1519 the same @internalsref{Staff}.
1521 @cindex @code{\modernVoiceCautionaries}
1522 @item \modernVoiceCautionaries
1523 is the same as @code{\modernVoiceAccidentals}, but with the extra
1524 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1525 as cautionaries. Even though all accidentals typeset by
1526 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1527 some of them are typeset as cautionaries.
1529 @item \pianoAccidentals
1530 @cindex @code{\pianoAccidentals}
1531 20th century practice for piano notation. Very similar to
1532 @code{\modernAccidentals} but accidentals also get cancelled
1533 across the staves in the same @internalsref{GrandStaff} or
1534 @internalsref{PianoStaff}.
1536 @item \pianoCautionaries
1537 @cindex @code{\pianoCautionaries}
1538 As @code{\pianoAccidentals} but with the extra accidentals
1539 typeset as cautionaries.
1542 @cindex @code{\noResetKey}
1543 Same as @code{\defaultAccidentals} but with accidentals lasting
1544 ``forever'' and not only until the next measure:
1545 @lilypond[singleline,fragment,verbatim,relative]
1550 @item \forgetAccidentals
1551 @cindex @code{\forgetAccidentals}
1552 This is sort of the opposite of @code{\noResetKey}: Accidentals
1553 are not remembered at all - and hence all accidentals are
1554 typeset relative to the key signature, regardless of what was
1555 before in the music:
1556 @lilypond[singleline,fragment,verbatim,relative]
1558 \key d\major c4 c cis cis d d dis dis
1562 @node Customized accidental rules
1563 @subsection Customized accidental rules
1565 This section must be considered gurus-only, and hence it must be
1566 sufficient with a short description of the system and a reference to
1567 the internal documentation.
1569 The algorithm tries several different rules, and uses the rule
1570 that gives the highest number of accidentals. Each rule consists of
1573 In which context is the rule applied. For example, if
1574 @var{context} is @internalsref{Score} then all staves share
1575 accidentals, and if @var{context} is @internalsref{Staff} then all
1576 voices in the same staff share accidentals, but staves do not.
1578 Whether the accidental changes all octaves or only the current
1581 Over how many barlines the accidental lasts.
1582 If @var{lazyness} is @code{-1} then the accidental is forget
1583 immediately, and if @var{lazyness} is @code{#t} then the accidental
1586 @c [TODO: should use +infinity for this case?]
1592 @refcommand defaultAccidentals
1593 @refcommand voiceAccidentals
1594 @refcommand modernAccidentals
1595 @refcommand modernCautionaries
1596 @refcommand modernVoiceAccidentals
1597 @refcommand modernVoiceCautionaries
1598 @refcommand pianoAccidentals
1599 @refcommand pianoCautionaries
1600 @refcommand noResetKey
1601 @refcommand forgetAccidentals
1605 @internalsref{Accidental_engraver}, @internalsref{Accidental},
1606 @internalsref{AccidentalPlacement}.
1611 Currently the simultaneous notes are considered to be entered in
1612 sequential mode. This means that in a chord the accidentals are
1613 typeset as if the notes in the chord happened one at a time - in the
1614 order in which they appear in the input file.
1616 This is only a problem when there are simultaneous notes whose
1617 accidentals depend on each other. The problem only occurs when using
1618 non-default accidentals. In the default scheme, accidentals only
1619 depend on other accidentals with the same pitch on the same staff, so
1620 no conflicts possible.
1622 This example shows two examples of the same music giving different
1623 accidentals depending on the order in which the notes occur in the
1626 @lilypond[singleline,fragment,verbatim]
1627 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1628 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1629 | <<cis' c''>> r | <<c'' cis'>> r |
1632 This problem can be solved by manually inserting @code{!} and @code{?}
1633 for the problematic notes.
1635 @node Expressive marks
1636 @section Expressive marks
1644 * Analysis brackets::
1651 A slur indicates that notes are to be played bound or @emph{legato}.
1655 They are entered using parentheses:
1656 @lilypond[fragment,verbatim,center]
1657 f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
1658 <<c' e'>>2-( <<b d'>>2-)
1662 @c TODO: should explain that ^( and _( set directions
1663 @c should set attachments with ^ and _ ?
1665 Slurs avoid crossing stems, and are generally attached to note heads.
1666 However, in some situations with beams, slurs may be attached to stem
1667 ends. If you want to override this layout you can do this through the
1668 object property @code{attachment} of @internalsref{Slur} in
1669 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1670 the attachment type of the left and right end points.
1672 @lilypond[fragment,relative,verbatim]
1674 \property Voice.Stem \set #'length = #5.5
1676 \property Voice.Slur \set #'attachment = #'(stem . stem)
1680 If a slur would strike through a stem or beam, the slur will be moved
1681 away upward or downward. If this happens, attaching the slur to the
1682 stems might look better:
1684 @lilypond[fragment,relative,verbatim]
1687 \property Voice.Slur \set #'attachment = #'(stem . stem)
1695 @refcommand slurDown
1696 @refcommand slurBoth
1697 @refcommand slurDotted
1698 @refcommand slurSolid
1702 @seeinternals{Slur}, @internalsref{SlurEvent}.
1707 Producing nice slurs is a difficult problem, and LilyPond currently
1708 uses a simple, empiric method to produce slurs. In some cases, the
1709 results of this method are ugly.
1712 @cindex Adjusting slurs
1714 @node Phrasing slurs
1715 @subsection Phrasing slurs
1717 @cindex phrasing slurs
1718 @cindex phrasing marks
1720 A phrasing slur (or phrasing mark) connects chords and is used to
1721 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1724 @lilypond[fragment,verbatim,center,relative]
1725 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1728 Typographically, the phrasing slur behaves almost exactly like a
1729 normal slur. However, they are treated as different objects. A
1730 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1731 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1732 @code{\phrasingSlurBoth}.
1734 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1735 will only affect normal slurs and not phrasing slurs.
1739 @refcommand phrasingSlurUp
1740 @refcommand phrasingSlurDown
1741 @refcommand phrasingSlurBoth
1745 See also @internalsref{PhrasingSlur},
1746 @internalsref{PhrasingSlurEvent}.
1750 Phrasing slurs have the same limitations in their formatting as normal
1751 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1754 @subsection Breath marks
1756 Breath marks are entered using @code{\breathe}.
1759 @lilypond[fragment,relative]
1763 The glyph of the breath mark can be tweaked by overriding the
1764 @code{text} property of the @code{BreathingSign} grob with the name of
1765 any glyph of @ref{The Feta font}. For example,
1766 @lilypond[fragment,verbatim,relative]
1768 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1775 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
1776 @inputfileref{input/regression,breathing-sign.ly}.
1779 @node Metronome marks
1780 @subsection Metronome marks
1783 @cindex beats per minute
1784 @cindex metronome marking
1786 Metronome settings can be entered as follows:
1788 \tempo @var{duration} = @var{perminute}
1791 In the MIDI output, they are interpreted as a tempo change, and in the
1792 paper output, a metronome marking is printed
1793 @cindex @code{\tempo}
1794 @lilypond[fragment,verbatim]
1800 @internalsref{TempoEvent}
1805 @subsection Text spanners
1806 @cindex Text spanners
1808 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1809 are written as texts, and extended over many measures with dotted
1810 lines. You can create such texts using text spanners: attach
1811 @code{\startTextSpan} and @code{\stopTextSpan} to the
1812 start and ending note of the spanner.
1814 The string to be printed, as well as the style, is set through object
1817 @lilypond[fragment,relative,verbatim]
1819 \property Voice.TextSpanner \set #'direction = #-1
1820 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1821 c2-\startTextSpan b c-\stopTextSpan a }
1827 @internalsref{TextSpanEvent},
1828 @internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
1831 @node Analysis brackets
1832 @subsection Analysis brackets
1834 @cindex phrasing brackets
1835 @cindex musicological analysis
1836 @cindex note grouping bracket
1838 Brackets are used in musical analysis to indicate structure in musical
1839 pieces. LilyPond supports a simple form of nested horizontal brackets.
1840 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1841 @internalsref{Staff} context. A bracket is started with
1842 @code{\startGroup} and closed with @code{\stopGroup}.
1844 @lilypond[singleline,verbatim]
1845 \score { \notes \relative c'' {
1846 c4-\startGroup-\startGroup
1849 c4-\stopGroup-\stopGroup
1851 \paper { \translator {
1852 \StaffContext \consists "Horizontal_bracket_engraver"
1858 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
1859 @inputfileref{input/regression,note-group-bracket.ly}.
1863 Bracket endings should be angled/slanted. (TODO)
1870 @section Articulations
1871 @cindex Articulations
1873 @cindex articulations
1877 A variety of symbols can appear above and below notes to indicate
1878 different characteristics of the performance. They are added to a note
1879 by adding a dash and the character signifying the
1880 articulation. They are demonstrated here.
1882 @lilypondfile[notexidoc]{script-abbreviations.ly}
1884 The script is automatically placed, but if you need to force
1885 directions, you can use @code{_} to force them down, or @code{^} to
1887 @lilypond[fragment, verbatim]
1894 Other symbols can be added using the syntax
1895 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1896 using @code{^} and @code{_}.
1900 @cindex staccatissimo
1909 @cindex organ pedal marks
1918 @cindex prallmordent
1922 @cindex thumb marking
1927 @lilypondfile[notexidoc]{script-chart.ly}
1932 @refcommand scriptUp
1933 @refcommand scriptDown
1934 @refcommand scriptBoth
1938 @internalsref{ScriptEvent}, @internalsref{Script}.
1942 All of these note ornaments appear in the printed output but have no
1943 effect on the MIDI rendering of the music.
1946 @node Fingering instructions
1947 @section Fingering instructions
1951 Fingering instructions can be entered using
1953 @var{note}-@var{digit}
1955 For finger changes, use markup texts:
1957 @lilypond[verbatim, singleline, fragment]
1958 c'4-1 c'4-2 c'4-3 c'4-4
1959 c'^\markup { \fontsize #-3 \number "2-3" }
1962 @cindex finger change
1967 You can use the thumb-script to indicate that a note should be
1968 played with your thumb (used in cello music):
1970 @lilypond[verbatim, singleline, fragmnt]
1971 <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
1972 <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
1975 Fingering for chords can be notated like this:
1977 @lilypond[verbatim,singleline,fragment,relative=1]
1978 << c-1 e-2 g-3 b-5 >> 4
1979 \property Voice.fingerHorizontalDirection = #LEFT
1980 << c-1 es-3 g-5 >> 4
1981 \property Voice.fingerHorizontalDirection = #RIGHT
1982 << c-1 e-2 g-3 b-5 >>4
1983 \property Voice.fingerHorizontalDirection = #LEFT
1984 << c_1 e-2 g-3 b^5 >>4
1989 @internalsref{FingerEvent} and @internalsref{Fingering}.
2000 @subsection Text scripts
2001 @cindex Text scripts
2003 It is possible to place arbitrary strings of text or markup text (see
2004 @ref{Text markup}) above or below notes by using a string:
2005 @code{c^"text"}. By default, these indications do not influence the
2006 note spacing, but by using the command @code{\fatText}, the widths
2007 will be taken into account.
2009 @lilypond[fragment,singleline,verbatim] \relative c' {
2010 c4^"longtext" \fatText c4_"longlongtext" c4 }
2013 It is possible to use @TeX{} commands in the strings, but this should be
2014 avoided because it makes it impossible for LilyPond to compute the
2015 exact length of the string, which may lead to collisions. Also, @TeX{}
2016 commands will not work with direct PostScript output.
2021 @internalsref{TextScriptEvent}, @internalsref{TextScript},
2027 @subsection Grace notes
2031 @cindex @code{\grace}
2035 Grace notes are ornaments that are written out
2037 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
2041 In normal notation, grace notes take up no logical
2042 time in a measure. Such an idea is practical for normal notation, but
2043 is not strict enough to put it into a program. The model that LilyPond
2044 uses for grace notes internally is that all timing is done in two
2047 Every point in musical time consists of two rational numbers: one
2048 denotes the logical time, one denotes the grace timing. The above
2049 example is shown here with timing tuples.
2052 \score { \notes \relative c''{
2053 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2054 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2056 \paper { linewidth = 8.\cm }
2061 The placement of these grace notes is synchronized between different
2064 @lilypond[relative=2,verbatim,fragment]
2065 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
2066 \context Staff = SB { c'4 \grace { g8 b } c4 } >
2070 Unbeamed eighth notes and shorter by default have a slash through the
2071 stem. This can be controlled with object property @code{stroke-style} of
2072 @internalsref{Stem}. For proper matching of override and reverts of
2073 such properties, it is necessary to use a Scheme function.
2075 The following fragment overrides the default formatting Grace style stems.
2077 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
2080 The @code{\override} is carefully matched with a @code{\revert}.
2085 @lilypond[fragment,verbatim]
2086 \relative c'' \context Voice {
2087 \grace c8 c4 \grace { c16-[ c16-] } c4
2089 \property Voice.Stem \override #'stroke-style = #'()
2091 \property Voice.Stem \revert #'stroke-style
2096 If you want to end a note with a grace note, then the standard trick
2097 is to put the grace notes before a phantom ``space note'', e.g.
2098 @lilypond[fragment,verbatim, relative=2]
2101 { s2 \grace { c16-[ d-] } } >
2106 A @code{\grace} section has some default values, and LilyPond will
2107 use those default values unless you specify otherwise inside the
2108 @code{\grace} section. For example, if you specify \slurUp
2109 @emph{before} your @code{\grace} section, a slur which starts inside
2110 the @code{\grace} will not be forced up, even if the slur ends outside
2111 of the @code{\grace}. Note the difference between the first and
2112 second bars in this example:
2114 @lilypond[fragment,verbatim]
2115 \relative c'' \context Voice {
2133 @internalsref{GraceMusic}.
2137 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2139 Grace note synchronization can also lead to surprises. Staff notation,
2140 such as key signatures, barlines, etc. are also synchronized. Take
2141 care when you mix staves with grace notes and staves without.
2143 @lilypond[relative=2,verbatim,fragment]
2144 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2145 \context Staff = SB { c4 \bar "|:" d4 } >
2148 Grace sections should only be used within sequential music
2149 expressions. Nesting, juxtaposing, or ending sequential music with a
2150 grace section is not supported, and might produce crashes or other
2153 Overriding settings for grace music using @code{add-to-grace-init}
2154 cannot be done in a modular way.
2158 @subsection Glissando
2161 @cindex @code{\glissando}
2163 A glissando is a smooth change in pitch. It is denoted by a line or a
2164 wavy line between two notes.
2168 A glissando line can be requested by attaching a @code{\glissando} to
2171 @lilypond[fragment,relative,verbatim]
2177 @internalsref{Glissando}, @internalsref{GlissandoEvent}.
2182 Printing of an additional text (such as @emph{gliss.}) must be done
2187 @subsection Dynamics
2200 @cindex @code{\ffff}
2210 Absolute dynamic marks are specified using an variable after a
2211 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2212 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2213 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2214 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2216 @lilypond[verbatim,singleline,fragment,relative]
2217 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2223 @cindex @code{\decr}
2224 @cindex @code{\rced}
2231 A crescendo mark is started with @code{\cr} and terminated with
2232 @code{\endcr}, and decrescendi similarly with @code{\decr} and
2233 @code{\enddecr}. There are also shorthands for these marks. A
2234 crescendo can be started with @code{\<} and a decrescendo can be
2235 started with @code{\>}. Either one can be terminated with @code{\!}.
2236 Because these marks are bound to notes, if you must use spacer notes
2237 if multiple marks during one note are needed.
2239 @lilypond[fragment,verbatim,center,quote]
2240 c''-\< c''-\! d''-\decr e''-\rced
2241 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2243 This may give rise to very short hairpins. Use @code{minimum-length}
2244 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2248 \property Staff.Hairpin \override #'minimum-length = #5
2251 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2252 is an example how to do it:
2254 @lilypond[fragment,relative=2,verbatim]
2255 c4 \cresc c4 \endcresc c4
2262 You can also supply your own texts:
2263 @lilypond[fragment,relative,verbatim]
2265 \property Voice.crescendoText = "cresc. poco"
2266 \property Voice.crescendoSpanner = #'dashed-line
2276 @refcommand dynamicUp
2277 @refcommand dynamicDown
2278 @refcommand dynamicBoth
2280 @cindex direction, of dynamics
2284 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
2285 @internalsref{AbsoluteDynamicEvent}.
2287 Dynamics are objects of @internalsref{DynamicText} and
2288 @internalsref{Hairpin}. Vertical positioning of these symbols is
2289 handled by the @internalsref{DynamicLineSpanner} object.
2291 If you want to adjust padding or vertical direction of the dynamics,
2292 you must set properties for the @internalsref{DynamicLineSpanner}
2301 @cindex @code{\repeat}
2304 Repetition is a central concept in music, and multiple notations exist
2305 for repetitions. In LilyPond, most of these notations can be captured
2306 in a uniform syntax. One of the advantages is, all these repetitions
2307 can be rendered in MIDI accurately.
2309 The following types of repetition are supported:
2313 Repeated music is fully written (played) out. Useful for MIDI
2314 output, and entering repetitive music.
2317 This is the normal notation: Repeats are not written out, but
2318 alternative endings (voltas) are printed, left to right.
2322 Alternative endings are written stacked. This has limited use but may be
2323 used to typeset two lines of lyrics in songs with repeats, see
2324 @inputfileref{input,star-spangled-banner.ly}.
2331 Make beat or measure repeats. These look like percent signs.
2337 * Repeats and MIDI::
2338 * Manual repeat commands::
2340 * Tremolo subdivisions::
2345 @subsection Repeat syntax
2349 LilyPond has one syntactic construct for specifying different types of
2350 repeats. The syntax is
2353 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2356 If you have alternative endings, you may add
2357 @cindex @code{\alternative}
2359 \alternative @code{@{} @var{alternative1}
2361 @var{alternative3} @dots{} @code{@}}
2363 where each @var{alternative} is a music expression. If you do not
2364 give enough alternatives for all of the repeats, then the first
2365 alternative is assumed to be played more than once.
2367 Normal notation repeats are used like this:
2368 @lilypond[fragment,verbatim]
2370 \repeat volta 2 { c'4 d' e' f' }
2371 \repeat volta 2 { f' e' d' c' }
2374 With alternative endings:
2375 @lilypond[fragment,verbatim]
2377 \repeat volta 2 {c'4 d' e' f'}
2378 \alternative { {d'2 d'} {f' f} }
2382 @lilypond[fragment,verbatim]
2386 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2387 \alternative { { g4 g g } { a | a a a a | b2. } }
2394 If you do a nested repeat like
2403 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2404 belongs. This ambiguity is resolved by always having the
2405 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2406 it is advisable to use braces in such situations.
2409 @node Repeats and MIDI
2410 @subsection Repeats and MIDI
2412 @cindex expanding repeats
2414 For instructions on how to unfold repeats for MIDI output, see the
2415 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2420 Timing information is not remembered at the start of an alternative,
2421 so you have to reset timing information after a repeat, e.g. using a
2422 bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
2423 or entering @code{\partial}. Similarly, slurs or ties are also not
2427 @node Manual repeat commands
2428 @subsection Manual repeat commands
2430 @cindex @code{repeatCommands}
2432 The property @code{repeatCommands} can be used to control the layout of
2433 repeats. Its value is a Scheme list of repeat commands, where each repeat
2441 @item (volta . @var{text})
2442 Print a volta bracket saying @var{text}. The text can be specified as
2443 a text string or as a markup text, see @ref{Text markup}. Do not
2444 forget to change the font, as the default number font does not contain
2445 alphabetic characters.
2447 Stop a running volta bracket
2450 @lilypond[verbatim, fragment]
2452 \property Score.repeatCommands = #'((volta "93") end-repeat)
2454 \property Score.repeatCommands = #'((volta #f))
2461 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2462 @internalsref{VoltaRepeatedMusic},
2463 @internalsref{UnfoldedRepeatedMusic}
2464 @internalsref{FoldedRepeatedMusic}.
2466 @node Tremolo repeats
2467 @subsection Tremolo repeats
2468 @cindex tremolo beams
2470 To place tremolo marks between notes, use @code{\repeat} with tremolo
2472 @lilypond[verbatim,center,singleline]
2474 \context Voice \notes\relative c' {
2475 \repeat "tremolo" 8 { c16 d16 }
2476 \repeat "tremolo" 4 { c16 d16 }
2477 \repeat "tremolo" 2 { c16 d16 }
2478 \repeat "tremolo" 4 c16
2485 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2486 @internalsref{StemTremolo}. @internalsref{TremoloEvent}.
2491 The single stem tremolo @emph{must} be entered without @code{@{} and
2494 @node Tremolo subdivisions
2495 @subsection Tremolo subdivisions
2496 @cindex tremolo marks
2497 @cindex @code{tremoloFlags}
2499 Tremolo marks can be printed on a single note by adding
2500 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2501 A @var{length} value of 8 gives one line across the note stem. If the
2502 length is omitted, then then the last value (stored in
2503 @code{Voice.tremoloFlags}) is used.
2505 @lilypond[verbatim,fragment,center]
2506 c'2:8 c':32 | c': c': |
2509 @c [TODO : stok is te kort bij 32en]
2513 Tremolos in this style do not carry over into the MIDI output.
2516 @node Measure repeats
2517 @subsection Measure repeats
2519 @cindex percent repeats
2520 @cindex measure repeats
2522 In the @code{percent} style, a note pattern can be repeated. It is
2523 printed once, and then the pattern is replaced with a special sign.
2524 Patterns of a one and two measures are replaced by percent-like signs,
2525 patterns that divide the measure length are replaced by slashes.
2527 @lilypond[verbatim,singleline]
2528 \context Voice { \repeat "percent" 4 { c'4 }
2529 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2535 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2536 @internalsref{PercentRepeatedMusic}, and
2537 @internalsref{DoublePercentRepeat}.
2542 Single measure and double measure percent-repeats cannot be nested.
2544 @node Rhythmic music
2545 @section Rhythmic music
2547 Sometimes you might want to show only the rhythm of a melody. This
2548 can be done with the rhythmic staff. All pitches of notes on such a
2549 staff are squashed, and the staff itself has a single line:
2551 @lilypond[fragment,relative,verbatim]
2552 \context RhythmicStaff {
2554 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2559 * Percussion staves::
2560 * Percussion midi output::
2563 @node Percussion staves
2564 @subsection Percussion staves
2568 To typeset more than one piece of percussion to be played by the same
2569 musician one typically uses a multiline staff where each staff
2570 position refers to a specific piece of percussion.
2574 Percussion staves are typeset with help of a set of Scheme
2575 functions. The system is based on the general MIDI drum-pitches.
2576 Include @file{ly/drumpitch-init.ly} to use drum pitches. This file
2577 defines the pitches from the Scheme variable @code{drum-pitch-names},
2578 the definition of which can be read in @file{scm/drums.scm}. Each
2579 piece of percussion has a full name and an abbreviated name, and both
2580 the full name or the abbreviation may be used in input files.
2582 To typeset the music on a staff apply the function @code{drums->paper}
2583 to the percussion music. This function takes a list of percussion
2584 instrument names, notehead scripts and staff positions (that is:
2585 pitches relative to the C-clef) and transforms the input
2586 music by moving the pitch, changing the notehead and (optionally)
2589 @lilypond[singleline,verbatim,quote]
2590 \include "drumpitch-init.ly"
2591 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2592 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2594 \apply #(drums->paper 'drums) \context Staff <
2596 \context Voice = up { \voiceOne \up }
2597 \context Voice = down { \voiceTwo \down }
2602 In the above example the music was transformed using the list @code{'drums}.
2603 Currently the following lists are defined in @file{scm/drums.scm}:
2606 To typeset a typical drum kit on a five-line staff.
2609 \include "drumpitch-init.ly"
2610 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2611 bd sn ss tomh tommh tomml toml tomfh tomfl }
2612 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2613 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2616 \apply #(drums->paper 'drums) \context Staff <
2620 \context Lyrics \nam
2623 linewidth = 100.0\mm
2626 \remove Bar_engraver
2627 \remove Time_signature_engraver
2628 minimumVerticalExtent = #'(-4.0 . 5.0)
2632 \remove Stem_engraver
2638 The drum scheme supports six different toms. When there fewer toms, simply
2639 select the toms that produce the desired result, i.e., to get toms on
2640 the three middle lines you use @code{tommh}, @code{tomml} and
2643 Because general MIDI does not contain rimshots the sidestick is used
2644 for this purpose instead.
2646 To typeset timbales on a two line staff.
2648 @lilypond[singleline]
2649 \include "drumpitch-init.ly"
2650 nam = \lyrics { timh ssh timl ssl cb }
2651 mus = \notes { timh ssh timl ssl cb s16 }
2654 \apply #(drums->paper 'timbales) \context Staff <
2658 \context Lyrics \nam
2663 \remove Bar_engraver
2664 \remove Time_signature_engraver
2665 StaffSymbol \override #'line-count = #2
2666 StaffSymbol \override #'staff-space = #2
2667 minimumVerticalExtent = #'(-3.0 . 4.0)
2671 \remove Stem_engraver
2678 To typeset congas on a two line staff.
2680 @lilypond[singleline]
2681 \include "drumpitch-init.ly"
2682 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2683 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2686 \apply #(drums->paper 'congas) \context Staff <
2690 \context Lyrics \nam
2695 \remove Bar_engraver
2696 \remove Time_signature_engraver
2697 StaffSymbol \override #'line-count = #2
2698 StaffSymbol \override #'staff-space = #2
2699 minimumVerticalExtent = #'(-3.0 . 4.0)
2703 \remove Stem_engraver
2709 To typeset bongos on a two line staff.
2711 @lilypond[singleline]
2712 \include "drumpitch-init.ly"
2713 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2714 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2717 \apply #(drums->paper 'bongos) \context Staff <
2721 \context Lyrics \nam
2726 \remove Bar_engraver
2727 \remove Time_signature_engraver
2728 StaffSymbol \override #'line-count = #2
2729 StaffSymbol \override #'staff-space = #2
2730 minimumVerticalExtent = #'(-3.0 . 4.0)
2734 \remove Stem_engraver
2740 To typeset all kinds of simple percussion on one line staves.
2741 @lilypond[singleline]
2742 \include "drumpitch-init.ly"
2743 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2744 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2747 \apply #(drums->paper 'percussion) \context Staff <
2751 \context Lyrics \nam
2756 \remove Bar_engraver
2757 \remove Time_signature_engraver
2758 StaffSymbol \override #'line-count = #1
2759 minimumVerticalExtent = #'(-2.0 . 3.0)
2763 \remove Stem_engraver
2770 If you do not like any of the predefined lists you can define your own
2771 list at the top of your file:
2773 @lilypond[singleline, verbatim]
2775 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2776 (snare default #f ,(ly:make-pitch 0 1 0))
2777 (hihat cross #f ,(ly:make-pitch 0 5 0))
2778 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2779 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2781 \include "drumpitch-init.ly"
2782 up = \notes { hh8 hh hh hh hhp4 hhp }
2783 down = \notes { bd4 sn bd toml8 toml }
2785 \apply #(drums->paper 'mydrums) \context Staff <
2787 \context Voice = up { \voiceOne \up }
2788 \context Voice = down { \voiceTwo \down }
2793 To use a modified existing list, one can prepend modifications to the
2797 #(define mydrums (append `(
2798 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2799 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2803 The file @file{drumpitch-init.ly} replaces the normal pitch names, so
2804 you have to reinclude @file{nederlands.ly} after the
2805 drum-pattern-definitions to enter normal notes.
2807 @lilypond[singleline,verbatim]
2808 \include "drumpitch-init.ly"
2809 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2810 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2811 \include "nederlands.ly"
2812 bass = \notes \transpose c c,, { a4. e8 r e g e }
2815 \apply #(drums->paper 'drums) \context Staff = drums <
2817 \context Voice = up { \voiceOne \up }
2818 \context Voice = down { \voiceTwo \down }
2820 \context Staff = bass { \clef "F_8" \bass }
2825 @node Percussion midi output
2826 @subsection Percussion midi output
2828 In order to produce correct midi output you need to produce two score
2829 blocks---one for the paper and one for the midi output. To use the
2830 percussion channel you set the property @code{instrument} to
2831 @code{'drums}. Because the drum-pitches themself are similar to the
2832 general midi pitches all you have to do is to insert the voices with
2833 none of the scheme functions to get the correct midi output:
2837 \apply #(drums->paper 'mydrums) \context Staff <
2846 \property Staff.instrument = #'drums
2855 This scheme is to be considered a temporary implementation.
2859 @section Piano music
2861 Piano staves are two normal staves coupled with a brace. The staves
2862 are largely independent, but sometimes voices can cross between the
2863 two staves. The same notation is also used for harps and other key
2864 instruments. The @internalsref{PianoStaff} is especially built to
2865 handle this cross-staffing behavior. In this section we discuss the
2866 @internalsref{PianoStaff} and some other pianistic peculiarities.
2870 * Automatic staff changes::
2871 * Manual staff switches::
2874 * Staff switch lines::
2879 There is no support for putting chords across staves. You can get
2880 this result by increasing the length of the stem in the lower stave so
2881 it reaches the stem in the upper stave, or vice versa. An example is
2882 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2884 Dynamics are not centered, but kludges do exist. See
2885 @inputfileref{input/templates,piano-dynamics.ly}.
2887 @cindex cross staff stem
2888 @cindex stem, cross staff
2891 @c fixme: should have hyperlinks as well.
2897 @node Automatic staff changes
2898 @subsection Automatic staff changes
2899 @cindex Automatic staff changes
2901 Voices can switch automatically between the top and the bottom
2902 staff. The syntax for this is
2904 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2906 The autochanger switches on basis of pitch (central C is the turning
2907 point), and it looks ahead skipping over rests to switch rests in
2908 advance. Here is a practical example:
2910 @lilypond[verbatim,singleline,quote]
2911 \score { \notes \context PianoStaff <
2912 \context Staff = "up" {
2913 \autochange Staff \context Voice = VA < \relative c' {
2914 g4 a b c d r4 a g } > }
2915 \context Staff = "down" {
2920 Spacer rests are used to prevent the bottom staff from
2921 terminating too soon.
2926 The staff switches often do not end up in optimal places. For high
2927 quality output staff switches should be specified manually.
2931 @node Manual staff switches
2932 @subsection Manual staff switches
2934 @cindex manual staff switches
2935 @cindex staff switch, manual
2937 Voices can be switched between staves manually, using the following command:
2939 \translator Staff = @var{staffname} @var{music}
2941 The string @var{staffname} is the name of the staff. It switches the
2942 current voice from its current staff to the Staff called
2943 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2951 Pianos have pedals that alter the way sound are produced. Generally, a
2952 piano has three pedals, sustain, una corda, and sostenuto.
2956 Piano pedal instruction can be expressed by attaching
2957 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2958 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
2961 The symbols that are printed can be modified by setting
2962 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2963 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
2964 of @internalsref{SustainPedal} for more information.
2966 Pedals can also be indicated by a sequence of brackets, by setting the
2967 @code{pedal-type} property of @internalsref{SustainPedal} objects:
2969 @lilypond[fragment,verbatim]
2970 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2971 c''4-\sustainDown d''4 e''4
2972 a'4-\sustainUp-\sustainDown
2973 f'4 g'4 a'4-\sustainUp
2976 A third style of pedal notation is a mixture of text and brackets,
2977 obtained by setting @code{pedal-type} to @code{mixed}:
2979 @lilypond[fragment,verbatim]
2980 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2981 c''4-\sustainDown d''4 e''4
2982 c'4-\sustainUp-\sustainDown
2983 f'4 g'4 a'4-\sustainUp
2986 The default `*Ped' style for sustain and damper pedals corresponds to
2987 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2988 for a sostenuto pedal:
2990 @lilypond[fragment,verbatim]
2991 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
2994 For fine-tuning of the appearance of a pedal bracket, the properties
2995 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2996 @code{PianoPedalBracket} objects (see the detailed documentation of
2997 @internalsref{PianoPedalBracket}) can be modified. For example, the bracket
2998 may be extended to the end of the note head.
3000 @lilypond[fragment,verbatim]
3001 \property Staff.PianoPedalBracket \override
3002 #'shorten-pair = #'(0 . -1.0)
3003 c''4-\sostenutoDown d''4 e''4 c'4
3004 f'4 g'4 a'4-\sostenutoUp
3008 @subsection Arpeggio
3011 @cindex broken arpeggio
3012 @cindex @code{\arpeggio}
3014 You can specify an arpeggio sign on a chord by attaching an
3015 @code{\arpeggio} to a chord.
3018 @lilypond[fragment,relative,verbatim]
3019 <<c e g c>>-\arpeggio
3022 When an arpeggio crosses staves in piano music, you attach an arpeggio
3023 to the chords in both staves, and set
3024 @internalsref{PianoStaff}.@code{connectArpeggios}.
3026 @lilypond[fragment,relative,verbatim]
3027 \context PianoStaff <
3028 \property PianoStaff.connectArpeggios = ##t
3029 \context Voice = one { <<c' e g c>>-\arpeggio }
3030 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
3034 This command creates @internalsref{Arpeggio} objects. Cross staff
3035 arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3037 The direction of the arpeggio is sometimes denoted by adding an
3038 arrowhead to the wiggly line. This can be typeset by setting
3039 @code{arpeggio-direction}.
3041 @lilypond[fragment,relative,verbatim]
3043 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3044 <<c e g c>>-\arpeggio
3045 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3046 <<c e g c>>-\arpeggio
3050 A square bracket on the left indicates that the player should not
3051 arpeggiate the chord. To draw these brackets, set the
3052 @code{molecule-callback} property of @code{Arpeggio} or
3053 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3054 @code{\arpeggio} statements within the chords as before.
3056 @lilypond[fragment,relative,verbatim]
3057 \property PianoStaff.Arpeggio \override
3058 #'molecule-callback = \arpeggioBracket
3059 <<c' e g c>>-\arpeggio
3064 @refcommand arpeggioBracket
3065 @refcommand arpeggio
3069 It is not possible to mix connected arpeggios and unconnected
3070 arpeggios in one @internalsref{PianoStaff} at the same time.
3072 @node Staff switch lines
3073 @subsection Staff switch lines
3076 @cindex follow voice
3077 @cindex staff switching
3080 @cindex @code{followVoice}
3082 Whenever a voice switches to another staff a line connecting the notes
3083 can be printed automatically. This is enabled if the property
3084 @code{PianoStaff.followVoice} is set to true:
3086 @lilypond[fragment,relative,verbatim]
3087 \context PianoStaff <
3088 \property PianoStaff.followVoice = ##t
3089 \context Staff \context Voice {
3091 \translator Staff=two
3094 \context Staff=two { \clef bass \skip 1*2 }
3098 The associated object is @internalsref{VoiceFollower}.
3102 @refcommand showStaffSwitch
3103 @refcommand hideStaffSwitch
3107 @section Vocal music
3109 This section discusses how to enter, and print lyrics.
3113 * The Lyrics context::
3118 @node Entering lyrics
3119 @subsection Entering lyrics
3123 @cindex @code{\lyrics}
3126 Lyrics are entered in a special input mode. This mode is is introduced
3127 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3128 punctuation and accents without any hassle. Syllables are entered like
3129 notes, but with pitches replaced by text. For example,
3131 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3134 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3135 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3136 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3137 any 8-bit character with ASCII code over 127, or a two-character
3138 combination of a backslash followed by one of @code{`}, @code{'},
3139 @code{"}, or @code{^}.
3141 Subsequent characters of a word can be any character that is not a digit
3142 and not white space. One important consequence of this is that a word
3143 can end with @code{@}}. The following example is usually a bug. The
3144 syllable includes a @code{@}}, and hence the opening brace is not balanced.
3146 \lyrics @{ twinkle@}
3148 which may be confusing.
3150 @cindex @code{\property}, in @code{\lyrics}
3151 Similarly, a period following a alphabetic sequence, is included in the
3152 resulting string. As a consequence, spaces must be inserted around
3153 @code{\property} commands:
3155 \property Lyrics . LyricText \set #'font-shape = #'italic
3159 @cindex spaces, in lyrics
3160 @cindex quotes, in lyrics
3162 Any @code{_} character which appears in an unquoted word is converted
3163 to a space. This provides a mechanism for introducing spaces into words
3164 without using quotes. Quoted words can also be used in Lyrics mode to
3165 specify words that cannot be written with the above rules:
3168 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3172 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3177 These will be attached to the end of the first syllable.
3179 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3180 as a separate word between syllables. The hyphen will have variable
3181 length depending on the space between the syllables and it will be
3182 centered between the syllables.
3187 When a lyric is sung over many notes (this is called a melisma), this is
3188 indicated with a horizontal line centered between a syllable and the
3189 next one. Such a line is called an extender line, and it is entered as
3194 @internalsref{LyricEvent}, @internalsref{HyphenEvent},
3195 @internalsref{ExtenderEvent}.
3199 The definition of lyrics mode is too complex.
3201 @node The Lyrics context
3202 @subsection The Lyrics context
3204 Lyrics are printed by interpreting them in @internalsref{Lyrics}
3207 \context Lyrics \lyrics @dots{}
3210 @cindex automatic syllable durations
3211 @cindex @code{\addlyrics}
3212 @cindex lyrics and melodies
3214 This will place the lyrics according to the durations that were
3215 entered. The lyrics can also be aligned under a given melody
3216 automatically. In this case, it is no longer necessary to enter the
3217 correct duration for each syllable. This is achieved by combining the
3218 melody and the lyrics with the @code{\addlyrics} expression
3222 \context Lyrics @dots{}
3225 @cindex staff order, with @code{\addlyrics}
3227 Normally, this will put the lyrics below the staff. For different or
3228 more complex orderings, the best way is to setup the hierarchy of
3229 staffs and lyrics first, e.g.
3231 \context ChoirStaff \notes <
3232 \context Lyrics = LA @{ s1 @}
3233 \context Staff = SA @{ s1 @}
3234 \context Lyrics = LB @{ s1 @}
3235 \context Staff = SB @{ s1 @}
3238 and then combine the appropriate melodies and lyric lines:
3241 \context Staff = SA @emph{the music}
3242 \context Lyrics = LA @emph{the lyrics}
3245 putting both together, you would get
3247 \context ChoirStaff \notes <
3248 \context Lyrics = LA @dots{}
3249 \context Staff = SB @dots{}
3255 @cindex choral score
3257 An example of a SATB score setup is in the file
3258 @inputfileref{input/template,satb}.
3262 @internalsref{LyricCombineMusic}, @internalsref{Lyrics},
3263 @inputfileref{input/template,satb}.
3267 @code{\addlyrics} is not automatic enough: melismata are not detected
3268 automatically, and melismata are not stopped when they hit a rest. A
3269 melisma on the last note in a melody is not printed.
3273 @subsection More stanzas
3276 @cindex phrasing, in lyrics
3278 When multiple stanzas are printed underneath each other, the vertical
3279 groups of syllables should be aligned around punctuation. This can be
3280 done automatically when corresponding lyric lines and melodies are
3283 To this end, give the @internalsref{Voice} context an identity,
3285 \context Voice = duet @{
3290 Then set the @internalsref{LyricsVoice} contexts to names starting with
3291 that identity followed by a dash. In the preceding example, the
3292 @internalsref{Voice} identity is @code{duet}, so the identities of the
3293 @internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}.
3295 \context LyricsVoice = "duet-1" @{
3296 Hi, my name is bert. @}
3297 \context LyricsVoice = "duet-2" @{
3298 Ooooo, ch\'e -- ri, je t'aime. @}
3300 The convention for naming @internalsref{LyricsVoice} and
3301 @internalsref{Voice} must also be used to get melismata on rests
3304 The complete example is shown here.
3305 @lilypond[singleline,verbatim]
3308 \notes \relative c'' \context Voice = duet { \time 3/4
3310 \lyrics \context Lyrics <
3311 \context LyricsVoice = "duet-1" {
3312 \property LyricsVoice . stanza = "Bert"
3313 Hi, my name is bert. }
3314 \context LyricsVoice = "duet-2" {
3315 \property LyricsVoice . stanza = "Ernie"
3316 Ooooo, ch\'e -- ri, je t'aime. }
3321 Stanza numbers, or the names of the singers can be added by setting
3322 @code{LyricsVoice.Stanza} (for the first system) and
3323 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3324 surrounded with spaces in @code{\lyrics} mode.
3327 \property LyricsVoice . stanza = "Bert"
3329 \property LyricsVoice . stanza = "Ernie"
3332 You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
3333 lyrics. This can confuse the LilyPond -- for example, this might put
3334 (empty) lyrics under rests. To remedy this, use @code{\skip} instead.
3342 Input for lyrics introduces a syntactical ambiguity:
3349 is interpreted as assigning a string identifier @code{\foo} such that
3350 it contains @code{"bar"}. However, it could also be interpreted as
3351 making or a music identifier @code{\foo} containing the syllable
3352 `bar'. The force the latter interpretation, use
3362 The term @emph{ambitus} denotes a range of pitches for a given voice in
3363 a part of music. It also may denote the pitch range that a musical
3364 instrument is capable of playing. Most musical instruments have their
3365 ambitus standardized (or at least there is agreement upon the minimal
3366 ambitus of a particular type of instrument), such that a composer or
3367 arranger of a piece of music can easily meet the ambitus constraints of
3368 the targeted instrument. However, the ambitus of the human voice
3369 depends on individual physiological state, including education and
3370 training of the voice. Therefore, a singer potentially has to check for
3371 each piece of music if the ambitus of that piece meets his individual
3372 capabilities. This is why the ambitus of a piece may be of particular
3373 value to vocal performers.
3375 The ambitus is typically notated on a per-voice basis at the very
3376 beginning of a piece, e.g. nearby the initial clef or time signature of
3377 each staff. The range is graphically specified by two noteheads, that
3378 represent the minimum and maximum pitch. Some publishers use a textual
3379 notation: they put the range in words in front of the corresponding
3380 staff. Lilypond currently only supports the graphical ambitus notation.
3382 To apply, add the @internalsref{Ambitus_engraver} to the
3383 @internalsref{Voice} context, i.e.
3386 \paper @{ \translator @{
3388 \consists Ambitus_engraver
3394 @lilypond[singleline]
3395 upper = \notes \relative c {
3398 as'' c e2 bes f cis d4 e f2 g
3400 lower = \notes \relative c {
3403 e'4 b g a c es fis a cis b a g f e d2
3406 \context ChoirStaff {
3408 \context Staff = one { \upper }
3409 \context Staff = three { \lower }
3415 \consists Ambitus_engraver
3424 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
3429 Tablature notation is used for notating music for plucked string
3430 instruments. It notates pitches not by using note heads, but by
3431 indicating on which string and fret a note must be played. LilyPond
3432 offers limited support for tablature.
3435 * Tablatures basic::
3436 * Non-guitar tablatures::
3439 @node Tablatures basic
3440 @subsection Tablatures basic
3441 @cindex Tablatures basic
3443 The string number associated to a note is given as a backslash
3444 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3445 string. By default, string 1 is the highest one, and the tuning
3446 defaults to the standard guitar tuning (with 6 strings). The notes
3447 are printed as tablature, by using @internalsref{TabStaff} and
3448 @internalsref{TabVoice} contexts.
3450 @lilypond[fragment,verbatim]
3451 \notes \context TabStaff {
3457 If you do not specify a string number then one is selected
3458 automatically: the first string that does not give a fret number less
3459 than @code{minimumFret} is selected. The default value for
3460 @code{minimumFret} is 0.
3464 e8 fis gis a b cis' dis' e'
3465 \property TabStaff.minimumFret = #8
3466 e8 fis gis a b cis' dis' e'
3471 e8 fis gis a b cis' dis' e'
3472 \property TabStaff.minimumFret = #8
3473 e8 fis gis a b cis' dis' e'
3476 \context StaffGroup <
3477 \context Staff { \clef "G_8" \frag }
3478 \context TabStaff { \frag }
3485 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3486 @internalsref{StringNumberEvent}.
3490 Chords are not handled in a special way, and hence the automatic
3491 string selector may easily select the same string to two notes in a
3495 @node Non-guitar tablatures
3496 @subsection Non-guitar tablatures
3497 @cindex Non-guitar tablatures
3499 You can change the number of strings, by setting the number of lines
3500 in the @internalsref{TabStaff} (the @code{line-count} property of
3501 @internalsref{TabStaff} can only be changed using
3502 @code{\outputproperty}, for more information, see @ref{Tuning objects}.
3504 You can change the tuning of the strings. A string tuning is given as
3505 a Scheme list with one integer number for each string, the number
3506 being the pitch (measured in semitones relative to central C) of an
3507 open string. The numbers specified for @code{stringTuning} are the
3508 numbers of semitones to subtract or add, starting the specified pitch
3509 by default middle C, in string order: thus the notes are e, a, d, and
3512 @lilypond[fragment,verbatim]
3515 \outputproperty #(make-type-checker 'staff-symbol-interface)
3517 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3520 a,4 c' a e' e c' a e'
3525 It is possible to change the Scheme function to format the tablature
3526 note text. The default is @code{fret-number-tablature-format}, which
3527 uses the fret number. For instruments that do not use this notation,
3528 you can create a special tablature formatting function. This function
3529 takes three argument: the string number, the string tuning and the
3534 As tablature is a recent feature, most of the guitar special effects
3535 such as bend are not yet supported.
3539 @section Chord names
3542 LilyPond has support for both entering and printing named chords.
3543 These chords are internally represented as a set of pitches. Therefore
3544 they can be entered by name and printed as notes, entered as notes and
3545 printed as chord names, or (the most common case) entered them by
3546 name, and print them as name. The following fragment shows these
3549 @lilypond[verbatim,singleline]
3550 twoWays = \notes \transpose c c' {
3560 < \context ChordNames \twoWays
3561 \context Voice \twoWays > }
3564 This example also shows that the chord printing routines do not try to
3565 be intelligent. The chord @code{f bes d}, is not interpreted as an
3571 * Printing chord names::
3576 @subsection Chords mode
3579 Chord mode is a mode where you can input sets of pitches using common
3580 names. It is introduced by the keyword @code{\chords}.
3581 In chords mode, a chord is entered by the root, which is entered
3582 like a common pitch, for example,
3583 @lilypond[fragment,verbatim,quote, relative=1]
3584 \chords { es4. d8 c2 }
3589 Other chords may be entered by suffixing a colon, and introducing a
3590 modifier, and optionally, a number, for example
3592 @lilypond[fragment,verbatim,quote]
3593 \chords { e1:m e1:7 e1:m7 }
3595 The first number following the root is taken to be the `type' of the
3596 chord, thirds are added to the root until it reaches the specified
3597 number, for example.
3598 @lilypond[fragment,verbatim]
3599 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3602 @cindex root of chord
3603 @cindex additions, in chords
3604 @cindex removals, in chords
3606 More complex chords may also be constructed adding separate steps
3607 to a chord. Additions are added after the number following
3608 the colon, and are separated by dots. For example
3610 @lilypond[verbatim,fragment,quote]
3611 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3613 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3614 to the number, for example:
3615 @lilypond[verbatim,fragment,quote]
3616 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3618 Removals are specified similarly, and are introduced by a caret. They
3619 must come after the additions.
3620 @lilypond[verbatim,fragment]
3621 \chords { c^3 c:7^5 c:9^3.5 }
3624 Modifiers can be used to change pitches. The following modifiers are
3628 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3630 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3633 is the augmented chord. This modifier raises the 5th step.
3635 is the major 7th chord. This modifier raises the 7th step if present.
3637 is the suspended 4th or 2nd. This modifier removes the 3rd
3638 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3641 Modifiers can be mixed with additions.
3642 @lilypond[verbatim,fragment]
3643 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3646 @cindex modifiers, in chords.
3653 Since the unaltered 11 does sound well when combined with the
3654 unaltered 3, the 11 is removed in this case, unless it is added
3655 explicitly). For example,
3656 @lilypond[fragment,verbatim]
3657 \chords { c:13 c:13.11 c:m13 }
3662 An inversion (putting one pitch of the chord on the bottom), as well
3663 as bass notes, can be specified by appending
3664 @code{/}@var{pitch} to the chord.
3665 @lilypond[fragment,verbatim,center]
3666 \chords { c1 c/g c/f }
3669 If you do not want to remove the bass note from the chord, but rather
3670 add the note, then you can use @code{/+}@var{pitch}.
3672 @lilypond[fragment,verbatim,center]
3673 \chords { c1 c/+g c/+f }
3676 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3677 of the commands continue to work, for example, @code{r} and
3678 @code{\skip} can be used to insert rests and spaces, and
3679 @code{\property} may be used to change various settings.
3685 Each step can only be present in a chord once. The following
3686 simply produces the augmented chord, since @code{5+} is interpreted
3689 @lilypond[verbatim,fragment]
3690 \chords { c:5.5-.5+ }
3693 In chord mode, dashes and carets are used to indicate chord additions
3694 and subtractions, so articulation scripts cannot be entered.
3697 @node Printing chord names
3698 @subsection Printing chord names
3700 @cindex printing chord names
3704 For displaying printed chord names, use the @internalsref{ChordNames}
3705 context. The chords may be entered either using the notation
3706 described above, or directly using @code{<<} and @code{>>}.
3708 @lilypond[verbatim,singleline]
3710 \chords {a1 b c} <<d' f' g'>> <<e' g' b'>>
3714 \context ChordNames \scheme
3715 \context Staff \scheme
3720 You can make the chord changes stand out by setting
3721 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3722 display chord names when there is a change in the chords scheme and at
3723 the start of a new line.
3727 c1:m c:m \break c:m c:m d
3731 \context ChordNames {
3732 \property ChordNames.chordChanges = ##t
3734 \context Staff \transpose c c' \scheme
3736 \paper{linewidth= 9.\cm}
3740 The default chord name layout is a system for Jazz music, proposed by
3741 Klaus Ignatzek (See @ref{Literature}).
3743 The Ignatzek chord name formatting can be tuned in a number of ways
3744 through the following properties:
3747 @cindex chordNameExceptions
3748 @item chordNameExceptions
3749 This is a list that contains the chords that have special formatting.
3751 @inputfileref{input/regression,chord-name-exceptions.ly}.
3752 @cindex exceptions, chord names.
3755 @cindex majorSevenSymbol
3756 @item majorSevenSymbol
3757 This property contains the markup object used for the 7th step, when
3758 it is major. Predefined options are @code{whiteTriangleMarkup} and
3759 @code{blackTriangleMarkup}. See
3760 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3762 @cindex chordNameSeparator
3763 @item chordNameSeparator
3764 Different parts of a chord name are normally separated by a
3765 slash. By setting @code{chordNameSeparator}, you can specify other
3767 @lilypond[fragment,verbatim]
3768 \context ChordNames \chords {
3770 \property ChordNames.chordNameSeparator
3775 @cindex chordRootNamer
3776 @item chordRootNamer
3777 The root of a chord is usually printed as a letter with an optional
3778 alteration. The transformation from pitch to letter is done by this
3779 function. Special note names (for example, the German ``H'' for a
3780 B-chord) can be produced by storing a new function in this property.
3782 @cindex chordNoteNamer
3783 @item chordNoteNamer
3784 The default is to print single notes (as for instance the bass note)
3785 using the @code{chordRootNamer}. However, by setting this function to a non-null
3786 value you can specify a different function. I.e. you could use letters
3787 in lower case for the base note.
3792 There are also two other chord name schemes implemented: an alternate
3793 Jazz chord notation, and a systematic scheme called Banter chords. The
3794 alternate jazz notation is also shown on the chart in @ref{Chord name
3795 chart}. Turning on these styles is described in the input file
3796 @inputfileref{input/test/,chord-names-jazz.ly}.
3800 @cindex chords, jazz
3805 @refcommand germanChords
3806 @refcommand semiGermanChords
3813 @inputfileref{input/regression,chord-name-major7.ly},
3814 @inputfileref{input/regression,chord-name-exceptions.ly},
3815 @inputfileref{input/test,chord-names-jazz.ly},
3816 @inputfileref{input/test,chord-names-german.ly},
3817 @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
3822 Chord names are determined solely from the list of pitches. Chord
3823 inversions are not identified, and neither are added bass notes. This
3824 may result in strange chord names when chords are entered with the
3825 @code{<< .. >>} syntax.
3830 @node Orchestral music
3831 @section Orchestral music
3833 @cindex Writing parts
3835 Orchestral music involves some special notation, both in the full
3836 score and the individual parts. This section explains how to tackle
3837 some common problems in orchestral music.
3842 * Multiple staff contexts::
3845 * Instrument names::
3847 * Multi measure rests::
3848 * Automatic part combining::
3850 * Sound output for transposing instruments::
3853 @node Multiple staff contexts
3854 @subsection Multiple staff contexts
3856 Polyphonic scores consist of many staffs. These staffs can be
3857 constructed in three different ways:
3859 @item The group is started with a brace at the left. This is done with the
3860 @internalsref{GrandStaff} context.
3861 @item The group is started with a bracket. This is done with the
3862 @internalsref{StaffGroup} context
3863 @item The group is started with a vertical line. This is the default
3867 @cindex Staff, multiple
3868 @cindex bracket, vertical
3869 @cindex brace, vertical
3876 @node Rehearsal marks
3877 @subsection Rehearsal marks
3878 @cindex Rehearsal marks
3880 @cindex @code{\mark}
3882 To print a rehearsal mark, use the @code{\mark} command.
3883 @lilypond[fragment,verbatim]
3893 The mark is incremented automatically if you use @code{\mark
3894 \default}. The value to use is stored in the property
3895 @code{rehearsalMark} is used and automatically incremented.
3897 The @code{\mark} command can also be used to put signs like coda,
3898 segno and fermatas on a barline. Use @code{\markup} to
3899 to access the appropriate symbol.
3901 @lilypond[fragment,verbatim,relative=1]
3902 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3906 In this case, during line breaks,
3907 marks must also be printed at the end of the line, and not at the
3908 beginning. Use the following to force that behavior
3910 \property Score.RehearsalMark \override
3911 #'break-visibility = #begin-of-line-invisible
3914 See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
3920 @cindex barlines, putting symbols on
3924 @internalsref{MarkEvent}, @internalsref{RehearsalMark},
3925 @inputfileref{input/test,boxed-molecule.ly}.
3929 @subsection Bar numbers
3933 @cindex measure numbers
3934 @cindex currentBarNumber
3936 Bar numbers are printed by default at the start of the line. The
3937 number itself is stored in the
3938 @code{currentBarNumber} property,
3939 which is normally updated automatically for every measure.
3941 Bar numbers can be typeset at regular intervals instead of at the
3942 beginning of each line. This is illustrated in the following example,
3943 whose source is available as
3944 @inputfileref{input/test,bar-number-every-fifth.ly}
3946 @lilypondfile[notexidoc]{bar-number-every-fifth.ly}
3948 The start of that numbering can also be reset, as demonstrated in
3949 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3951 @lilypondfile[notexidoc]{bar-number-every-five-reset.ly}
3956 @internalsref{BarNumber}.
3957 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3958 @inputfileref{input/test,bar-number-every-fifth.ly}
3962 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
3963 there is one at the top. To solve this, You have to twiddle with the
3964 @internalsref{padding} property of @internalsref{BarNumber} if your
3965 score starts with a @internalsref{StaffGroup}.
3967 @node Instrument names
3968 @subsection Instrument names
3970 In an orchestral score, instrument names are printed left of the
3973 This can be achieved by setting @internalsref{Staff}.@code{instrument}
3974 and @internalsref{Staff}.@code{instr}. This will print a string before
3975 the start of the staff. For the first start, @code{instrument} is
3976 used, for the next ones @code{instr} is used.
3978 @lilypond[verbatim,singleline]
3979 \property Staff.instrument = "ploink " { c''4 }
3982 You can also use markup texts to construct more complicated instrument
3985 @lilypond[fragment,verbatim,singleline]
3986 \notes \context Staff = treble {
3987 \property Staff.instrument = \markup {
3988 \column << "Clarinetti"
3990 \smaller \musicglyph #"accidentals--1"
4001 @internalsref{InstrumentName}
4005 When you put a name on a grand staff or piano staff the width of the
4006 brace is not taken into account. You must add extra spaces to the end of
4007 the name to avoid a collision.
4010 @subsection Transpose
4012 @cindex transposition of pitches
4013 @cindex @code{\transpose}
4015 A music expression can be transposed with @code{\transpose}. The syntax
4018 \transpose @var{from} @var{to} @var{musicexpr}
4021 This means that @var{musicexpr} is transposed by the interval
4022 between @var{from} and @var{to}.
4024 @code{\transpose} distinguishes between enharmonic pitches: both
4025 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4026 half a tone. The first version will print sharps and the second
4027 version will print flats.
4029 @lilypond[singleline, verbatim]
4030 mus =\notes { \key d \major cis d fis g }
4031 \score { \notes \context Staff {
4034 \transpose c g' \mus
4035 \transpose c f' \mus
4041 @internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
4045 If you want to use both @code{\transpose} and @code{\relative}, then
4046 you must put @code{\transpose} outside of @code{\relative}, since
4047 @code{\relative} will have no effect music that appears inside a
4053 @node Multi measure rests
4054 @subsection Multi measure rests
4055 @cindex multi measure rests
4056 @cindex Rests, multi measure
4060 Multi measure rests are entered using `@code{R}'. It is specifically
4061 meant for full bar rests and for entering parts: the rest can expand to
4062 fill a score with rests, or it can be printed as a single multimeasure
4063 rest. This expansion is controlled by the property
4064 @code{Score.skipBars}. If this is set to true, Lily will not expand
4065 empty measures, and the appropriate number is added automatically.
4067 @lilypond[fragment,verbatim]
4068 \time 4/4 r1 | R1 | R1*2
4069 \property Score.skipBars = ##t R1*17 R1*4
4072 The @code{1} in @code{R1} is similar to the duration notation used for
4073 notes. Hence, for time signatures other than 4/4, you must enter other
4074 durations. This can be done with augmentation dots or fractions:
4076 @lilypond[fragment,verbatim]
4077 \property Score.skipBars = ##t
4085 A @code{R} spanning a single measure is printed as a whole rest
4086 centered in the measure (or a breve when the measure lasts longer than
4087 two whole notes), regardless of the time signature.
4091 @cindex text on multi-measure rest
4092 @cindex script on multi-measure rest
4093 @cindex fermata on multi-measure rest
4095 Texts can be added to multi-measure rests by using the
4096 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4097 replaced. If you need both texts and the number, you must add the
4098 number by hand. A variable (@code{\fermataMarkup}) is provided for
4102 @lilypond[verbatim,fragment]
4104 R2._\markup { "Ad lib" }
4109 @cindex whole rests for a full measure
4113 @internalsref{MultiMeasureRestEvent},
4114 @internalsref{MultiMeasureTextEvent},
4115 @internalsref{MultiMeasureRestMusicGroup},
4116 @internalsref{MultiMeasureRest},
4118 The layout object @internalsref{MultiMeasureRestNumber} is for the
4119 default number, and @internalsref{MultiMeasureRestText} for user
4124 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4125 over multi-measure rests.
4127 @cindex condensing rests
4129 There is no way to automatically condense multiple rests into a single
4130 multimeasure rest. Multi measure rests do not take part in rest
4133 Be careful when entering multimeasure rests followed by whole notes,
4137 will enter two notes lasting four measures each. When @code{skipBars}
4138 is set, then the result will look OK6, but the bar numbering will be
4141 @node Automatic part combining
4142 @subsection Automatic part combining
4143 @cindex automatic part combining
4144 @cindex part combiner
4147 Automatic part combining is used to merge two parts of music onto a
4148 staff. It is aimed at typesetting orchestral scores. When the two
4149 parts are identical for a period of time, only one is shown. In
4150 places where the two parts differ, they are typeset as separate
4151 voices, and stem directions are set automatically. Also, solo and
4152 @emph{a due} parts are identified and can be marked.
4156 The syntax for part combining is
4159 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4161 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4162 combined into one context of type @var{context}. The music expressions
4163 must be interpreted by contexts whose names should start with @code{one}
4166 The following example demonstrates the basic functionality of the part
4167 combiner: putting parts on one staff, and setting stem directions and
4170 @lilypond[verbatim,singleline,fragment]
4172 \context Voice=one \partcombine Voice
4173 \context Thread=one \relative c'' {
4176 \context Thread=two \relative c'' {
4182 The first @code{g} appears only once, although it was
4183 specified twice (once in each part). Stem, slur and tie directions are
4184 set automatically, depending whether there is a solo or unisono. The
4185 first part (with context called @code{one}) always gets up stems, and
4186 `solo', while the second (called @code{two}) always gets down stems and
4189 If you just want the merging parts, and not the textual markings, you
4190 may set the property @var{soloADue} to false.
4192 @lilypond[verbatim,singleline,fragment]
4194 \property Staff.soloADue = ##f
4195 \context Voice=one \partcombine Voice
4196 \context Thread=one \relative c'' {
4199 \context Thread=two \relative c'' {
4207 @internalsref{PartCombineMusic},
4208 @internalsref{Thread_devnull_engraver},
4209 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4213 The syntax for naming contexts in inconsistent with the syntax for
4216 In @code{soloADue} mode, when the two voices play the same notes on and
4217 off, the part combiner may typeset @code{a2} more than once in a
4220 @lilypond[fragment,singleline]
4222 \context Voice=one \partcombine Voice
4223 \context Thread=one \relative c'' {
4226 \context Thread=two \relative c'' {
4232 The part combiner is slated to be rewritten [TODO: explain why].
4234 @cindex @code{Thread_devnull_engraver}
4235 @cindex @code{Voice_engraver}
4236 @cindex @code{A2_engraver}
4238 @node Frenched scores
4239 @subsection Frenched scores
4241 In orchestral scores, staff lines that only have rests are usually removed.
4242 This saves some space. This style is called `French Score'.
4246 This is supported through the @code{RemoveEmptyStaff}. This staff is
4247 removed when it turns out empty (or containing multimeasure rests)
4248 after the line-breaking process.
4250 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4251 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4252 switched on by default. For normal staffs, it is available as a
4253 specialized @internalsref{Staff} context, with the name variable
4254 @code{\RemoveEmptyStaffContext}. Observe how the second staff in this
4255 example disappears in the second line.
4259 \notes \relative c' <
4260 \context Staff = SA { e4 f g a \break c1 }
4261 \context Staff = SB { c4 d e f \break R1 }
4265 \translator { \RemoveEmptyStaffContext }
4271 @node Sound output for transposing instruments
4272 @subsection Sound output for transposing instruments
4274 When you want to make a MIDI file from a score containing transposed
4275 and untransposed instruments, you have to instruct LilyPond the pitch
4276 offset (in semitones) for the transposed instruments. This is done
4277 using the @code{transposing} property. It does not affect printed
4280 @cindex @code{transposing}
4283 \property Staff.instrument = #"Cl. in B-flat"
4284 \property Staff.transposing = #-2
4288 @node Ancient notation
4289 @section Ancient notation
4291 @cindex Vaticana, Editio
4292 @cindex Medicaea, Editio
4297 @c [TODO: write introduction on ancient notation]
4300 * Ancient note heads::
4309 @node Ancient note heads
4310 @subsection Ancient note heads
4312 To get a longa note head, you have to use mensural note heads. This
4313 is accomplished by setting the @code{style} property of the
4314 NoteHead object to @code{mensural}. There is also a note head style
4315 @code{baroque} which gives mensural note heads for @code{\longa} and
4316 @code{\breve} but standard note heads for shorter notes.
4318 @lilypond[fragment,singleline,verbatim]
4319 \property Voice.NoteHead \set #'style = #'mensural
4324 @subsection Ancient clefs
4326 LilyPond supports a variety of clefs, many of them ancient.
4328 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4329 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4332 The following table shows all ancient clefs that are supported via the
4333 @code{\clef} command. Some of the clefs use the same glyph, but
4334 differ only with respect to the line they are printed on. In such
4335 cases, a trailing number in the name is used to enumerate these clefs.
4336 Still, you can manually force a clef glyph to be typeset on an
4337 arbitrary line, as described in section @ref{Clef}. The note printed
4338 to the right side of each clef in the example column denotes the
4339 @code{c'} with respect to that clef.
4341 @multitable @columnfractions .3 .3 .3 .1
4345 @b{Description} @tab
4346 @b{Supported Clefs} @tab
4350 @code{clefs-neo_mensural_c} @tab
4351 modern style mensural C clef @tab
4352 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4353 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4354 @lilypond[relative 0, notime]
4355 \property Staff.TimeSignature \set #'transparent = ##t
4356 \clef "neo_mensural_c2" c
4360 @code{clefs-petrucci_c1}
4361 @code{clefs-petrucci_c2}
4362 @code{clefs-petrucci_c3}
4363 @code{clefs-petrucci_c4}
4364 @code{clefs-petrucci_c5}
4367 petrucci style mensural C clefs, for use on different stafflines
4368 (the examples shows the 2nd staffline C clef).
4378 @lilypond[relative 0, notime]
4379 \property Staff.TimeSignature \set #'transparent = ##t
4380 \clef "petrucci_c2" c
4384 @code{clefs-petrucci_f} @tab
4385 petrucci style mensural F clef @tab
4386 @code{petrucci_f} @tab
4387 @lilypond[relative 0, notime]
4388 \property Staff.TimeSignature \set #'transparent = ##t
4389 \clef "petrucci_f" c
4393 @code{clefs-petrucci_g} @tab
4394 petrucci style mensural G clef @tab
4395 @code{petrucci_g} @tab
4396 @lilypond[relative 0, notime]
4397 \property Staff.TimeSignature \set #'transparent = ##t
4398 \clef "petrucci_g" c
4402 @code{clefs-mensural_c'} @tab
4403 historic style mensural C clef @tab
4404 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4405 @code{mensural_c4} @tab
4406 @lilypond[relative 0, notime]
4407 \property Staff.TimeSignature \set #'transparent = ##t
4408 \clef "mensural_c2" c
4412 @code{clefs-mensural_f} @tab
4413 historic style mensural F clef @tab
4414 @code{mensural_f} @tab
4415 @lilypond[relative 0, notime]
4416 \property Staff.TimeSignature \set #'transparent = ##t
4417 \clef "mensural_f" c
4421 @code{clefs-mensural_g} @tab
4422 historic style mensural G clef @tab
4423 @code{mensural_g} @tab
4424 @lilypond[relative 0, notime]
4425 \property Staff.TimeSignature \set #'transparent = ##t
4426 \clef "mensural_g" c
4430 @code{clefs-vaticana_do} @tab
4431 Editio Vaticana style do clef @tab
4432 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4433 @lilypond[relative 0, notime]
4435 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4436 \property Staff.TimeSignature \set #'transparent = ##t
4437 \clef "vaticana_do2" c
4441 @code{clefs-vaticana_fa} @tab
4442 Editio Vaticana style fa clef @tab
4443 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4444 @lilypond[relative 0, notime]
4446 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4447 \property Staff.TimeSignature \set #'transparent = ##t
4448 \clef "vaticana_fa2" c
4452 @code{clefs-medicaea_do} @tab
4453 Editio Medicaea style do clef @tab
4454 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4455 @lilypond[relative 0, notime]
4457 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4458 \property Staff.TimeSignature \set #'transparent = ##t
4459 \clef "medicaea_do2" c
4463 @code{clefs-medicaea_fa} @tab
4464 Editio Medicaea style fa clef @tab
4465 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4466 @lilypond[relative 0, notime]
4468 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4469 \property Staff.TimeSignature \set #'transparent = ##t
4470 \clef "medicaea_fa2" c
4474 @code{clefs-hufnagel_do} @tab
4475 historic style hufnagel do clef @tab
4476 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4477 @lilypond[relative 0, notime]
4479 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4480 \property Staff.TimeSignature \set #'transparent = ##t
4481 \clef "hufnagel_do2" c
4485 @code{clefs-hufnagel_fa} @tab
4486 historic style hufnagel fa clef @tab
4487 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4488 @lilypond[relative 0, notime]
4490 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4491 \property Staff.TimeSignature \set #'transparent = ##t
4492 \clef "hufnagel_fa2" c
4496 @code{clefs-hufnagel_do_fa} @tab
4497 historic style hufnagel combined do/fa clef @tab
4498 @code{hufnagel_do_fa} @tab
4499 @lilypond[relative 0, notime]
4500 \property Staff.TimeSignature \set #'transparent = ##t
4501 \clef "hufnagel_do_fa" c
4506 @c --- This should go somewhere else: ---
4507 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4510 @c @code{percussion}
4512 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4514 @c @item modern style tab clef (glyph: @code{clefs-tab})
4519 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4521 @emph{Modern style} means ``as is typeset in contemporary editions of
4522 transcribed mensural music''.
4524 @emph{Petrucci style} means ``inspired by printings published by the
4525 famous engraver Petrucci (1466-1539)''.
4527 @emph{Historic style} means ``as was typeset or written in historic
4528 editions (other than those of Petrucci)''.
4530 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4532 Petrucci used C clefs with differently balanced left-side vertical
4533 beams, depending on which staffline it is printed.
4537 @subsection Custodes
4542 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4543 symbol that appears at the end of a staff. It anticipates the pitch
4544 of the first note(s) of the following line and thus helps the player
4545 or singer to manage line breaks during performance, thus enhancing
4546 readability of a score.
4548 Custodes were frequently used in music notation until the 17th
4549 century. Nowadays, they have survived only in a few particular forms
4550 of musical notation such as contemporary editions of Gregorian chant
4551 like the @emph{editio vaticana}. There are different custos glyphs
4552 used in different flavours of notational style.
4554 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4555 @internalsref{Staff} context when declaring the @code{\paper} block,
4556 as shown in the following example.
4562 \consists Custos_engraver
4563 Custos \override #'style = #'mensural
4568 The result looks like this:
4574 \property Staff.Custos \set #'style = #'mensural
4581 \consists Custos_engraver
4588 The custos glyph is selected by the @code{style} property. The styles
4589 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4590 @code{mensural}. They are demonstrated in the following fragment:
4600 { " " \musicglyph #"custodes-vaticana-u0" }
4604 { " " \musicglyph #"custodes-medicaea-u0" }
4608 { " " \musicglyph #"custodes-hufnagel-u0" }
4612 { " " \musicglyph #"custodes-mensural-u0" }
4621 \remove "Bar_number_engraver"
4625 \remove "Clef_engraver"
4626 \remove "Key_engraver"
4627 \remove "Time_signature_engraver"
4628 \remove "Staff_symbol_engraver"
4629 minimumVerticalExtent = ##f
4635 If the boolean property @code{adjust-if-on-staffline} is set to
4636 @code{#t} (which it is by default), lily typesets slightly different
4637 variants of the custos glyph, depending on whether the custos, is
4638 typeset on or between stafflines. The glyph will
4639 optically fit well into the staff, with the appendage on the right of
4640 the custos always ending at the same vertical position between two
4641 stafflines regardless of the pitch. If you set
4642 @code{adjust-if-on-staffline} to @code{#f}, then
4643 a compromise between both forms is used.
4645 Just like stems can be attached to noteheads in two directions
4646 @emph{up} and @emph{down}, each custos glyph is available with its
4647 appendage pointing either up or down. If the pitch of a custos is
4648 above a selectable position, the appendage will point downwards; if
4649 the pitch is below this position, the appendage will point upwards.
4650 Use property @code{neutral-position} to select this position. By
4651 default, it is set to @code{0}, such that the neutral position is the
4652 center of the staff. Use property @code{neutral-direction} to control
4653 what happens if a custos is typeset on the neutral position itself.
4654 By default, this property is set to @code{-1}, such that the appendage
4655 will point downwards. If set to @code{1}, the appendage will point
4656 upwards. Other values such as @code{0} are reserved for future
4657 extensions and should not be used.
4662 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4663 @inputfileref{input/regression,custos.ly}.
4667 @subsection Divisiones
4673 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4674 `division') is a staff context symbol that is used to structure
4675 Gregorian music into phrases and sections. The musical meaning of
4676 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4677 can be characterized as short, medium and long pause, somewhat like
4678 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4679 a chant, but is also frequently used within a single
4680 antiphonal/responsorial chant to mark the end of each section.
4684 To use divisiones, include the file @code{gregorian-init.ly}. It
4685 contains definitions that you can apply by just inserting
4686 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4687 and @code{\finalis} at proper places in the input. Some editions use
4688 @emph{virgula} or @emph{caesura} instead of divisio minima.
4689 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4693 @lilypondfile[notexidoc]{divisiones.ly}
4697 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4698 @inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
4701 @subsection Ligatures
4705 @c TODO: Should double check if I recalled things correctly when I wrote
4706 @c down the following paragraph by heart.
4708 In musical terminology, a ligature is a coherent graphical symbol that
4709 represents at least two different notes. Ligatures originally appeared
4710 in the manuscripts of Gregorian chant notation roughly since the 9th
4711 century as an allusion to the accent symbols of greek lyric poetry to
4712 denote ascending or descending sequences of notes. Both, the shape and
4713 the exact meaning of ligatures changed tremendously during the following
4714 centuries: In early notation, ligatures where used for monophonic tunes
4715 (Gregorian chant) and very soon denoted also the way of performance in
4716 the sense of articulation. With upcoming multiphony, the need for a
4717 metric system arised, since multiple voices of a piece have to be
4718 synchronized some way. New notation systems were invented that used
4719 the manifold shapes of ligatures to now denote rhythmical patterns
4720 (e.g. black mensural notation, mannered notation, ars nova). With the
4721 invention of the metric system of the white mensural notation, the need
4722 for ligatures to denote such patterns disappeared. Nevertheless,
4723 ligatures were still in use in the mensural system for a couple of
4724 decades until they finally disappeared during the late 16th / early 17th
4725 century. Still, ligatures have survived in contemporary editions of
4726 Gregorian chant such as the Editio Vaticana from 1905/08.
4730 Syntactically, ligatures are simply enclosed by @code{\[} and
4731 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4732 additional input syntax specific for this particular type of ligature.
4733 By default, the @internalsref{LigatureBracket} engraver just puts a
4734 square bracket above the ligature.
4736 @lilypond[singleline,verbatim]
4738 \notes \transpose c c' {
4746 To select a specific style of ligatures, a proper ligature engraver
4747 has to be added to the @internalsref{Voice} context, as explained in
4748 the following subsections. Currently, only white mensural ligatures
4749 are supported with certain limitations. Support for Editio Vaticana
4750 will be added in the future.
4753 * White mensural ligatures::
4754 * Gregorian square neumes ligatures::
4757 @node White mensural ligatures
4758 @subsubsection White mensural ligatures
4760 @cindex Mensural ligatures
4761 @cindex White mensural ligatures
4763 There is limited support for white mensural ligatures. The
4764 implementation is still experimental; it currently may output strange
4765 warnings or even crash in some cases or produce weird results on more
4766 complex ligatures. To engrave white mensural ligatures, in the paper
4767 block the @internalsref{Mensural_ligature_engraver} has to be put into
4768 the @internalsref{Voice} context, and remove the
4769 @internalsref{Ligature_bracket_engraver}:
4775 \remove Ligature_bracket_engraver
4776 \consists Mensural_ligature_engraver
4781 There is no additional input language to describe the shape of a
4782 white mensural ligature. The shape is rather determined solely from
4783 the pitch and duration of the enclosed notes. While this approach may
4784 take a new user a while to get accustomed, it has the great advantage
4785 that the full musical information of the ligature is known internally.
4786 This is not only required for correct MIDI output, but also allows for
4787 automatic transcription of the ligatures.
4792 \property Score.timing = ##f
4793 \property Score.defaultBarType = "empty"
4794 \property Voice.NoteHead \set #'style = #'neo_mensural
4795 \property Staff.TimeSignature \set #'style = #'neo_mensural
4797 \[ g\longa c\breve a\breve f\breve d'\longa \]
4799 \[ e1 f1 a\breve g\longa \]
4801 @lilypond[singleline]
4803 \notes \transpose c c' {
4804 \property Score.timing = ##f
4805 \property Score.defaultBarType = "empty"
4806 \property Voice.NoteHead \set #'style = #'neo_mensural
4807 \property Staff.TimeSignature \set #'style = #'neo_mensural
4809 \[ g\longa c\breve a\breve f\breve d'\longa \]
4811 \[ e1 f1 a\breve g\longa \]
4816 \remove Ligature_bracket_engraver
4817 \consists Mensural_ligature_engraver
4823 Without replacing @internalsref{Ligature_bracket_engraver} with
4824 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4827 @lilypond[singleline]
4829 \notes \transpose c c' {
4830 \property Score.timing = ##f
4831 \property Score.defaultBarType = "empty"
4832 \property Voice.NoteHead \set #'style = #'neo_mensural
4833 \property Staff.TimeSignature \set #'style = #'neo_mensural
4835 \[ g\longa c\breve a\breve f\breve d'\longa \]
4837 \[ e1 f1 a\breve g\longa \]
4842 @node Gregorian square neumes ligatures
4843 @subsubsection Gregorian square neumes ligatures
4845 @cindex Square neumes ligatures
4846 @cindex Gregorian square neumes ligatures
4848 Gregorian square neumes notation (following the style of the Editio
4849 Vaticana) is under heavy development, but not yet really usable for
4850 production purposes. Core ligatures can already be typeset, but
4851 essential issues for serious typesetting are still under development,
4852 such as (among others) horizontal alignment of multiple ligatures,
4853 lyrics alignment and proper accidentals handling. Still, this section
4854 gives a sneak preview of what Gregorian chant may look like once it
4857 The following table contains the extended neumes table of the 2nd
4858 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
4859 1983 by the monks of Solesmes.
4861 @multitable @columnfractions .4 .2 .2 .2
4864 @b{Neuma aut@*Neumarum Elementa} @tab
4865 @b{Figurae@*Rectae} @tab
4866 @b{Figurae@*Liquescentes Auctae} @tab
4867 @b{Figurae@*Liquescentes Deminutae}
4869 @c TODO: \paper block is identical in all of the below examples.
4870 @c Therefore, it should somehow be included rather than duplicated all
4873 @c why not make identifiers in ly/engraver-init.ly? --hwn
4875 @c Because it's just used to typeset plain notes without
4876 @c a staff for demonstration purposes rather than something
4877 @c special of Gregorian chant notation. --jr
4882 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
4883 \include "gregorian-init.ly"
4885 \notes \transpose c c' {
4888 \noBreak s^\markup {"a"} \noBreak
4890 % Punctum Inclinatum
4892 \noBreak s^\markup {"b"}
4898 \remove "Bar_number_engraver"
4902 \remove "Clef_engraver"
4903 \remove "Key_engraver"
4904 StaffSymbol \set #'transparent = ##t
4905 \remove "Time_signature_engraver"
4906 \remove "Bar_engraver"
4907 minimumVerticalExtent = ##f
4911 \remove Ligature_bracket_engraver
4912 \consists Vaticana_ligature_engraver
4913 NoteHead \set #'style = #'vaticana_punctum
4914 Stem \set #'transparent = ##t
4920 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
4921 \include "gregorian-init.ly"
4923 \notes \transpose c c' {
4924 % Punctum Auctum Ascendens
4925 \[ \auctum \ascendens b \]
4926 \noBreak s^\markup {"c"} \noBreak
4928 % Punctum Auctum Descendens
4929 \[ \auctum \descendens b \]
4930 \noBreak s^\markup {"d"} \noBreak
4932 % Punctum Inclinatum Auctum
4933 \[ \inclinatum \auctum b \]
4934 \noBreak s^\markup {"e"}
4940 \remove "Bar_number_engraver"
4944 \remove "Clef_engraver"
4945 \remove "Key_engraver"
4946 StaffSymbol \set #'transparent = ##t
4947 \remove "Time_signature_engraver"
4948 \remove "Bar_engraver"
4949 minimumVerticalExtent = ##f
4953 \remove Ligature_bracket_engraver
4954 \consists Vaticana_ligature_engraver
4955 NoteHead \set #'style = #'vaticana_punctum
4956 Stem \set #'transparent = ##t
4962 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4963 \include "gregorian-init.ly"
4965 \notes \transpose c c' {
4966 % Punctum Inclinatum Parvum
4967 \[ \inclinatum \deminutum b \]
4968 \noBreak s^\markup {"f"}
4974 \remove "Bar_number_engraver"
4978 \remove "Clef_engraver"
4979 \remove "Key_engraver"
4980 StaffSymbol \set #'transparent = ##t
4981 \remove "Time_signature_engraver"
4982 \remove "Bar_engraver"
4983 minimumVerticalExtent = ##f
4987 \remove Ligature_bracket_engraver
4988 \consists Vaticana_ligature_engraver
4989 NoteHead \set #'style = #'vaticana_punctum
4990 Stem \set #'transparent = ##t
4999 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5000 \include "gregorian-init.ly"
5002 \notes \transpose c c' {
5005 \noBreak s^\markup {"g"}
5011 \remove "Bar_number_engraver"
5015 \remove "Clef_engraver"
5016 \remove "Key_engraver"
5017 StaffSymbol \set #'transparent = ##t
5018 \remove "Time_signature_engraver"
5019 \remove "Bar_engraver"
5020 minimumVerticalExtent = ##f
5024 \remove Ligature_bracket_engraver
5025 \consists Vaticana_ligature_engraver
5026 NoteHead \set #'style = #'vaticana_punctum
5027 Stem \set #'transparent = ##t
5036 @code{3. Apostropha vel Stropha}
5038 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5039 \include "gregorian-init.ly"
5041 \notes \transpose c c' {
5044 \noBreak s^\markup {"h"}
5050 \remove "Bar_number_engraver"
5054 \remove "Clef_engraver"
5055 \remove "Key_engraver"
5056 StaffSymbol \set #'transparent = ##t
5057 \remove "Time_signature_engraver"
5058 \remove "Bar_engraver"
5059 minimumVerticalExtent = ##f
5063 \remove Ligature_bracket_engraver
5064 \consists Vaticana_ligature_engraver
5065 NoteHead \set #'style = #'vaticana_punctum
5066 Stem \set #'transparent = ##t
5072 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5073 \include "gregorian-init.ly"
5075 \notes \transpose c c' {
5077 \[ \stropha \auctum b \]
5078 \noBreak s^\markup {"i"}
5084 \remove "Bar_number_engraver"
5088 \remove "Clef_engraver"
5089 \remove "Key_engraver"
5090 StaffSymbol \set #'transparent = ##t
5091 \remove "Time_signature_engraver"
5092 \remove "Bar_engraver"
5093 minimumVerticalExtent = ##f
5097 \remove Ligature_bracket_engraver
5098 \consists Vaticana_ligature_engraver
5099 NoteHead \set #'style = #'vaticana_punctum
5100 Stem \set #'transparent = ##t
5110 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5111 \include "gregorian-init.ly"
5113 \notes \transpose c c' {
5116 \noBreak s^\markup {"j"}
5122 \remove "Bar_number_engraver"
5126 \remove "Clef_engraver"
5127 \remove "Key_engraver"
5128 StaffSymbol \set #'transparent = ##t
5129 \remove "Time_signature_engraver"
5130 \remove "Bar_engraver"
5131 minimumVerticalExtent = ##f
5135 \remove Ligature_bracket_engraver
5136 \consists Vaticana_ligature_engraver
5137 NoteHead \set #'style = #'vaticana_punctum
5138 Stem \set #'transparent = ##t
5147 @code{5. Clivis vel Flexa}
5149 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5150 \include "gregorian-init.ly"
5152 \notes \transpose c c' {
5161 \remove "Bar_number_engraver"
5165 \remove "Clef_engraver"
5166 \remove "Key_engraver"
5167 StaffSymbol \set #'transparent = ##t
5168 \remove "Time_signature_engraver"
5169 \remove "Bar_engraver"
5170 minimumVerticalExtent = ##f
5174 \remove Ligature_bracket_engraver
5175 \consists Vaticana_ligature_engraver
5176 NoteHead \set #'style = #'vaticana_punctum
5177 Stem \set #'transparent = ##t
5183 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5184 \include "gregorian-init.ly"
5186 \notes \transpose c c' {
5187 % Clivis Aucta Descendens
5188 \[ b \flexa \auctum \descendens g \]
5189 \noBreak s^\markup {"l"} \noBreak
5191 % Clivis Aucta Ascendens
5192 \[ b \flexa \auctum \ascendens g \]
5193 \noBreak s^\markup {"m"}
5199 \remove "Bar_number_engraver"
5203 \remove "Clef_engraver"
5204 \remove "Key_engraver"
5205 StaffSymbol \set #'transparent = ##t
5206 \remove "Time_signature_engraver"
5207 \remove "Bar_engraver"
5208 minimumVerticalExtent = ##f
5212 \remove Ligature_bracket_engraver
5213 \consists Vaticana_ligature_engraver
5214 NoteHead \set #'style = #'vaticana_punctum
5215 Stem \set #'transparent = ##t
5221 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5222 \include "gregorian-init.ly"
5224 \notes \transpose c c' {
5226 \[ b \flexa \deminutum g \]
5233 \remove "Bar_number_engraver"
5237 \remove "Clef_engraver"
5238 \remove "Key_engraver"
5239 StaffSymbol \set #'transparent = ##t
5240 \remove "Time_signature_engraver"
5241 \remove "Bar_engraver"
5242 minimumVerticalExtent = ##f
5246 \remove Ligature_bracket_engraver
5247 \consists Vaticana_ligature_engraver
5248 NoteHead \set #'style = #'vaticana_punctum
5249 Stem \set #'transparent = ##t
5256 @code{6. Podatus vel Pes}
5258 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5259 \include "gregorian-init.ly"
5261 \notes \transpose c c' {
5270 \remove "Bar_number_engraver"
5274 \remove "Clef_engraver"
5275 \remove "Key_engraver"
5276 StaffSymbol \set #'transparent = ##t
5277 \remove "Time_signature_engraver"
5278 \remove "Bar_engraver"
5279 minimumVerticalExtent = ##f
5283 \remove Ligature_bracket_engraver
5284 \consists Vaticana_ligature_engraver
5285 NoteHead \set #'style = #'vaticana_punctum
5286 Stem \set #'transparent = ##t
5292 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5293 \include "gregorian-init.ly"
5295 \notes \transpose c c' {
5296 % Pes Auctus Descendens
5297 \[ g \pes \auctum \descendens b \]
5298 \noBreak s^\markup {"p"} \noBreak
5300 % Pes Auctus Ascendens
5301 \[ g \pes \auctum \ascendens b \]
5302 \noBreak s^\markup {"q"}
5308 \remove "Bar_number_engraver"
5312 \remove "Clef_engraver"
5313 \remove "Key_engraver"
5314 StaffSymbol \set #'transparent = ##t
5315 \remove "Time_signature_engraver"
5316 \remove "Bar_engraver"
5317 minimumVerticalExtent = ##f
5321 \remove Ligature_bracket_engraver
5322 \consists Vaticana_ligature_engraver
5323 NoteHead \set #'style = #'vaticana_punctum
5324 Stem \set #'transparent = ##t
5330 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5331 \include "gregorian-init.ly"
5333 \notes \transpose c c' {
5335 \[ g \pes \deminutum b \]
5342 \remove "Bar_number_engraver"
5346 \remove "Clef_engraver"
5347 \remove "Key_engraver"
5348 StaffSymbol \set #'transparent = ##t
5349 \remove "Time_signature_engraver"
5350 \remove "Bar_engraver"
5351 minimumVerticalExtent = ##f
5355 \remove Ligature_bracket_engraver
5356 \consists Vaticana_ligature_engraver
5357 NoteHead \set #'style = #'vaticana_punctum
5358 Stem \set #'transparent = ##t
5365 @code{7. Pes Quassus}
5367 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5368 \include "gregorian-init.ly"
5370 \notes \transpose c c' {
5372 \[ \oriscus g \pes \virga b \]
5379 \remove "Bar_number_engraver"
5383 \remove "Clef_engraver"
5384 \remove "Key_engraver"
5385 StaffSymbol \set #'transparent = ##t
5386 \remove "Time_signature_engraver"
5387 \remove "Bar_engraver"
5388 minimumVerticalExtent = ##f
5392 \remove Ligature_bracket_engraver
5393 \consists Vaticana_ligature_engraver
5394 NoteHead \set #'style = #'vaticana_punctum
5395 Stem \set #'transparent = ##t
5401 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5402 \include "gregorian-init.ly"
5404 \notes \transpose c c' {
5405 % Pes Quassus Auctus Descendens
5406 \[ \oriscus g \pes \auctum \descendens b \]
5413 \remove "Bar_number_engraver"
5417 \remove "Clef_engraver"
5418 \remove "Key_engraver"
5419 StaffSymbol \set #'transparent = ##t
5420 \remove "Time_signature_engraver"
5421 \remove "Bar_engraver"
5422 minimumVerticalExtent = ##f
5426 \remove Ligature_bracket_engraver
5427 \consists Vaticana_ligature_engraver
5428 NoteHead \set #'style = #'vaticana_punctum
5429 Stem \set #'transparent = ##t
5437 @code{8. Quilisma Pes}
5439 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5440 \include "gregorian-init.ly"
5442 \notes \transpose c c' {
5444 \[ \quilisma g \pes b \]
5451 \remove "Bar_number_engraver"
5455 \remove "Clef_engraver"
5456 \remove "Key_engraver"
5457 StaffSymbol \set #'transparent = ##t
5458 \remove "Time_signature_engraver"
5459 \remove "Bar_engraver"
5460 minimumVerticalExtent = ##f
5464 \remove Ligature_bracket_engraver
5465 \consists Vaticana_ligature_engraver
5466 NoteHead \set #'style = #'vaticana_punctum
5467 Stem \set #'transparent = ##t
5473 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5474 \include "gregorian-init.ly"
5476 \notes \transpose c c' {
5477 % Quilisma Pes Auctus Descendens
5478 \[ \quilisma g \pes \auctum \descendens b \]
5485 \remove "Bar_number_engraver"
5489 \remove "Clef_engraver"
5490 \remove "Key_engraver"
5491 StaffSymbol \set #'transparent = ##t
5492 \remove "Time_signature_engraver"
5493 \remove "Bar_engraver"
5494 minimumVerticalExtent = ##f
5498 \remove Ligature_bracket_engraver
5499 \consists Vaticana_ligature_engraver
5500 NoteHead \set #'style = #'vaticana_punctum
5501 Stem \set #'transparent = ##t
5509 @code{9. Podatus Initio Debilis}
5511 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5512 \include "gregorian-init.ly"
5514 \notes \transpose c c' {
5515 % Pes Initio Debilis
5516 \[ \deminutum g \pes b \]
5523 \remove "Bar_number_engraver"
5527 \remove "Clef_engraver"
5528 \remove "Key_engraver"
5529 StaffSymbol \set #'transparent = ##t
5530 \remove "Time_signature_engraver"
5531 \remove "Bar_engraver"
5532 minimumVerticalExtent = ##f
5536 \remove Ligature_bracket_engraver
5537 \consists Vaticana_ligature_engraver
5538 NoteHead \set #'style = #'vaticana_punctum
5539 Stem \set #'transparent = ##t
5545 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5546 \include "gregorian-init.ly"
5548 \notes \transpose c c' {
5549 % Pes Auctus Descendens Initio Debilis
5550 \[ \deminutum g \pes \auctum \descendens b \]
5557 \remove "Bar_number_engraver"
5561 \remove "Clef_engraver"
5562 \remove "Key_engraver"
5563 StaffSymbol \set #'transparent = ##t
5564 \remove "Time_signature_engraver"
5565 \remove "Bar_engraver"
5566 minimumVerticalExtent = ##f
5570 \remove Ligature_bracket_engraver
5571 \consists Vaticana_ligature_engraver
5572 NoteHead \set #'style = #'vaticana_punctum
5573 Stem \set #'transparent = ##t
5583 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5584 \include "gregorian-init.ly"
5586 \notes \transpose c c' {
5588 \[ a \pes b \flexa g \]
5595 \remove "Bar_number_engraver"
5599 \remove "Clef_engraver"
5600 \remove "Key_engraver"
5601 StaffSymbol \set #'transparent = ##t
5602 \remove "Time_signature_engraver"
5603 \remove "Bar_engraver"
5604 minimumVerticalExtent = ##f
5608 \remove Ligature_bracket_engraver
5609 \consists Vaticana_ligature_engraver
5610 NoteHead \set #'style = #'vaticana_punctum
5611 Stem \set #'transparent = ##t
5617 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5618 \include "gregorian-init.ly"
5620 \notes \transpose c c' {
5621 % Torculus Auctus Descendens
5622 \[ a \pes b \flexa \auctum \descendens g \]
5629 \remove "Bar_number_engraver"
5633 \remove "Clef_engraver"
5634 \remove "Key_engraver"
5635 StaffSymbol \set #'transparent = ##t
5636 \remove "Time_signature_engraver"
5637 \remove "Bar_engraver"
5638 minimumVerticalExtent = ##f
5642 \remove Ligature_bracket_engraver
5643 \consists Vaticana_ligature_engraver
5644 NoteHead \set #'style = #'vaticana_punctum
5645 Stem \set #'transparent = ##t
5651 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5652 \include "gregorian-init.ly"
5654 \notes \transpose c c' {
5655 % Torculus Deminutus
5656 \[ a \pes b \flexa \deminutum g \]
5663 \remove "Bar_number_engraver"
5667 \remove "Clef_engraver"
5668 \remove "Key_engraver"
5669 StaffSymbol \set #'transparent = ##t
5670 \remove "Time_signature_engraver"
5671 \remove "Bar_engraver"
5672 minimumVerticalExtent = ##f
5676 \remove Ligature_bracket_engraver
5677 \consists Vaticana_ligature_engraver
5678 NoteHead \set #'style = #'vaticana_punctum
5679 Stem \set #'transparent = ##t
5686 @code{11. Torculus Initio Debilis}
5688 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5689 \include "gregorian-init.ly"
5691 \notes \transpose c c' {
5692 % Torculus Initio Debilis
5693 \[ \deminutum a \pes b \flexa g \]
5700 \remove "Bar_number_engraver"
5704 \remove "Clef_engraver"
5705 \remove "Key_engraver"
5706 StaffSymbol \set #'transparent = ##t
5707 \remove "Time_signature_engraver"
5708 \remove "Bar_engraver"
5709 minimumVerticalExtent = ##f
5713 \remove Ligature_bracket_engraver
5714 \consists Vaticana_ligature_engraver
5715 NoteHead \set #'style = #'vaticana_punctum
5716 Stem \set #'transparent = ##t
5722 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5723 \include "gregorian-init.ly"
5725 \notes \transpose c c' {
5726 % Torculus Auctus Descendens Initio Debilis
5727 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5734 \remove "Bar_number_engraver"
5738 \remove "Clef_engraver"
5739 \remove "Key_engraver"
5740 StaffSymbol \set #'transparent = ##t
5741 \remove "Time_signature_engraver"
5742 \remove "Bar_engraver"
5743 minimumVerticalExtent = ##f
5747 \remove Ligature_bracket_engraver
5748 \consists Vaticana_ligature_engraver
5749 NoteHead \set #'style = #'vaticana_punctum
5750 Stem \set #'transparent = ##t
5756 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5757 \include "gregorian-init.ly"
5759 \notes \transpose c c' {
5760 % Torculus Deminutus Initio Debilis
5761 \[ \deminutum a \pes b \flexa \deminutum g \]
5768 \remove "Bar_number_engraver"
5772 \remove "Clef_engraver"
5773 \remove "Key_engraver"
5774 StaffSymbol \set #'transparent = ##t
5775 \remove "Time_signature_engraver"
5776 \remove "Bar_engraver"
5777 minimumVerticalExtent = ##f
5781 \remove Ligature_bracket_engraver
5782 \consists Vaticana_ligature_engraver
5783 NoteHead \set #'style = #'vaticana_punctum
5784 Stem \set #'transparent = ##t
5791 @code{12. Porrectus}
5793 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5794 \include "gregorian-init.ly"
5796 \notes \transpose c c' {
5798 \[ a \flexa g \pes b \]
5805 \remove "Bar_number_engraver"
5809 \remove "Clef_engraver"
5810 \remove "Key_engraver"
5811 StaffSymbol \set #'transparent = ##t
5812 \remove "Time_signature_engraver"
5813 \remove "Bar_engraver"
5814 minimumVerticalExtent = ##f
5818 \remove Ligature_bracket_engraver
5819 \consists Vaticana_ligature_engraver
5820 NoteHead \set #'style = #'vaticana_punctum
5821 Stem \set #'transparent = ##t
5827 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5828 \include "gregorian-init.ly"
5830 \notes \transpose c c' {
5831 % Porrectus Auctus Descendens
5832 \[ a \flexa g \pes \auctum \descendens b \]
5839 \remove "Bar_number_engraver"
5843 \remove "Clef_engraver"
5844 \remove "Key_engraver"
5845 StaffSymbol \set #'transparent = ##t
5846 \remove "Time_signature_engraver"
5847 \remove "Bar_engraver"
5848 minimumVerticalExtent = ##f
5852 \remove Ligature_bracket_engraver
5853 \consists Vaticana_ligature_engraver
5854 NoteHead \set #'style = #'vaticana_punctum
5855 Stem \set #'transparent = ##t
5861 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5862 \include "gregorian-init.ly"
5864 \notes \transpose c c' {
5865 % Porrectus Deminutus
5866 \[ a \flexa g \pes \deminutum b \]
5873 \remove "Bar_number_engraver"
5877 \remove "Clef_engraver"
5878 \remove "Key_engraver"
5879 StaffSymbol \set #'transparent = ##t
5880 \remove "Time_signature_engraver"
5881 \remove "Bar_engraver"
5882 minimumVerticalExtent = ##f
5886 \remove Ligature_bracket_engraver
5887 \consists Vaticana_ligature_engraver
5888 NoteHead \set #'style = #'vaticana_punctum
5889 Stem \set #'transparent = ##t
5898 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5899 \include "gregorian-init.ly"
5901 \notes \transpose c c' {
5903 \[ \virga b \inclinatum a \inclinatum g \]
5910 \remove "Bar_number_engraver"
5914 \remove "Clef_engraver"
5915 \remove "Key_engraver"
5916 StaffSymbol \set #'transparent = ##t
5917 \remove "Time_signature_engraver"
5918 \remove "Bar_engraver"
5919 minimumVerticalExtent = ##f
5923 \remove Ligature_bracket_engraver
5924 \consists Vaticana_ligature_engraver
5925 NoteHead \set #'style = #'vaticana_punctum
5926 Stem \set #'transparent = ##t
5932 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5933 \include "gregorian-init.ly"
5935 \notes \transpose c c' {
5937 \[ \virga b \inclinatum a \inclinatum \auctum g \]
5944 \remove "Bar_number_engraver"
5948 \remove "Clef_engraver"
5949 \remove "Key_engraver"
5950 StaffSymbol \set #'transparent = ##t
5951 \remove "Time_signature_engraver"
5952 \remove "Bar_engraver"
5953 minimumVerticalExtent = ##f
5957 \remove Ligature_bracket_engraver
5958 \consists Vaticana_ligature_engraver
5959 NoteHead \set #'style = #'vaticana_punctum
5960 Stem \set #'transparent = ##t
5966 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5967 \include "gregorian-init.ly"
5969 \notes \transpose c c' {
5970 % Climacus Deminutus
5971 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
5978 \remove "Bar_number_engraver"
5982 \remove "Clef_engraver"
5983 \remove "Key_engraver"
5984 StaffSymbol \set #'transparent = ##t
5985 \remove "Time_signature_engraver"
5986 \remove "Bar_engraver"
5987 minimumVerticalExtent = ##f
5991 \remove Ligature_bracket_engraver
5992 \consists Vaticana_ligature_engraver
5993 NoteHead \set #'style = #'vaticana_punctum
5994 Stem \set #'transparent = ##t
6001 @code{14. Scandicus}
6003 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6004 \include "gregorian-init.ly"
6006 \notes \transpose c c' {
6008 \[ g \pes a \virga b \]
6015 \remove "Bar_number_engraver"
6019 \remove "Clef_engraver"
6020 \remove "Key_engraver"
6021 StaffSymbol \set #'transparent = ##t
6022 \remove "Time_signature_engraver"
6023 \remove "Bar_engraver"
6024 minimumVerticalExtent = ##f
6028 \remove Ligature_bracket_engraver
6029 \consists Vaticana_ligature_engraver
6030 NoteHead \set #'style = #'vaticana_punctum
6031 Stem \set #'transparent = ##t
6037 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6038 \include "gregorian-init.ly"
6040 \notes \transpose c c' {
6041 % Scandicus Auctus Descendens
6042 \[ g \pes a \pes \auctum \descendens b \]
6049 \remove "Bar_number_engraver"
6053 \remove "Clef_engraver"
6054 \remove "Key_engraver"
6055 StaffSymbol \set #'transparent = ##t
6056 \remove "Time_signature_engraver"
6057 \remove "Bar_engraver"
6058 minimumVerticalExtent = ##f
6062 \remove Ligature_bracket_engraver
6063 \consists Vaticana_ligature_engraver
6064 NoteHead \set #'style = #'vaticana_punctum
6065 Stem \set #'transparent = ##t
6071 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6072 \include "gregorian-init.ly"
6074 \notes \transpose c c' {
6075 % Scandicus Deminutus
6076 \[ g \pes a \pes \deminutum b \]
6083 \remove "Bar_number_engraver"
6087 \remove "Clef_engraver"
6088 \remove "Key_engraver"
6089 StaffSymbol \set #'transparent = ##t
6090 \remove "Time_signature_engraver"
6091 \remove "Bar_engraver"
6092 minimumVerticalExtent = ##f
6096 \remove Ligature_bracket_engraver
6097 \consists Vaticana_ligature_engraver
6098 NoteHead \set #'style = #'vaticana_punctum
6099 Stem \set #'transparent = ##t
6108 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6109 \include "gregorian-init.ly"
6111 \notes \transpose c c' {
6113 \[ g \oriscus a \pes \virga b \]
6120 \remove "Bar_number_engraver"
6124 \remove "Clef_engraver"
6125 \remove "Key_engraver"
6126 StaffSymbol \set #'transparent = ##t
6127 \remove "Time_signature_engraver"
6128 \remove "Bar_engraver"
6129 minimumVerticalExtent = ##f
6133 \remove Ligature_bracket_engraver
6134 \consists Vaticana_ligature_engraver
6135 NoteHead \set #'style = #'vaticana_punctum
6136 Stem \set #'transparent = ##t
6142 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6143 \include "gregorian-init.ly"
6145 \notes \transpose c c' {
6146 % Salicus Auctus Descendens
6147 \[ g \oriscus a \pes \auctum \descendens b \]
6154 \remove "Bar_number_engraver"
6158 \remove "Clef_engraver"
6159 \remove "Key_engraver"
6160 StaffSymbol \set #'transparent = ##t
6161 \remove "Time_signature_engraver"
6162 \remove "Bar_engraver"
6163 minimumVerticalExtent = ##f
6167 \remove Ligature_bracket_engraver
6168 \consists Vaticana_ligature_engraver
6169 NoteHead \set #'style = #'vaticana_punctum
6170 Stem \set #'transparent = ##t
6180 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6181 \include "gregorian-init.ly"
6183 \notes \transpose c c' {
6185 \[ \stropha b \stropha b \stropha a \]
6192 \remove "Bar_number_engraver"
6196 \remove "Clef_engraver"
6197 \remove "Key_engraver"
6198 StaffSymbol \set #'transparent = ##t
6199 \remove "Time_signature_engraver"
6200 \remove "Bar_engraver"
6201 minimumVerticalExtent = ##f
6205 \remove Ligature_bracket_engraver
6206 \consists Vaticana_ligature_engraver
6207 NoteHead \set #'style = #'vaticana_punctum
6208 Stem \set #'transparent = ##t
6219 Unlike most other neumes notation systems, the input language for
6220 neumes does not necessarily reflect directly the typographical
6221 appearance, but is designed to solely focuse on musical meaning. For
6222 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6223 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6224 a torculus with a curved flexa shape and only a single Punctum head.
6225 There is no command to explicitly typeset the curved flexa shape; the
6226 decision of when to typeset a curved flexa shape is purely taken from
6227 the musical input. The idea of this approach is to separate the
6228 musical aspects of the input from the notation style of the output.
6229 This way, the same input can be reused to typeset the same music in a
6230 different style of Gregorian chant notation such as Hufnagel (also
6231 known as German gothic neumes) or Medicaea (kind of a very simple
6232 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6233 engraver and Medicaea ligature engraver will have been implemented, it
6234 will be as simple as replacing the ligature engraver in the
6235 VoiceContext to get the desired notation style from the same input.
6237 The following table shows the code fragments that produce the
6238 ligatures in the above neumes table. The letter in the first column
6239 in each line of the below table indicates to which ligature in the
6240 above table it refers. The second column gives the name of the
6241 ligature. The third column shows the code fragment that produces this
6242 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6244 @multitable @columnfractions .1 .4 .5
6258 Punctum Inclinatum @tab
6259 @code{\[ \inclinatum b \]}
6263 Punctum Auctum Ascendens @tab
6264 @code{\[ \auctum \ascendens b \]}
6268 Punctum Auctum Descendens @tab
6269 @code{\[ \auctum \descendens b \]}
6273 Punctum Inclinatum Auctum @tab
6274 @code{\[ \inclinatum \auctum b \]}
6278 Punctum Inclinatum Parvum @tab
6279 @code{\[ \inclinatum \deminutum b \]}
6284 @code{\[ \virga b \]}
6289 @code{\[ \stropha b \]}
6294 @code{\[ \stropha \auctum b \]}
6299 @code{\[ \oriscus b \]}
6303 Clivis vel Flexa @tab
6304 @code{\[ b \flexa g \]}
6308 Clivis Aucta Descendens @tab
6309 @code{\[ b \flexa \auctum \descendens g \]}
6313 Clivis Aucta Ascendens @tab
6314 @code{\[ b \flexa \auctum \ascendens g \]}
6319 @code{\[ b \flexa \deminutum g \]}
6323 Podatus vel Pes @tab
6324 @code{\[ g \pes b \]}
6328 Pes Auctus Descendens @tab
6329 @code{\[ g \pes \auctum \descendens b \]}
6333 Pes Auctus Ascendens @tab
6334 @code{\[ g \pes \auctum \ascendens b \]}
6339 @code{\[ g \pes \deminutum b \]}
6344 @code{\[ \oriscus g \pes \virga b \]}
6348 Pes Quassus Auctus Descendens @tab
6349 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6354 @code{\[ \quilisma g \pes b \]}
6358 Quilisma Pes Auctus Descendens @tab
6359 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6363 Pes Initio Debilis @tab
6364 @code{\[ \deminutum g \pes b \]}
6368 Pes Auctus Descendens Initio Debilis @tab
6369 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6374 @code{\[ a \pes b \flexa g \]}
6378 Torculus Auctus Descendens @tab
6379 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6383 Torculus Deminutus @tab
6384 @code{\[ a \pes b \flexa \deminutum g \]}
6388 Torculus Initio Debilis @tab
6389 @code{\[ \deminutum a \pes b \flexa g \]}
6393 Torculus Auctus Descendens Initio Debilis @tab
6394 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6398 Torculus Deminutus Initio Debilis @tab
6399 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6404 @code{\[ a \flexa g \pes b \]}
6408 Porrectus Auctus Descendens @tab
6409 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6413 Porrectus Deminutus @tab
6414 @code{\[ a \flexa g \pes \deminutum b \]}
6419 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6423 Climacus Auctus @tab
6424 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6428 Climacus Deminutus @tab
6429 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6434 @code{\[ g \pes a \virga b \]}
6438 Scandicus Auctus Descendens @tab
6439 @code{\[ g \pes a \pes \auctum \descendens b \]}
6443 Scandicus Deminutus @tab
6444 @code{\[ g \pes a \pes \deminutum b \]}
6449 @code{\[ g \oriscus a \pes \virga b \]}
6453 Salicus Auctus Descendens @tab
6454 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6459 @code{\[ \stropha b \stropha b \stropha a \]}
6465 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6466 Semivocalis head; this looks awful.
6468 Trigonus: apply equal spacing, regardless of pitch.
6471 @subsection Figured bass
6473 @cindex Basso continuo
6475 @c TODO: musicological blurb about FB
6479 LilyPond has limited support for figured bass:
6481 @lilypond[verbatim,fragment]
6483 \context Voice \notes { \clef bass dis4 c d ais}
6484 \context FiguredBass
6486 < 6 >4 < 7 >8 < 6+ [_!] >
6492 The support for figured bass consists of two parts: there is an input
6493 mode, introduced by @code{\figures}, where you can enter bass figures
6494 as numbers, and there is a context called @internalsref{FiguredBass}
6495 that takes care of making @internalsref{BassFigure} objects.
6497 In figures input mode, a group of bass figures is delimited by
6498 @code{<} and @code{>}. The duration is entered after the @code{>}.
6503 \context FiguredBass
6507 Accidentals are added to the numbers if you alterate them by
6508 appending @code{-}, @code{!} and @code{+}.
6514 \context FiguredBass
6515 \figures { <4- 6+ 7!> }
6518 Spaces or dashes may be inserted by using @code{_}. Brackets are
6519 introduced with @code{[} and @code{]}.
6525 \context FiguredBass
6526 \figures { < [4 6] 8 [_ 12]> }
6529 Although the support for figured bass may superficially resemble chord
6530 support, it works much simpler. The @code{\figures} mode simply
6531 stores the numbers , and @internalsref{FiguredBass} context prints
6532 them as entered. There is no conversion to pitches, and no
6533 realizations of the bass are played in the MIDI file.
6535 Internally, the code produces markup texts. You can use any of the
6536 markup text properties to override formatting. For example, the
6537 vertical spacing of the figures may be set with @code{baseline-skip}.
6541 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
6542 @internalsref{FiguredBass} context
6546 Slash notation for alterations is not supported.
6549 @node Contemporary notation
6550 @section Contemporary notation
6552 In the 20th century, composers have greatly expanded the musical
6553 vocabulary. With this expansion, many innovations in musical notation
6554 have been tried. For a comprehensive overview, refer to @cite{Stone
6555 1980} (see @ref{Literature}). In general, the use of new, innovative
6556 notation makes a piece harder to understand and perform and its use
6557 should therefore be avoided if possible. For this reason, support for
6558 contemporary notation in LilyPond is limited.
6567 @subsection Clusters
6571 In musical terminology, a @emph{cluster} denotes a range of
6572 simultaneously sounding pitches that may change over time. The set of
6573 available pitches to apply usually depends on the accoustic source.
6574 Thus, in piano music, a cluster typically consists of a continous range
6575 of the semitones as provided by the piano's fixed set of a chromatic
6576 scale. In choral music, each singer of the choir typically may sing an
6577 arbitrary pitch within the cluster's range that is not bound to any
6578 diatonic, chromatic or other scale. In electronic music, a cluster
6579 (theoretically) may even cover a continuous range of pitches, thus
6580 resulting in coloured noise, such as pink noise.
6582 Clusters can be denoted in the context of ordinary staff notation by
6583 engraving simple geometrical shapes that replace ordinary notation of
6584 notes. Ordinary notes as musical events specify starting time and
6585 duration of pitches; however, the duration of a note is expressed by the
6586 shape of the note head rather than by the horizontal graphical extent of
6587 the note symbol. In contrast, the shape of a cluster geometrically
6588 describes the development of a range of pitches (vertical extent) over
6589 time (horizontal extent). Still, the geometrical shape of a cluster
6590 covers the area in wich any single pitch contained in the cluster would
6591 be notated as an ordinary note. From this point of view, it is
6592 reasonable to specify a cluster as the envelope of a set of notes.
6596 A cluster is engraved as the envelope of a set of notes. The starting
6597 note is marked with @code{\startCluster}, and the ending note with
6598 @code{\stopCluster}, e.g.,
6606 The following example (from
6607 @inputfileref{input/regression,cluster.ly}) shows what the result
6610 @lilypondfile[notexidoc]{cluster.ly}
6612 By default, @internalsref{Cluster_engraver} is in the
6613 @internalsref{Voice} context. This allows putting ordinary notes and
6614 clusters together in the same staff, even simultaneously. In such a
6615 case no attempt is made to automatically avoid collisions between
6616 ordinary notes and clusters.
6620 @internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
6621 @internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
6625 When a cluster is active, note heads must be switched off manually using
6628 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
6629 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
6634 @subsection Fermatas
6640 Contemporary music notation frequently uses special fermata symbols to
6641 indicate fermatas of differing lengths.
6645 The following are supported
6647 @lilypond[singleline]
6670 \context Lyrics \lyrics {
6671 "shortfermata" "fermata" "longfermata" "verylongfermata"
6676 See @ref{Articulations} for general instructions how to apply scripts
6677 such as fermatas to a @code{\notes@{@}} block.
6680 @section Tuning output
6682 There are situations where default layout decisions are not
6683 sufficient. In this section we discuss ways to override these
6686 Formatting is internally done by manipulating so called objects (graphic
6687 objects). Each object carries with it a set of properties (object
6688 properties) specific to that object. For example, a stem object has
6689 properties that specify its direction, length and thickness.
6691 The most direct way of tuning the output is by altering the values of
6692 these properties. There are two ways of doing that: first, you can
6693 temporarily change the definition of one type of object, thus
6694 affecting a whole set of objects. Second, you can select one specific
6695 object, and set a object property in that object.
6699 * Constructing a tweak::
6708 @node Tuning objects
6709 @subsection Tuning objects
6711 @cindex object description
6713 The definition of an object is actually a list of default object
6714 properties. For example, the definition of the Stem object (available
6715 in @file{scm/grob-description.scm}), includes the following definitions for
6720 (beamed-lengths . (0.0 2.5 2.0 1.5))
6721 (Y-extent-callback . ,Stem::height)
6726 By adding variables on top of these existing definitions, the system
6727 default is overridden, and the appearance of a layout objects is
6733 Changing a variable for only one object is commonly achieved with
6737 \once \property @var{context}.@var{grobname}
6738 \override @var{symbol} = @var{value}
6740 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
6741 and @var{grobname} is a string and @var{value} is a Scheme expression.
6742 This command applies a setting only during one moment in the score.
6744 In the following example, only one @internalsref{Stem} object is
6745 changed from its original setting:
6747 @lilypond[verbatim, fragment, relative=1]
6749 \once \property Voice.Stem \set #'thickness = #4
6753 @cindex @code{\once}
6755 For changing more objects, the same command, without @code{\once} can
6758 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
6760 This command adds @code{@var{symbol} = @var{value}} to the definition
6761 of @var{grobname} in the context @var{context}, and this definition
6762 stays in place until it is removed.
6764 An existing definition may be removed by the following command
6767 \property @var{context}.@var{grobname} \revert @var{symbol}
6770 All @code{\override} and @code{\revert} commands should be balanced.
6771 The @code{\set} shorthand, performs a revert followed by an override,
6772 and is often more convenient to use
6775 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
6779 @lilypond[verbatim,quote]
6780 c'4 \property Voice.Stem \override #'thickness = #4.0
6782 c'4 \property Voice.Stem \revert #'thickness
6786 The following example gives exactly the same result as the previous
6787 one (assuming the system default for stem thickness is 1.3).
6789 @lilypond[verbatim,quote]
6790 c'4 \property Voice.Stem \set #'thickness = #4.0
6792 c'4 \property Voice.Stem \set #'thickness = #1.3
6796 Reverting a setting which was not set in the first place has no
6797 effect. However, if the setting was set as a system default, this may
6798 remove the default value, and this may give surprising results,
6799 including crashes. In other words, @code{\override} and
6800 @code{\revert} must be carefully balanced.
6802 These are examples of correct nesting of @code{\override}, @code{\set},
6805 A clumsy but correct form:
6807 \override \revert \override \revert \override \revert
6810 Shorter version of the same:
6812 \override \set \set \revert
6815 A short form, using only @code{\set}. This requires you to know the
6818 \set \set \set \set @var{to default value}
6821 If there is no default (i.e. by default, the object property is unset),
6824 \set \set \set \revert
6827 For the digirati, the object description is an Scheme association
6828 list. Since a Scheme list is a singly linked list, we can treat it as
6829 a stack, and @code{\override} and @code{\revert} are push and pop
6830 operations. The association list is stored in a normal context
6833 \property Voice.NoteHead = #'()
6835 will effectively erase @internalsref{NoteHead}s from the current
6836 @internalsref{Voice}. However, this mechanism is not guaranteed to
6837 work, and may cause crashes or other anomalous behavior.
6841 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
6842 @internalsref{PropertySet}, @internalsref{backend properties},
6843 @internalsref{All layout objects}.
6848 The backend is not very strict in type-checking object properties.
6849 Cyclic references in @var{value} cause hangs and/or crashes.
6850 Similarly, reverting properties that are system defaults may also lead
6853 @node Constructing a tweak
6854 @subsection Constructing a tweak
6857 @cindex internal documentation
6858 @cindex finding graphical objects
6859 @cindex graphical object descriptions
6861 @cindex @code{\override}
6863 @cindex internal documentation
6867 Using @code{\override} and @code{\set}, requires three pieces of
6868 information: the name of the layout object, the context and the name
6869 of the property. We demonstrate how to glean this information from
6870 the notation manual and the generated documentation.
6872 The generated documentation is a set of HTML pages which should be
6873 included if you installed a binary distribution, typically in
6874 @file{/usr/share/doc/lilypond}. They are also available on the web:
6875 go to the @uref{LilyPond website,http://lilypond.org}, click
6876 ``Documentation: Index'' on the side bar, look in the ``Information
6877 for users'' section, and click on ``Documentation of internals.'' It
6878 is advisable to bookmark either the local HTML files if possilbe. They
6879 will load faster than the ones on the web. If you use the version
6880 from the web, you must check whether the documentation matches the
6881 program version: the documentation is generated from the definitions
6882 that the program uses, and therefore it is strongly tied to the
6886 @c [TODO: revise for new site.]
6888 Suppose we want to move the fingering indication in the fragment below
6890 @lilypond[relative=2]
6896 If you visit the documentation of @code{Fingering} (in @ref{Fingering
6897 instructions}), you will notice that it says
6902 @internalsref{FingerEvent} and @internalsref{Fingering}.
6905 This implies that the fingerings, once entered, are internally stored
6906 as @code{FingerEvent} music objects. When printed, a @code{Fingering}
6907 layout object is created for every @code{FingerEvent}.
6910 When we follow the link of @internalsref{Fingering},
6913 When we look up @internalsref{Fingering} in the generated
6916 we see a list of interfaces. The Fingering object has a number of
6917 different functions, and each of those is captured in an interface.
6919 The @code{Fingering} object has a fixed size
6920 (@internalsref{item-interface}), the symbol is a piece of text
6921 (@internalsref{text-interface}), whose font can be set
6922 (@internalsref{font-interface}). It is centered horizontally
6923 (@internalsref{self-alignment-interface}), it is placed next to other
6924 objects (@internalsref{side-position-interface}) vertically, and its
6925 placement is coordinated with other scripts
6926 (@internalsref{text-script-interface}). It also has the standard
6927 @internalsref{grob-interface} with all the variables that come with
6928 it. Finally, it denotes a fingering instruction, so it has
6929 @internalsref{finger-interface}.
6931 For the vertical placement, we have to look under
6932 @code{side-position-interface}.
6934 side-position-interface
6936 Position a victim object (this one) next to other objects (the
6937 support). In this case, the direction signifies where to put the
6938 victim object relative to the support (left or right, up or down?)
6940 below this description, the variable @code{padding} is described as
6944 (dimension, in staff space)
6946 add this much extra space between objects that are next to each
6947 other. Default value: @code{0.6}
6951 By increasing the value of @code{padding}, we can move away the
6952 fingering. The following command inserts 3 staff spaces of white
6953 between the note and the fingering
6955 \once \property Voice.Fingering \set #'padding = #3
6958 Before the object is created, we get
6959 @lilypond[relative=2,fragment]
6960 \once \property Voice.Fingering
6967 The context name @code{Voice} in the example above can be determined
6968 as follows. In the documentation for @internalsref{Fingering}, it says
6970 Fingering grobs are created by: @internalsref{Fingering_engraver}
6973 Clicking @code{Fingering_engraver} shows the documentation of
6974 the module responsible for interpreting the fingering instructions and
6975 translating them to a @code{Fingering} object. Such a module is called
6976 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
6979 Fingering_engraver is part of contexts: Voice and TabVoice
6981 so tuning the settings for Fingering should be done using either
6983 \property Voice.Fingering \set @dots{}
6987 \property TabVoice.Fingering \set @dots{}
6990 Since the @code{TabVoice} is only used for tab notation, we see that
6991 the first guess @code{Voice} was indeed correct.
6993 Of course, the tweak may also done in a larger context than
6994 @code{Voice}, for example, @internalsref{Staff} or
6995 @internalsref{Score}.
6997 The internals document also contains alphabetical lists of
6998 @internalsref{All contexts}, @internalsref{All layout objects} and
6999 @internalsref{All music types}, so you can also find which objects to
7000 tweak by browsing the internals document.
7004 @subsection Applyoutput
7006 The most versatile way of tuning object is @code{\applyoutput}. Its
7009 \applyoutput @var{proc}
7011 where @var{proc} is a Scheme function, taking four arguments.
7013 When interpreted, the function @var{proc} is called for every grob found
7014 in the context, with the following arguments:
7016 @item the grob itself
7017 @item the context where the grob was created
7018 @item the context where @code{\applyoutput} is processed.
7021 In addition, the cause of the grob, i.e. the music expression or object
7022 that was responsible for creating the object, is in the object property
7023 @code{cause}. For example, for a note head, this is a
7024 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7025 this is a @internalsref{NoteHead} object.
7028 @node Outputproperty
7029 @subsection Outputproperty
7031 @cindex \outputproperty
7033 Another way of tuning objects is the more arcane @code{\outputproperty}
7034 feature. The syntax is as follows:
7036 \outputproperty @var{predicate} @var{symbol} = @var{value}
7038 Here @code{predicate} is a Scheme function taking an object argument, and
7039 returning a boolean. This statement is processed by the
7040 @code{Output_property_engraver}. It instructs the engraver to feed all
7041 objects that it sees to @var{predicate}. Whenever the predicate returns
7042 true, the object property @var{symbol} will be set to @var{value}.
7044 You will need to combine this statement with @code{\context} to select
7045 the appropriate context to apply this to.
7046 @inputfileref{input/regression,output-property.ly} shows an example of
7047 the use of @code{\outputproperty}.
7051 If possible, avoid this feature: the semantics are not very clean, and
7052 the syntax and semantics are up for rewrite.
7055 @node Font selection
7056 @subsection Font selection
7058 The most common thing to change about the appearance of fonts is
7059 their size. The font size of any context can be easily
7060 changed by setting the @code{fontSize} property for that context:
7062 @lilypond[fragment,relative=1,verbatim,quote]
7063 c4 c4 \property Voice.fontSize = #-1
7066 This command will set @code{font-relative-size} (see below),
7067 and does not change the size of variable symbols, such as
7068 beams or slurs. You can use this command to get smaller symbol for
7069 cue notes, but that involves some more subtleties. An elaborate
7070 example of those is in @inputfileref{input/test,cue-notes.ly}.
7072 @cindex magnification
7074 The size of the font may be scaled with the object property
7075 @code{font-magnification}. For example, @code{2.0} blows up all
7076 letters by a factor 2 in both directions.
7085 The font used for printing a object can be selected by setting
7086 @code{font-name}, e.g.
7088 \property Staff.TimeSignature
7089 \set #'font-name = #"cmr17"
7091 You may use any font which is available to @TeX{}, such as foreign
7092 fonts or fonts that do not belong to the Computer Modern font family.
7094 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7095 can also be adjusted with a more fine-grained mechanism. By setting
7096 the object properties described below, you can select a different font.
7097 All three mechanisms work for every object that supports
7098 @code{font-interface}.
7102 A symbol indicating the general class of the typeface. Supported are
7103 @code{roman} (Computer Modern), @code{braces} (for piano staff
7104 braces), @code{music} (the standard music font, including ancient
7105 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7108 A symbol indicating the shape of the font, there are typically several
7109 font shapes available for each font family. Choices are @code{italic},
7110 @code{caps} and @code{upright}
7113 A symbol indicating the series of the font. There are typically several
7114 font series for each font family and shape. Choices are @code{medium}
7117 @item font-relative-size
7118 A number indicating the size relative the standard size. For example,
7119 with 20pt staff height, relative size -1 corresponds to 16pt staff
7120 height, and relative size +1 corresponds to 23 pt staff height.
7122 There are small differences in design between fonts designed for
7123 different sizes, hence @code{font-relative-size} is preferred over
7124 @code{font-magnification} for changing font sizes.
7127 @item font-design-size
7128 A number indicating the design size of the font.
7130 This is a feature of the Computer Modern Font: each point size has a
7131 slightly different design. Smaller design sizes are relatively wider,
7132 which enhances readability.
7135 For any of these properties, the value @code{*} (i.e. the symbol
7136 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7137 to override default setting, which are always present. For example:
7139 \property Lyrics.LyricText \override #'font-series = #'bold
7140 \property Lyrics.LyricText \override #'font-family = #'typewriter
7141 \property Lyrics.LyricText \override #'font-shape = #'*
7144 @cindex @code{font-style}
7148 The following commands set @code{fontSize} for the current voice.
7152 @refcommand normalsize
7156 Relative size is not linked to any real size.
7158 There is no style sheet provided for other fonts besides the @TeX{}
7159 family, and the style sheet cannot be modified easily.
7161 @cindex font selection
7162 @cindex font magnification
7163 @cindex @code{font-interface}
7167 @subsection Text markup
7172 @cindex typeset text
7174 LilyPond has an internal mechanism to typeset texts. You can access it
7175 with the keyword @code{\markup}. Within markup mode, you can enter texts
7176 similar to lyrics: simply enter them, surrounded by spaces.
7179 @lilypond[verbatim,fragment,relative=1]
7180 c1^\markup { hello }
7181 c1_\markup { hi there }
7182 c1^\markup { hi \bold there, is \italic anyone home? }
7185 @cindex font switching
7187 The line of the example demonstrates font switching commands. The
7188 command only apply to the first following word; enclose a set of texts
7189 with braces to apply a command to more words.
7191 \markup @{ \bold @{ hi there @} @}
7193 For clarity, you can also do this for single arguments, e.g.
7195 \markup @{ is \italic @{ anyone @} home @}
7198 @cindex font size, texts
7200 The following size commands set abolute sizes
7216 You can also make letter larger or smaller relative to their neighbors,
7217 with the commands @code{\larger} and @code{\smaller}.
7221 @cindex font style, for texts
7227 The following font change commands are defined:
7230 This changes to the font used for dynamic signs. This font does not
7231 contain all characters of the alphabet, so when producing ``piu f'',
7232 the ``piu'' should be done in a different font.
7236 This changes to the font used for time signatures. It only contains
7237 numbers and a few punctuation marks.
7239 Changes @code{font-shape} to @code{italic}
7241 Changes @code{font-series} to @code{bold}
7244 @cindex raising text
7245 @cindex lowering text
7247 @cindex translating text
7252 Raising and lowering texts can be done with @code{\super} and
7255 @lilypond[verbatim,fragment,relative=1]
7256 c1^\markup { E "=" mc \super "2" }
7261 If you want to give an explicit amount for lowering or raising, use
7262 @code{\raise}. This command takes a Scheme valued first argument, and
7263 a markup object as second argument
7265 @lilypond[verbatim,fragment,relative=1,quote]
7266 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7268 The argument to @code{\raise} is the vertical displacement amount,
7269 measured in (global) staff spaces.
7271 Other commands taking single arguments include
7274 @item \bracket, \hbracket
7275 Bracket the argument markup with normal and horizontal brackets
7280 This is converted to a musical symbol, e.g. @code{\musicglyph
7281 #"accidentals-0"} will select the natural sign from the music font.
7282 See @ref{The Feta font} for a complete listing of the possible glyphs.
7284 This produces a single character, e.g. @code{\char #65} produces the
7287 @item \hspace #@var{amount}
7289 This produces a invisible object taking horizontal space.
7291 \markup @{ A \hspace #2.0 B @}
7293 will put extra space between A and B, on top of the space that is
7294 normally inserted before elements on a line.
7296 @item \fontsize #@var{size}
7298 This sets the relative font size, eg.
7300 A \fontsize #2 @{ B C @} D
7304 This will enlarge the B and the C by two steps.
7305 @item \translate #(cons @var{x} @var{y})
7307 This translates an object. Its first argument is a cons of numbers
7309 A \translate #(cons 2 -3) @{ B C @} D
7311 This moves `B C' 2 spaces to the right, and 3 down.
7313 @item \magnify #@var{mag}
7315 This sets the font magnification for the its argument. In the following
7316 example, the middle A will be 10% larger.
7318 A \magnify #1.1 @{ A @} A
7322 @item \override #(@var{key} . @var{value})
7324 This overrides a formatting property for its argument. The argument
7325 should be a key/value pair, e.g.
7327 m \override #'(font-family . math) m m
7331 In markup mode you can compose expressions, similar to mathematical
7332 expressions, XML documents and music expressions. The braces group
7333 notes into horizontal lines. Other types of lists also exist: you can
7334 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7335 the command @code{\column}. Similarly, @code{\center} aligns texts by
7338 @lilypond[verbatim,fragment,relative=1]
7339 c1^\markup { \column << a bbbb c >> }
7340 c1^\markup { \center << a bbbb c >> }
7341 c1^\markup { \line << a b c >> }
7344 The markup mechanism is extensible. Refer to
7345 @file{scm/new-markup.scm} for more information on extending the markup
7352 @internalsref{Markup functions}, @file{scm/new-markup.scm}
7359 Text layout is ultimately done by @TeX{}, which does kerning of
7360 letters. LilyPond does not account for kerning, so texts will be
7361 spaced slightly too wide.
7363 Syntax errors for markup mode are confusing.
7367 @section Global layout
7369 The global layout determined by three factors: the page layout, the
7370 line breaks and the spacing. These all influence each other. The
7371 choice of spacing determines how densely each system of music is set,
7372 which influences where line breaks breaks are chosen, and thus
7373 ultimately how many pages a piece of music takes. In this section, the
7374 algorithm for spacing music is explained, and how spacing can be
7377 Globally spoken, this procedure happens in three steps: first,
7378 flexible distances (``springs'') are chosen, based on durations. All
7379 possible line breaking combination are tried, and the one with the
7380 best results---a layout that has uniform density and requires as
7381 little stretching or cramping as possible---is chosen. When the score
7382 is processed by @TeX{}, each page is filled with systems, and page breaks
7383 are chosen whenever the page gets full.
7388 * Vertical spacing::
7389 * Horizontal spacing::
7396 @node Vertical spacing
7397 @subsection Vertical spacing
7399 @cindex vertical spacing
7400 @cindex distance between staves
7401 @cindex staff distance
7402 @cindex between staves, distance
7403 @cindex staffs per page
7406 The height of each system is determined automatically by lilypond, to
7407 keep systems from bumping into each other, some minimum distances are
7408 set. By changing these, you can put staves closer together, and thus
7409 put more systems onto one page.
7411 Normally staves are stacked vertically. To make
7412 staves maintain a distance, their vertical size is padded. This is
7413 done with the property @code{minimumVerticalExtent}. It takes a pair
7414 of numbers, so if you want to make it smaller from its, then you could
7417 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7419 This sets the vertical size of the current staff to 4 staff-space on
7420 either side of the center staff line. The argument of
7421 @code{minimumVerticalExtent} is interpreted as an interval, where the
7422 center line is the 0, so the first number is generally negative. The
7423 staff can be made larger at the bottom by setting it to @code{(-6
7426 The piano staves are handled a little differently: to make cross-staff
7427 beaming work correctly, it necessary that the distance between staves
7428 is fixed beforehand. This is also done with a
7429 @internalsref{VerticalAlignment} object, created in
7430 @internalsref{PianoStaff}. In this object the distance between the
7431 staves is fixed by setting @code{forced-distance}. If you want to
7432 override this, use a @code{\translator} block as follows:
7436 VerticalAlignment \override #'forced-distance = #9
7439 This would bring the staves together at a distance of 9 staff spaces,
7440 measured from the center line of each staff.
7444 Vertical aligment of staves is handled by the
7445 @internalsref{VerticalAlignment} object.
7449 @node Horizontal spacing
7450 @subsection Horizontal Spacing
7452 The spacing engine translates differences in durations into
7453 stretchable distances (``springs'') of differing lengths. Longer
7454 durations get more space, shorter durations get less. The shortest
7455 durations get a fixed amount of space (which is controlled by
7456 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
7457 object). The longer the duration, the more space it gets: doubling a
7458 duration adds a fixed amount (this amount is controlled by
7459 @code{spacing-increment}) of space to the note.
7461 For example, the following piece contains lots of half, quarter and
7462 8th notes, the eighth note is followed by 1 note head width (NHW).
7463 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
7464 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
7468 Normally, @code{shortest-duration-space} is set to 1.2, which is the
7469 width of a note head, and @code{shortest-duration-space} is set to
7470 2.0, meaning that the shortest note gets 2 NHW (2 times
7471 @code{shortest-duration-space}) of space. For normal notes, this space
7472 is always counted from the left edge of the symbol, so the shortest
7473 notes are generally followed by one NHW of space.
7475 If one would follow the above procedure exactly, then adding a single
7476 32th note to a score that uses 8th and 16th notes, would widen up the
7477 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
7478 thus adding 2 noteheads of space to every note. To prevent this, the
7479 shortest duration for spacing is not the shortest note in the score,
7480 but the most commonly found shortest note. Notes that are even
7481 shorter this are followed by a space that is proportonial to their
7482 duration relative to the common shortest note. So if we were to add
7483 only a few 16th notes to the example above, they would be followed by
7486 @lilypond[fragment, verbatim, relative=2]
7487 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
7490 The most common shortest duration is determined as follows: in every
7491 measure, the shortest duration is determined. The most common short
7492 duration, is taken as the basis for the spacing, with the stipulation
7493 that this shortest duration should always be equal to or shorter than
7494 1/8th note. The shortest duration is printed when you run lilypond
7495 with @code{--verbose}. These durations may also be customized. If you
7496 set the @code{common-shortest-duration} in
7497 @internalsref{SpacingSpanner}, then this sets the base duration for
7498 spacing. The maximum duration for this base (normally 1/8th), is set
7499 through @code{base-shortest-duration}.
7501 @cindex @code{common-shortest-duration}
7502 @cindex @code{base-shortest-duration}
7503 @cindex @code{stem-spacing-correction}
7504 @cindex @code{spacing}
7506 In the introduction it was explained that stem directions influence
7507 spacing. This is controlled with @code{stem-spacing-correction}
7508 property in @internalsref{NoteSpacing}, which are generated for every
7509 @internalsref{Voice} context. The @code{StaffSpacing} object
7510 (generated at @internalsref{Staff} context) contains the same property
7511 for controlling the stem/barline spacing. The following example
7512 shows these corrections, once with default settings, and once with
7513 exaggerated corrections.
7519 \property Staff.NoteSpacing \override #'stem-spacing-correction
7521 \property Staff.StaffSpacing \override #'stem-spacing-correction
7526 \paper { raggedright = ##t } }
7529 @cindex SpacingSpanner, overriding properties
7531 Properties of the @internalsref{SpacingSpanner} must be overridden
7532 from the @code{\paper} block, since the @internalsref{SpacingSpanner}
7533 is created before any @code{\property} statements are interpreted.
7535 \paper @{ \translator @{
7537 SpacingSpanner \override #'spacing-increment = #3.0
7544 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
7545 @internalsref{StaffSpacing}, @internalsref{SeparationItem},
7546 @internalsref{SeparatingGroupSpanner}.
7550 Spacing is determined on a score wide basis. If you have a score that
7551 changes its character (measured in durations) halfway during the
7552 score, the part containing the longer durations will be spaced too
7555 There is no convenient mechanism to manually override spacing.
7560 @subsection Font size
7561 @cindex font size, setting
7562 @cindex staff size, setting
7563 @cindex @code{paper} file
7565 The Feta font provides musical symbols at seven different sizes.
7566 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
7567 26 point. The point size of a font is the height of the corresponding
7568 staff (excluding line thicknesses).
7570 Definitions for these sizes are the files @file{paperSZ.ly}, where
7571 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
7572 of these files, the variables @code{paperEleven},
7573 @code{paperThirteen}, @code{paperSixteen},
7574 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
7575 are defined respectively. The default @code{\paper} block is also
7576 set. These files should be imported at toplevel, i.e.
7578 \include "paper26.ly"
7582 The font definitions are generated using a Scheme function. For more
7583 details, see the file @file{scm/font.scm}.
7588 @subsection Line breaking
7591 @cindex breaking lines
7593 Line breaks are normally computed automatically. They are chosen such
7594 that lines look neither cramped nor loose, and that consecutive lines
7595 have similar density.
7597 Occasionally you might want to override the automatic breaks; you can
7598 do this by specifying @code{\break}. This will force a line break at
7599 this point. Line breaks can only occur at places where there are bar
7600 lines. If you want to have a line break where there is no bar line,
7601 you can force an invisible bar line by entering @code{\bar
7602 ""}. Similarly, @code{\noBreak} forbids a line break at a
7606 @cindex regular line breaks
7607 @cindex four bar music.
7609 If you want linebreaks at regular intervals, you can use the following:
7611 < \repeat unfold 7 @{ s1 * 4 \break @}
7612 @emph{the real music}
7615 This makes the following 28 measures (assuming 4/4 time) be broken every
7620 @internalsref{BreakEvent}
7624 @subsection Page layout
7627 @cindex breaking pages
7629 @cindex @code{indent}
7630 @cindex @code{linewidth}
7632 The most basic settings influencing the spacing are @code{indent} and
7633 @code{linewidth}. They are set in the @code{\paper} block. They
7634 control the indentation of the first line of music, and the lengths of
7637 If @code{raggedright} is set to true in the @code{\paper}
7638 block, then the lines are justified at their natural length. This
7639 useful for short fragments, and for checking how tight the natural
7643 @cindex vertical spacing
7645 The page layout process happens outside the LilyPond formatting
7646 engine: variables controlling page layout are passed to the output,
7647 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
7648 to the following variables in the @code{\paper} block. The variable
7649 @code{textheight} sets the total height of the music on each page.
7650 The spacing between systems is controlled with @code{interscoreline},
7651 its default is 16pt. The distance between the score lines will
7652 stretch in order to fill the full page @code{interscorelinefill} is
7653 set to a positive number. In that case @code{interscoreline}
7654 specifies the minimum spacing.
7656 @cindex @code{textheight}
7657 @cindex @code{interscoreline}
7658 @cindex @code{interscorelinefill}
7660 If the variable @code{lastpagefill} is defined,
7661 @c fixme: this should only be done if lastpagefill == #t
7662 systems are evenly distributed vertically on the last page. This
7663 might produce ugly results in case there are not enough systems on the
7664 last page. The @command{lilypond-book} command ignores
7665 @code{lastpagefill}. See @ref{lilypond-book manual} for more
7668 @cindex @code{lastpagefill}
7670 Page breaks are normally computed by @TeX{}, so they are not under
7671 direct control of LilyPond. However, you can insert a commands into
7672 the @file{.tex} output to instruct @TeX{} where to break pages. This
7673 is done by setting the @code{between-systems-strings} on the
7674 @internalsref{NonMusicalPaperColumn} where the system is broken.
7675 An example is shown in @inputfileref{input/regression,between-systems.ly}.
7676 The predefined command @code{\newpage} also does this.
7680 @cindex @code{papersize}
7682 To change the paper size, you must first set the
7683 @code{papersize} paper variable variable. Set it to
7684 the strings @code{a4}, @code{letter}, or @code{legal}. After this
7685 specification, you must set the font as described above. If you want
7686 the default font, then use the 20 point font.
7689 \paper@{ papersize = "a4" @}
7690 \include "paper16.ly"
7693 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
7694 will set the paper variables @code{hsize} and @code{vsize} (used by
7695 Lilypond and @code{ly2dvi})
7705 @ref{Invoking ly2dvi},
7706 @inputfileref{input/regression,between-systems.ly},
7707 @internalsref{NonMusicalPaperColumn}.
7711 There is no concept of page breaking, which makes it difficult to
7712 choose sensible page breaks in multi-page pieces.
7721 Entered music can also be converted to MIDI output. The performance
7722 is good enough for proof-hearing the music for errors.
7724 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7725 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7726 marks translate to a fixed fraction of the available MIDI volume
7727 range, crescendi and decrescendi make the volume vary linearly between
7728 their two extremities. The fractions be adjusted by
7729 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7730 For each type of MIDI instrument, a volume range can be defined. This
7731 gives you basic equalizer control, which can enhance the quality of
7732 the MIDI output remarkably. The equalizer can be controlled by
7733 setting @code{instrumentEqualizer}.
7737 Many musically interesting effects, such as swing, articulation,
7738 slurring, etc., are not translated to MIDI.
7743 * MIDI instrument names::
7748 @subsection MIDI block
7752 The MIDI block is analogous to the paper block, but it is somewhat
7753 simpler. The @code{\midi} block can contain:
7757 @item a @code{\tempo} definition
7758 @item context definitions
7761 Assignments in the @code{\midi} block are not allowed.
7765 @cindex context definition
7767 Context definitions follow precisely the same syntax as within the
7768 \paper block. Translation modules for sound are called performers.
7769 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7772 @node MIDI instrument names
7773 @subsection MIDI instrument names
7775 @cindex instrument names
7776 @cindex @code{Staff.midiInstrument}
7777 @cindex @code{Staff.instrument}
7779 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7780 property or, if that property is not set, the @code{Staff.instrument}
7781 property. The instrument name should be chosen from the list in
7782 @ref{MIDI instruments}.
7786 If the selected string does not exactly match, then LilyPond uses the
7787 default (Grand Piano). It is not possible to select an instrument by