3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
22 <!--- @@WEB-TITLE@@=Reference Manual --->
25 This document describes GNU LilyPond and its input format. The last
26 revision of this document was made for LilyPond 1.4.1. It supposes a
27 passing familiarity with how LilyPond input works. New users are
28 encouraged to study the tutorial first.
33 * Easier music entry::
52 @c FIXME: Note entry vs Music entry at top level menu is confusing.
58 The most basic forms of music are notes. Notes on their own don't
59 form valid input, but for the sake of brevity we omit @code{\score}
60 blocks and @code{\paper} declarations.
66 * Chromatic alterations::
71 * Automatic note splitting ::
73 * Easy Notation note heads ::
81 A note is printed by specifying its pitch, and then its duration.
82 @lilypond[fragment,verbatim]
91 @cindex Note specification
93 @cindex entering notes
95 The verbose syntax for pitch specification is
102 @var{scmpitch} is a pitch scheme object.
104 In Note and Chord mode, pitches may be designated by names. The default
105 names are the Dutch note names. The notes are specified by the letters
106 @code{a} through @code{g} (where the octave is formed by notes ranging
107 from @code{c} to @code{b}). The pitch @code{c} is an octave below
108 middle C and the letters span the octave above that C.
110 @cindex note names, Dutch
112 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
113 name and a flat is formed by adding @code{-es}. Double sharps and double
114 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
115 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
116 both forms are accepted.
118 LilyPond has predefined sets of note names for various other languages.
119 To use them, simply include the language specific init file. For
120 example: @code{\include "english.ly"}. The available language files and
121 the names they define are:
124 Note Names sharp flat
125 nederlands.ly c d e f g a bes b -is -es
126 english.ly c d e f g a bf b -s/-sharp -f/-flat
127 deutsch.ly c d e f g a b h -is -es
128 norsk.ly c d e f g a b h -iss/-is -ess/-es
129 svenska.ly c d e f g a b h -iss -ess
130 italiano.ly do re mi fa sol la sib si -d -b
131 catalan.ly do re mi fa sol la sib si -d/-s -b
132 espanol.ly do re mi fa sol la sib si -s -b
141 The optional octave specification takes the form of a series of
142 single quote (`@code{'}') characters or a series of comma
143 (`@code{,}') characters. Each @code{'} raises the pitch by one
144 octave; each @code{,} lowers the pitch by an octave.
146 @lilypond[fragment,verbatim,center]
147 c' c'' es' g' as' gisis' ais'
150 @node Chromatic alterations
151 @subsection Chromatic alterations
153 Normally, accidentals are printed automatically, but you may force
154 accidentals in the following ways: A reminder accidental
155 @cindex reminder accidental
157 can be forced by adding an exclamation mark @code{!} after the pitch. A
158 cautionary accidental,
159 @cindex cautionary accidental
160 @cindex parenthesized accidental
161 i.e., an accidental within parentheses can be obtained by adding the
162 question mark `@code{?}' after the pitch.
164 The automatic production of accidentals can be tuned in many
165 ways. Refer to @ref{Accidentals} for more information.
172 A rest is entered like a note, with note name `@code{r}':
174 @lilypond[singleline,verbatim]
178 Whole bar rests centered in the bar are specified using @code{R}, see
179 @ref{Multi measure rests}. See also @seeinternals{Rest}.
181 For polyphonic music, it can be convenient to specify the rest position
182 directly. You can do that by entering a note, with the keyword
183 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
185 @lilypond[singleline,verbatim]
195 @cindex Invisible rest
198 An invisible rest, or skip, can be entered like a note with note name
199 @code{s}, or with @code{\skip @var{duration}}:
201 @lilypond[singleline,verbatim]
205 The @code{s} syntax is only available in Note mode and Chord mode.
206 In other situations, you should use the @code{\skip} command, and it is
207 only available in Note mode and Chord mode.
209 @c FIXME: in lyrics mode, we have " " and _
211 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
212 @lilypond[singleline,verbatim]
214 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
215 \notes\relative c'' { a2 a4 a a2 a4 a }
219 The unabbreviated `@code{\skip} @var{duration}' also works outside of
222 @lilypond[singleline,verbatim]
225 { \time 4/8 \skip 2 \time 4/4 }
226 \notes\relative c'' { a2 a1 }
231 The skip command is merely a empty musical placeholder. It does not
232 produce any output, not even transparent output.
237 @subsection Durations
241 @cindex @code{\duration}
244 In Note, Chord, and Lyrics mode, durations may be designated by numbers
245 and dots: durations are entered as their reciprocal values. For notes
246 longer than a whole you must use identifiers.
250 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
252 r1 r2 r4 r8 r16 r32 r64 r64
258 \notes \relative c'' {
260 a1 a2 a4 a8 a16 a32 a64 a64
262 r1 r2 r4 r8 r16 r32 r64 r64
267 \remove "Clef_engraver"
268 \remove "Staff_symbol_engraver"
269 \remove "Time_signature_engraver"
270 \consists "Pitch_squash_engraver"
277 If the duration is omitted then it is set to the previous duration
278 entered. At the start of parsing a quarter note is assumed. The
279 duration can be followed by dots (`@code{.}') to obtain dotted note
283 @lilypond[fragment,verbatim,center]
289 You can alter the length of duration by a fraction @var{N/M} by
290 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
291 will not affect the appearance of the notes or rests produced.
293 Durations can also be produced through GUILE extension mechanism.
294 @lilypond[verbatim,fragment]
295 c\duration #(make-duration 2 1)
301 Dot placement for chords is not perfect. In some cases, dots overlap:
303 \context Voice { <f,4. c'' d e f> }
314 A tie connects two adjacent note heads of the same pitch. The tie in
315 effect extends the length of a note. A tie is entered with @code{~}.
317 @lilypond[fragment,verbatim,center]
318 e' ~ e' <c' e' g'> ~ <c' e' g'>
321 When ties are used with chords, all note heads whose pitches match are
322 connected. Ties are indicated using the tilde symbol `@code{~}'. If
323 you try to tie together chords which have no common pitches then no
324 ties will be created.
326 If you want less ties created for a chord, you can set
327 @code{Voice.sparseTies} to true. In this case, a single tie is used
328 for every tied chord.
329 @lilypond[fragment,verbatim,center]
330 \property Voice.sparseTies = ##t
331 <c' e' g'> ~ <c' e' g'>
334 In its meaning a tie is just a way of extending a note duration, similar
335 to the augmentation dot: the following example are two ways of notating
336 exactly the same concept.
338 @lilypond[fragment, singleline]
339 \time 3/4 c'2. c'2 ~ c'4
341 Ties should not be confused with slurs, which indicate articulation,
342 and phrasing slurs, which indicate musical phrasing.
344 See also @seeinternals{Tie}.
349 At present, the tie is represented as a separate event, temporally
350 located in between the notes. Tieing only a subset of the note heads
351 of a chord is not supported in a simple way. It can be achieved by
352 moving the tie-engraver into the Thread context and turning on and off
355 Switching staffs when a tie is active will not work.
357 @node Automatic note splitting
358 @subsection Automatic note splitting
359 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
361 There is a facility for automatically converting long notes to tied
362 notes. This is done by replacing the @code{Note_heads_engraver} by the
363 @code{Completion_heads_engraver}.
365 @lilypond[verbatim,center]
367 \notes\relative c'{ \time 2/4
368 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
372 \remove "Note_heads_engraver"
373 \consists "Completion_heads_engraver"
377 This engraver splits all running notes at the bar line, and inserts
378 ties. One of its uses is to debug complex scores: if the measures are
379 not entirely filled, then the ties exactly show how much each measure
384 Not all durations (especially those containing tuplets) can be
385 represented exactly; the engraver will not insert tuplets.
392 @cindex @code{\times}
394 Tuplets are made out of a music expression by multiplying all duration
397 @cindex @code{\times}
399 \times @var{fraction} @var{musicexpr}
402 The duration of @var{musicexpr} will be multiplied by the fraction.
403 In print, the fraction's denominator will be printed over the notes,
404 optionally with a bracket. The most common tuplet is the triplet in
405 which 3 notes have the length of 2, so the notes are 2/3 of
406 their written length:
408 @lilypond[fragment,verbatim,center]
409 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
412 The property @code{tupletSpannerDuration} specifies how long each bracket
413 should last. With this, you can make lots of tuplets while typing
414 @code{\times} only once, thus saving typing work.
416 @lilypond[fragment, relative, singleline, verbatim]
417 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
418 \times 2/3 { c'8 c c c c c }
421 The format of the number is determined by the property
422 @code{tupletNumberFormatFunction}. The default prints only the
423 denominator, but if you set it to the Scheme function
424 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
428 @cindex @code{tupletNumberFormatFunction}
429 @cindex tuplet formatting
431 See also @seeinternals{TupletBracket}.
435 Nested tuplets are not formatted automatically. In this case, outer
436 tuplet brackets should be moved automatically.
438 @node Easy Notation note heads
439 @subsection Easy Notation note heads
441 @cindex easy notation
444 A entirely different type of note head is the "easyplay" note head: a
445 note head that includes a note name. It is used in some publications by
446 Hal-Leonard Inc. music publishers.
448 @lilypond[singleline,verbatim,26pt]
450 \notes { c'2 e'4 f' | g'1 }
451 \paper { \translator { \EasyNotation } }
455 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
456 probably will want to print it with magnification or a large font size to make it more
463 If you view the result with Xdvi, then staff lines will show through
464 the letters. Printing the PostScript file obtained with ly2dvi does
465 produce the correct result.
468 @node Easier music entry
469 @section Easier music entry
472 * Graphical interfaces::
476 * Skipping corrected music::
479 When entering music with LilyPond, it is easy to introduce errors. This
480 section deals with tricks and features that help you enter music, and
481 find and correct mistakes.
483 @node Graphical interfaces
484 @subsection Graphical interfaces
487 @cindex graphical interface
494 One way to avoid entering notes using the keyboard, is to use a
495 graphical user interface. The following programs are known to have
496 a lilypond export option:
500 @uref{http://denemo.sourceforge.net/, Denemo}, was once intended as
501 LilyPond graphical user interface. It run on Gnome/GTK.
503 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,noteedit}
504 NoteEdit is a graphical score editor that runs under KDE/Qt.
506 @uref{http://rosegarden.sf.net/,RoseGarden}
507 once was an inspiration for naming LilyPond. Nowadays, it has been
508 rewritten from scratch, and supports LilyPond export as of version
512 Another option is to enter the music using your favorite MIDI
513 sequencer, and then import it using midi2ly. midi2ly is described in
514 @ref{Importing MIDI}.
517 @node Relative octaves
518 @subsection Relative octaves
520 @cindex relative octave specification
522 Octaves are specified by adding @code{'} and @code{,} to pitch names.
523 When you copy existing music, it is easy to accidentally put a pitch in
524 the wrong octave and hard to find such an error. To prevent these
525 errors, LilyPond features octave entry.
527 @cindex @code{\relative}
529 \relative @var{startpitch} @var{musicexpr}
532 The octave of notes that appear in @var{musicexpr} are calculated as
533 follows: If no octave changing marks are used, the basic interval
534 between this and the last note is always taken to be a fourth or less
535 (This distance is determined without regarding alterations; a
536 @code{fisis} following a @code{ceses} will be put above the
539 The octave changing marks @code{'} and @code{,} can be added to raise or
540 lower the pitch by an extra octave. Upon entering relative mode, an
541 absolute starting pitch must be specified that will act as the
542 predecessor of the first note of @var{musicexpr}.
544 Entering music that changes octave frequently is easy in relative mode.
545 @lilypond[fragment,singleline,verbatim,center]
551 And octave changing marks are used for intervals greater than a fourth.
552 @lilypond[fragment,verbatim,center]
557 If the preceding item is a chord, the first note of the chord is used
558 to determine the first note of the next chord. However, other notes
559 within the second chord are determined by looking at the immediately
562 @lilypond[fragment,verbatim,center]
569 @cindex @code{\notes}
571 The pitch after the @code{\relative} contains a note name. To parse
572 the pitch as a note name, you have to be in note mode, so there must
573 be a surrounding @code{\notes} keyword (which is not
576 The relative conversion will not affect @code{\transpose},
577 @code{\chords} or @code{\relative} sections in its argument. If you
578 want to use relative within transposed music, you must place an
579 additional @code{\relative} inside the @code{\transpose}.
584 @subsection Bar check
588 @cindex @code{barCheckSynchronize}
592 Whenever a bar check is encountered during interpretation, a warning
593 message is issued if it doesn't fall at a measure boundary. This can
594 help you find errors in the input. Depending on the value of
595 @code{barCheckSynchronize}, the beginning of the measure will be
596 relocated, so this can also be used to shorten measures.
598 A bar check is entered using the bar symbol, @code{|}:
600 \time 3/4 c2 e4 | g2.
605 @cindex skipTypesetting
607 Failed bar checks are most often caused by entering incorrect
608 durations. Incorrect durations often completely garble up the score,
609 especially if it is polyphonic, so you should start correcting the score
610 by scanning for failed bar checks and incorrect durations. To speed up
611 this process, you can use @code{skipTypesetting} (See @ref{Skipping
614 @c . {Point and click}
615 @node Point and click
616 @subsection Point and click
617 @cindex poind and click
619 Point and click lets you find notes in the input by clicking on them in
620 the Xdvi window. This makes it very easy to find input that causes some
621 error in the sheet music.
623 To use it, you need the following software
625 @item A dvi viewer that supports src specials.
627 @item Plain Xdvi, version 22.36 or newer. Available from
628 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
630 Note that most @TeX{} distributions ship with xdvik, which is a
631 different and less well maintained program. To find out which xdvi you
632 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
633 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
634 newer. Enablle the menu Settings -> Inverse search.
636 @item An editor with a client/server interface (or a lightweight GUI editor).
638 @item Emacs. Emacs is an extensible text-editor. It is available from
639 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
641 @item XEmacs. Xemacs is very similar to emacs.
642 @item NEdit. NEdit runs under Windows, and Unix.
643 It is available from @uref{http://www.nedit.org}.
644 @item GVim. GVim is a lightweight GUI variant of VIM, the popular VI
645 clone. It is available from @uref{http://www.vim.org}.
650 Xdvi must be configured to find the @TeX{} fonts and music
651 fonts. Refer to the Xdvi documentation for more information.
653 To use point-and-click, add one of these lines to the top of your .ly
656 #(set! point-and-click line-location)
658 @cindex line-location
660 When viewing, Control-Mousebutton 1 will take you to the originating
661 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
664 If you correct large files with point-and-click, be sure to start
665 correcting at the end of the file. When you start at the top, and
666 insert one line, all following locations will be off by a line.
669 For using point-and-click with emacs, add the following
670 In your emacs startup file (usually @file{~/.emacs}),
675 Make sure that the environment variable @var{XEDITOR} is set to
677 emacsclient --no-wait +%l %f
679 @cindex @var{XEDITOR}
680 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
681 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
683 For using Vim, set @code{XEDITOR} to @code{gvim +%l %f}, or use this
684 argument with xdvi's @code{-editor} option.
686 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
687 use this argument with xdvi's @code{-editor} option.
689 If can also make your editor jump to the exact location of the note
690 you clicked. This is only supported on Emacs. Users of version 20 must
691 apply the patch @file{emacsclient.patch}. Users of version 21 must
692 apply @file{server.el.patch} (version 21.2 and earlier). At the top
693 of the @code{ly} file, replace the @code{set!} line with the following
696 #(set! point-and-click line-column-location)
698 @cindex line-colomn-location
699 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
703 When you convert the @TeX{} file to PostScript using @code{dvips}, it
704 will complain about not finding @code{src:X:Y} files. These complaints
705 are harmless, and can be ignored.
707 @node Skipping corrected music
708 @subsection Skipping corrected music
710 The property @code{Score.skipTypesetting} can be used to switch on and
711 off typesetting completely during the interpretation phase. When
712 typesetting is switched off, the music is processed much more quickly.
713 You can use this to skip over the parts of a score that you have already
716 @lilypond[fragment,singleline,verbatim]
718 \property Score.skipTypesetting = ##t
720 \property Score.skipTypesetting = ##f
728 @section Staff notation
730 This section deals with music notation that occurs on staff level,
731 such as keys, clefs and time signatures.
733 @cindex Staff notation
745 @subsection Staff symbol
748 @cindex adjusting staff symbol
749 @cindex StaffSymbol, using \property
750 @cindex staff lines, setting number of
753 The lines of the staff symbol are formed by the
754 @internalsref{StaffSymbol} grob. This grob is created at the moment
755 that their context is created. You can not change the appearance of
756 the staff symbol by using @code{\override} or @code{\set}. At the
757 moment that @code{\property Staff} is interpreted, a Staff context is
758 made, and the StaffSymbol is created before any @code{\override} is
759 effective. You can deal with this either overriding properties in a
760 @code{\translator} definition, or by using @code{\outputproperty}.
765 If you end a staff half way a piece, the staff symbol may not end
766 exactly on the barline.
771 @subsection Key signature
776 Setting or changing the key signature is done with the @code{\key}
779 @code{\key} @var{pitch} @var{type}
782 @cindex @code{\minor}
783 @cindex @code{\major}
784 @cindex @code{\minor}
785 @cindex @code{\ionian}
786 @cindex @code{\locrian}
787 @cindex @code{\aeolian}
788 @cindex @code{\mixolydian}
789 @cindex @code{\lydian}
790 @cindex @code{\phrygian}
791 @cindex @code{\dorian}
793 Here, @var{type} should be @code{\major} or @code{\minor} to get
794 @var{pitch}-major or @var{pitch}-minor, respectively.
795 The standard mode names @code{\ionian},
796 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
797 @code{\phrygian}, and @code{\dorian} are also defined.
799 This command sets the context property @code{Staff.keySignature}.
800 Non-standard key signatures can be specified by setting this property
803 The printed signature is a @internalsref{KeySignature} grob, typically
804 created in @internalsref{Staff} context.
806 @cindex @code{keySignature}
813 The clef can be set or changed with the @code{\clef} command:
814 @lilypond[fragment,verbatim]
815 \key f\major c''2 \clef alto g'2
818 Supported clef-names include
819 @c Moved standard clefs to the top /MB
821 @item treble, violin, G, G2
830 G clef on 1st line, so-called French violin clef
845 By adding @code{_8} or @code{^8} to the clef name, the clef is
846 transposed one octave down or up, respectively. Note that you have to
847 enclose @var{clefname} in quotes if you use underscores or digits in the
853 The grob for this symbol is @internalsref{Clef}.
856 This command is equivalent to setting @code{clefGlyph},
857 @code{clefPosition} (which controls the Y position of the clef),
858 @code{centralCPosition} and @code{clefOctavation}. A clef is created
859 when any of these properties are changed.
862 @c . {Time signature}
864 @subsection Time signature
865 @cindex Time signature
869 The time signature is set or changed by the @code{\time}
871 @lilypond[fragment,verbatim]
872 \time 2/4 c'2 \time 3/4 c'2.
875 The actual symbol that's printed can be customized with the @code{style}
876 property. Setting it to @code{#'()} uses fraction style for 4/4 and
880 The grob for this symbol is @internalsref{TimeSignature}. There are
881 many more options for its layout. They are selected through the
882 @code{style} grob property. See @file{input/test/time.ly} for more
885 This command sets the property @code{timeSignatureFraction},
886 @code{beatLength} and @code{measureLength}. The property
887 @code{timeSignatureFraction} determine where bar lines should be
888 inserted, and how automatic beams should be generated. Changing the
889 value of @code{timeSignatureFraction} also causes a time signature
890 symbol to be printed.
897 @cindex partial measure
898 @cindex measure, partial
899 @cindex shorten measures
900 @cindex @code{\partial}
902 Partial measures, for example in upbeats, are entered using the
903 @code{\partial} command:
904 @lilypond[fragment,verbatim]
905 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
908 The syntax for this command is
910 \partial @var{duration}
912 This is internally translated into
914 \property Score.measurePosition = -@var{length of duration}
917 The property @code{measurePosition} contains a rational number
918 indicating how much of the measure has passed at this point.
921 @node Unmetered music
922 @subsection Unmetered music
924 Bar lines and bar numbers are calculated automatically. For unmetered
925 music (e.g. cadenzas), this is not desirable. The commands
926 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
929 @lilypond[fragment,relative,singleline,verbatim]
937 The property @code{Score.timing} can be used to switch off this
942 @subsection Bar lines
946 @cindex measure lines
949 Bar lines are inserted automatically, but if you need a special type
950 of barline, you can force one using the @code{\bar} command:
951 @lilypond[fragment,verbatim] c4 \bar "|:" c4
954 The following bar types are available
955 @lilypond[fragment, relative, singleline, verbatim]
967 You are encouraged to use @code{\repeat} for repetitions. See
970 In scores with many staffs, the barlines are automatically placed at
971 top level, and they are connected between different staffs of a
972 @internalsref{StaffGroup}:
973 @lilypond[fragment, verbatim]
974 < \context StaffGroup <
975 \context Staff = up { e'4 d'
978 \context Staff = down { \clef bass c4 g e g } >
979 \context Staff = pedal { \clef bass c2 c2 } >
982 The grobs that are created at @internalsref{Staff} level. The name is
983 @internalsref{BarLine}.
985 The command @code{\bar @var{bartype}} is a short cut for
986 doing @code{\property Score.whichBar = @var{bartype}}
987 Whenever @code{whichBar} is set to a string, a bar line of that type is
988 created. @code{whichBar} is usually set automatically: at the start of
989 a measure it is set to @code{defaultBarType}. The contents of
990 @code{repeatCommands} is used to override default measure bars.
992 @code{whichBar} can also be set directly, using @code{\property} or
993 @code{\bar }. These settings take precedence over the automatic
994 @code{whichBar} settings.
997 @cindex Bar_line_engraver
999 @cindex repeatCommands
1000 @cindex defaultBarType
1009 The easiest way to enter such fragments with more than one voice on a
1010 staff is to split chords using the separator @code{\\}. You can use
1011 it for small, short-lived voices (make a chord of voices) or for
1014 @lilypond[verbatim,fragment]
1015 \context Voice = VA \relative c'' {
1016 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
1020 The separator causes @internalsref{Voice} contexts to be instantiated,
1021 bearing the names @code{"1"}, @code{"2"}, etc.
1023 Sometimes, it is necessary to instantiate these contexts by hand: For
1024 Instantiate a separate Voice context for each part, and use
1025 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
1026 and horizontal shift for each part.
1029 @lilypond[singleline, verbatim]
1031 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1032 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1033 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1036 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1037 ties, slurs and stems, and set shift directions.
1039 If you want more than four voices, you can also manually set
1040 horizontal shifts and stem directions, as is shown in the following example:
1041 @lilypond[fragment, verbatim]
1042 \context Staff \notes\relative c''<
1043 \context Voice=one {
1044 \shiftOff \stemUp e4
1046 \context Voice=two {
1047 \shiftOn \stemUp cis
1049 \context Voice=three {
1050 \shiftOnn \stemUp ais
1052 \context Voice=four {
1053 \shiftOnnn \stemUp fis
1059 Normally, note heads with a different number of dots are not merged, but
1060 if you set the grob property @code{merge-differently-dotted}, they are:
1061 @lilypond[verbatim,fragment,singleline]
1064 \property Staff.NoteCollision \override
1065 #'merge-differently-dotted = ##t
1067 } \\ { [g'8. f16] [g'8. f'16] }
1071 Similarly, you can merge half note heads with eighth notes, by setting
1072 @code{merge-differently-headed}:
1073 @lilypond[fragment, relative=2,verbatim]
1076 \property Staff.NoteCollision
1077 \override #'merge-differently-headed = ##t
1078 c8 c4. } \\ { c2 c2 } >
1081 LilyPond also vertically shifts rests that are opposite of a stem.
1083 @lilypond[singleline,fragment,verbatim]
1084 \context Voice < c''4 \\ r4 >
1087 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1091 Resolving collisions is a very intricate subject, and LilyPond only
1092 handles a few situations. When it can not cope, you are advised to use
1093 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
1094 rests to override typesetting decisions.
1099 Beams are used to group short notes into chunks that are aligned with
1100 the metrum. They are inserted automatically in most cases.
1102 @lilypond[fragment,verbatim, relative=2]
1103 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1106 If you're not satisfied with the automatic beaming, you can enter the
1107 beams explicitly. If you have beaming patterns that differ from the
1108 defaults, you can also set the patterns for automatic beamer.
1110 See also @internalsref{Beam}.
1113 @cindex Automatic beams
1114 @subsection Manual beams
1115 @cindex beams, manual
1119 In some cases it may be necessary to override LilyPond's automatic
1120 beaming algorithm. For example, the auto beamer will not beam over
1121 rests or bar lines, If you want that, specify the begin and end point
1122 manually using a @code{[} before the first beamed note and a @code{]}
1123 after the last note:
1125 @lilypond[fragment,relative,verbatim]
1127 r4 [r8 g' a r8] r8 [g | a] r8
1131 @cindex @code{stemLeftBeamCount}
1133 Normally, beaming patterns within a beam are determined automatically.
1134 When this mechanism fouls up, the properties
1135 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1136 be used to control the beam subdivision on a stem. If you set either
1137 property, its value will be used only once, and then it is erased.
1139 @lilypond[fragment,relative,verbatim]
1142 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1145 @cindex @code{stemRightBeamCount}
1148 The property @code{subdivideBeams} can be set in order to subdivide
1149 all 16th or shorter beams at beat positions. This accomplishes the
1150 same effect as twiddling with @code{stemLeftBeamCount} and
1151 @code{stemRightBeamCount}, but it take less typing.
1156 \property Voice.subdivideBeams = ##t
1158 [c32 c c c c c c c c c c c c c c c]
1159 \property Score.beatLength = #(make-moment 1 8)
1160 [c32 c c c c c c c c c c c c c c c]
1164 \notes \relative c' {
1166 \property Voice.subdivideBeams = ##t
1168 [c32 c c c c c c c c c c c c c c c]
1169 \property Score.beatLength = #(make-moment 1 8)
1170 [c32 c c c c c c c c c c c c c c c]
1174 @cindex subdivideBeams
1176 Kneed beams are inserted automatically, when a large gap between two
1177 adjacent beamed notes is detected. This behavior can be tuned through
1178 the grob property @code{auto-knee-gap}.
1180 @cindex beams, kneed
1182 @cindex auto-knee-gap
1186 @c TODO -> why this ref? Document?
1187 @cindex @code{neutral-direction}
1191 Auto knee beams can not be used together with hara kiri staffs.
1195 The Automatic beamer does not put @strong{unfinished} beams on the
1196 last notes of a score.
1198 Formatting of ties is a difficult subject. LilyPond often does not
1199 give optimal results.
1202 * Setting automatic beam behavior ::
1206 @no de Beam typography
1207 @sub section Beam typography
1209 One of the strong points of LilyPond is how beams are formatted. Beams
1210 are quantized, meaning that the left and right endpoints beams start
1211 exactly on staff lines. Without quantization, small wedges of white
1212 space appear between the beam and staff line, and this looks untidy.
1214 Beams are also slope-damped: melodies that go up or down should also
1215 have beams that go up or down, but the slope of the beams should be
1216 less than the slope of the notes themselves.
1218 Some beams should be horizontal. These are so-called concave beams.
1220 [TODO: some pictures.]
1223 @c . {Automatic beams}
1224 @node Setting automatic beam behavior
1225 @subsection Setting automatic beam behavior
1227 @cindex @code{autoBeamSettings}
1228 @cindex @code{(end * * * *)}
1229 @cindex @code{(begin * * * *)}
1230 @cindex automatic beams, tuning
1231 @cindex tuning automatic beaming
1233 In normal time signatures, automatic beams can start on any note but can
1234 only end in a few positions within the measure: beams can end on a beat,
1235 or at durations specified by the properties in
1236 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1237 are defined in @file{scm/auto-beam.scm}.
1239 The value of @code{autoBeamSettings} is changed using
1240 @code{\override} and unset using @code{\revert}:
1242 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1243 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1245 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1246 whether the rule applies to begin or end-points. The quantity
1247 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1248 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1249 signature (wildcards, `@code{* *}' may be entered to designate all time
1252 For example, if you want automatic beams to end on every quarter note,
1253 you can use the following:
1255 \property Voice.autoBeamSettings \override
1256 #'(end * * * *) = #(make-moment 1 4)
1258 Since the duration of a quarter note is 1/4 of a whole note, it is
1259 entered as @code{(make-moment 1 4)}.
1261 The same syntax can be used to specify beam starting points. In this
1262 example, automatic beams can only end on a dotted quarter note.
1264 \property Voice.autoBeamSettings \override
1265 #'(end * * * *) = #(make-moment 3 8)
1267 In 4/4 time signature, this means that automatic beams could end only on
1268 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1269 3/8 has passed within the measure).
1271 You can also restrict rules to specific time signatures. A rule that
1272 should only be applied in @var{N}/@var{M} time signature is formed by
1273 replacing the second asterisks by @var{N} and @var{M}. For example, a
1274 rule for 6/8 time exclusively looks like
1276 \property Voice.autoBeamSettings \override
1277 #'(begin * * 6 8) = ...
1280 If you want a rule to apply to certain types of beams, you can use the
1281 first pair of asterisks. Beams are classified according to the shortest
1282 note they contain. For a beam ending rule that only applies to beams
1283 with 32nd notes (and no shorter notes), you would use @code{(end 1
1287 @c Automatic beams can not be put on the last note in a score.
1289 If a score ends while an automatic beam has not been ended and is still
1290 accepting notes, this last beam will not be typeset at all.
1292 @cindex automatic beam generation
1294 @cindex @code{Voice.autoBeaming}
1297 For melodies that have lyrics, you may want to switch off
1298 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1304 It is not possible to specify beaming parameters for beams with mixed
1305 durations, that differ from the beaming parameters of all separate
1306 durations, i.e., you'll have to specify manual beams to get:
1307 @lilypond[fragment,singleline,relative]
1308 \property Voice.autoBeamSettings
1309 \override #'(end * * * *) = #(make-moment 3 8)
1310 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1313 It is not possible to specify beaming parameters that act differently in
1314 different parts of a measure. This means that it is not possible to use
1315 automatic beaming in irregular meters such as @code{5/8}.
1318 @section Accidentals
1320 This section describes how to change the way that LilyPond automatically
1321 inserts accidentals before the running notes.
1324 * Using the predefined accidental macros::
1325 * Defining your own accidental typesettings::
1328 @node Using the predefined accidental macros
1329 @subsection Using the predefined accidental macros
1330 The constructs for describing the accidental typesetting rules are
1331 quite hairy, so non-experts should stick to the macros defined in
1332 @file{ly/property-init.ly}.
1333 @cindex @file{property-init.ly}
1335 The normal way of using the macros is to enter the macro name right after the
1336 creation of the context in which the accidental typesetting described
1337 by the macro is to take effect. I.e. if you want to use
1338 piano-accidentals in a pianostaff then you issue
1339 @code{\pianoAccidentals} first thing after the creation of the piano
1343 \notes \relative c'' <
1344 \context Staff = sa @{ cis4 d e2 @}
1345 \context GrandStaff <
1347 \context Staff = sb @{ cis4 d e2 @}
1348 \context Staff = sc @{ es2 c @}
1350 \context Staff = sd @{ es2 c @}
1354 @lilypond[singleline]
1356 \notes \relative c'' <
1357 \context Staff = sa { cis4 d e2 }
1358 \context GrandStaff <
1360 \context Staff = sb { cis4 d e2 }
1361 \context Staff = sc { es2 c }
1363 \context Staff = sd { es2 c }
1368 minimumVerticalExtent = #'(-4.0 . 4.0)
1376 @item \defaultAccidentals
1377 @cindex @code{\defaultAccidentals}
1378 This is the default typesetting behaviour. It should correspond
1379 to 18th century common practice: Accidentals are
1380 remembered to the end of the measure in which they occur and
1381 only on their own octave.
1383 @item \voiceAccidentals
1384 @cindex @code{\voiceAccidentals}
1385 The normal behaviour is to remember the accidentals on
1387 This macro, however, typesets accidentals individually for each
1389 Apart from that the rule is similar to
1390 @code{\defaultAccidentals}.
1392 Warning: This leads to some weird and often unwanted results
1393 because accidentals from one voice DO NOT get cancelled in other
1395 @lilypond[singleline,relative,fragment,verbatim]
1398 \context Voice=va { \voiceOne es g }
1399 \context Voice=vb { \voiceTwo c, e }
1402 Hence you should only use @code{\voiceAccidentals}
1403 if the voices are to be read solely by
1404 individual musicians. if the staff should be readable also
1405 by one musician/conductor then you should use
1406 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1409 @item \modernAccidentals
1410 @cindex @code{\modernAccidentals}
1411 This rule should correspond to the common practice in the 20th
1413 The rule is a bit more complex than @code{\defaultAccidentals}:
1414 You get all the same accidentals, but temporary
1415 accidentals also get cancelled in other octaves. Further more,
1416 in the same octave, they also get cancelled in the following measure:
1417 @lilypond[singleline,fragment,verbatim]
1419 cis' c'' cis'2 | c'' c'
1422 @item \modernCautionaries
1423 @cindex @code{\modernCautionaries}
1424 This rule is similar to @code{\modernAccidentals}, but the
1425 ``extra'' accidentals (the ones not typeset by
1426 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1427 (i.e. in reduced size):
1428 @lilypond[singleline,fragment,verbatim]
1430 cis' c'' cis'2 | c'' c'
1433 @item \modernVoiceAccidentals
1434 @cindex @code{\modernVoiceAccidentals}
1435 Multivoice accidentals to be read both by musicians playing one voice
1436 and musicians playing all voices.
1438 Accidentals are typeset for each voice, but they ARE cancelled
1439 across voices in the same @internalsref{Staff}.
1441 @item \modernVoiceCautionaries
1442 @cindex @code{\modernVoiceCautionaries}
1443 The same as @code{\modernVoiceAccidentals}, but with the
1444 extra accidentals (the ones not typeset by
1445 @code{\voiceAccidentals}) typeset as cautionaries.
1446 Notice that even though all accidentals typeset by
1447 @code{\defaultAccidentals} ARE typeset by this macro then some
1448 of them are typeset as cautionaries.
1450 @item \pianoAccidentals
1451 @cindex @code{\pianoAccidentals}
1452 20th century practice for piano notation. Very similar to
1453 @code{\modernAccidentals} but accidentals also get cancelled
1454 across the staves in the same @internalsref{GrandStaff} or
1455 @internalsref{PianoStaff}.
1457 @item \pianoCautionaries
1458 @cindex @code{\pianoCautionaries}
1459 As @code{\pianoAccidentals} but with the extra accidentals
1460 typeset as cationaries.
1463 @cindex @code{\noResetKey}
1464 Same as @code{\defaultAccidentals} but with accidentals lasting
1465 ``forever'' and not only until the next measure:
1466 @lilypond[singleline,fragment,verbatim,relative]
1471 @item \forgetAccidentals
1472 @cindex @code{\forgetAccidentals}
1473 This is sort of the opposite of @code{\noResetKey}: Accidentals
1474 are not remembered at all - and hence all accidentals are
1475 typeset relative to the key signature, regardless of what was
1476 before in the music:
1477 @lilypond[singleline,fragment,verbatim,relative]
1479 \key d\major c4 c cis cis d d dis dis
1483 @node Defining your own accidental typesettings
1484 @subsection Defining your own accidental typesettings
1486 This section must be considered gurus-only, and hence it must be
1487 sufficient with a short description of the system and a reference to
1488 the internal documentation.
1490 The idea of the algorithm is to try several different rules and then
1491 use the rule that gives the highest number of accidentals.
1492 Each rule cosists of
1495 In which context is the rule applied. I.e. if context is
1496 @internalsref{Score} then all staves share accidentals, and if
1497 context is @internalsref{Staff} then all voices in the same
1498 staff share accidentals, but staves don't - like normally.
1500 Whether the accidental changes all octaves or only the current
1503 Over how many barlines the accidental lasts.
1504 If lazyness is @code{-1} then the accidental is forget
1505 immidiately, and if lazyness is @code{#t} then the accidental
1509 As described in the internal documentation of
1510 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1511 @code{autoCautionaries} contain lists of rule descriptions. Notice
1512 that the contexts must be listed from in to out - that is
1513 @internalsref{Thread} before @internalsref{Voice},
1514 @internalsref{Voice} before @internalsref{Staff}, etc.
1515 see the macros in @file{ly/property-init.ly} for examples of how the
1520 Currently the simultaneous notes are considered to be entered in
1521 sequential mode. This means that in a chord the accidentals are
1522 typeset as if the notes in the chord happened one at a time - in the
1523 order in which they appear in the input file.
1525 Of course this is only a problem when you have simultainous notes
1526 which accidentals should depend on each other.
1527 Notice that the problem only occurs when using non-default accidentals
1528 - as the default accidentals only depend on other accidentals on the
1529 same staff and same pitch and hence cannot depend on other
1532 This example shows two examples of the same music giving different
1533 accidentals depending on the order in which the notes occur in the
1536 @lilypond[singleline,fragment,verbatim]
1537 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1538 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1541 The only solution is to manually insert the problematic
1542 accidentals using @code{!} and @code{?}.
1544 @node Expressive marks
1545 @section Expressive marks
1560 A slur indicates that notes are to be played bound or @emph{legato}.
1561 They are entered using parentheses:
1562 @lilypond[fragment,verbatim,center]
1563 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1566 See also @seeinternals{Slur}.
1568 Slurs avoid crossing stems, and are generally attached to note heads.
1569 However, in some situations with beams, slurs may be attached to stem
1570 ends. If you want to override this layout you can do this through the
1571 grob-property @code{attachment} of @internalsref{Slur} in
1572 @internalsref{Voice} context It's value is a pair of symbols, specifying
1573 the attachment type of the left and right end points.
1575 @lilypond[fragment,relative,verbatim]
1577 \property Voice.Stem \set #'length = #5.5
1579 \property Voice.Slur \set #'attachment = #'(stem . stem)
1583 If a slur would strike through a stem or beam, the slur will be moved
1584 away upward or downward. If this happens, attaching the slur to the
1585 stems might look better:
1587 @lilypond[fragment,relative,verbatim]
1590 \property Voice.Slur \set #'attachment = #'(stem . stem)
1595 Similarly, the curvature of a slur is adjusted to stay clear of note
1596 heads and stems. When that would increase the curvature too much, the
1597 slur is reverted to its default shape. The threshold for this
1598 decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
1599 It is loosely related to the enclosed area between the slur and the
1600 notes. Usually, the default setting works well, but in some cases you
1601 may prefer a curved slur when LilyPond decides for a vertically moved
1602 one. You can indicate this preference by increasing the
1603 @code{beautiful} value:
1605 @lilyp ond[verbatim,singleline,relative]
1607 c16( a' f' a a f a, )c,
1608 c( a' f' a a f d, )c
1609 \property Voice.Slur \override #'beautiful = #5.0
1610 c( a' f' a a f d, )c
1616 Producing nice slurs is a difficult problem, and LilyPond currently
1617 uses a simple, empiric method to produce slurs. In some cases, the
1618 results of this method are ugly.
1621 This is reflected by the
1622 @code{beautiful} property, which it is an arbitrary parameter in the
1623 slur formatter. Useful values can only be determined by trial and
1627 @cindex Adjusting slurs
1629 @node Phrasing slurs
1630 @subsection Phrasing slurs
1632 @cindex phrasing slurs
1633 @cindex phrasing marks
1635 A phrasing slur (or phrasing mark) connects chords and is used to
1636 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1639 @lilypond[fragment,verbatim,center,relative]
1640 \time 6/4 c' \( d () e f () e \) d
1643 Typographically, the phrasing slur behaves almost exactly like a normal
1644 slur. See also @seeinternals{PhrasingSlur}.
1648 @subsection Breath marks
1650 Breath marks are entered using @code{\breathe}. See also
1651 @seeinternals{BreathingSign}.
1653 @lilypond[fragment,relative]
1662 @cindex beats per minute
1663 @cindex metronome marking
1665 Metronome settings can be entered as follows:
1667 @cindex @code{\tempo}
1669 \tempo @var{duration} = @var{perminute}
1672 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1677 The tempo setting is not printed, but is only used in the MIDI
1678 output. You can trick lily into producing a metronome mark,
1679 though. Details are in @ref{Text markup}.
1684 @subsection Text spanners
1685 @cindex Text spanners
1687 Some textual indications, e.g. rallentando or accelerando, often extend
1688 over many measures. This is indicated by following the text with a
1689 dotted line. You can create such texts using text spanners. The syntax
1692 \spanrequest \start "text"
1693 \spanrequest \stop "text"
1695 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1696 in @internalsref{Voice} context). The string to be printed, as well as the
1697 style is set through grob properties.
1699 An application---or rather, a hack---is to fake octavation indications.
1700 @lilypond[fragment,relative,verbatim]
1701 \relative c' { a''' b c a
1702 \property Voice.TextSpanner \set #'type = #'dotted-line
1703 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1704 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1705 \property Staff.centralCPosition = #-13
1706 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1724 @subsection Articulations
1725 @cindex Articulations
1727 @cindex articulations
1731 A variety of symbols can appear above and below notes to indicate
1732 different characteristics of the performance. They are added to a note
1733 by adding a dash and the the character signifying the
1734 articulation. They are demonstrated here.
1735 @lilypond[singleline]
1737 \notes \context Voice {
1738 \property Voice.TextScript \set #'font-family = #'typewriter
1739 \property Voice.TextScript \set #'font-shape = #'upright
1745 c''4-^_"c-\\^{ }" s4
1750 The script is automatically placed, but if you need to force
1751 directions, you can use @code{_} to force them down, or @code{^} to
1753 @lilypond[fragment, verbatim]
1758 Other symbols can be added using the syntax
1759 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1760 using @code{^} and @code{_}.
1764 @cindex staccatissimo
1772 @cindex organ pedal marks
1781 @cindex prallmordent
1785 @cindex thumb marking
1792 \property Score.LyricText \override #'font-family =#'typewriter
1793 \property Score.LyricText \override #'font-shape = #'upright
1794 \context Staff \notes {
1795 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1796 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1797 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1798 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1799 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1800 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1801 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1802 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1804 \context Lyrics \lyrics {
1805 accent__ marcato__ staccatissimo__ fermata
1806 stopped__ staccato__ tenuto__ upbow
1807 downbow__ lheel__ rheel__ ltoe
1808 rtoe__ turn__ open__ flageolet
1809 reverseturn__ trill__ prall__ mordent
1810 prallprall__ prallmordent__ uprall__ downprall
1811 upmordent__ downmordent__ pralldown__ prallup__
1812 lineprall__ thumb__ segno__ coda
1816 linewidth = 5.875\in
1825 Fingering instructions can also be entered in this shorthand. For
1826 finger changes, use markup texts:
1828 @lilypond[verbatim, singleline, fragment]
1829 c'4-1 c'4-2 c'4-3 c'4-4
1834 @cindex @code{\script}
1839 See also @seeinternals{Script} and @seeinternals{Fingering}.
1843 All of these note ornaments appear in the printed output but have no
1844 effect on the MIDI rendering of the music.
1846 Unfortunately, there is no support for adding fingering instructions or
1847 ornaments to individual note heads. Some hacks exist, though. See
1848 @file{input/test/script-horizontal.ly}.
1853 @subsection Text scripts
1854 @cindex Text scripts
1856 In addition, it is possible to place arbitrary strings of text or markup
1857 text (see @ref{Text markup}) above or below notes by using a string:
1860 By default, these indications do not influence the note spacing, but
1861 by using the command @code{\fatText}, the widths will be taken into
1864 @lilypond[fragment,singleline,verbatim] \relative c' {
1865 c4^"longtext" \fatText c4_"longlongtext" c4 }
1868 It is possible to use @TeX{} commands in the strings, but this should be
1869 avoided because it makes it impossible for LilyPond to compute the
1870 exact length of the string, which may lead to collisions. Also, @TeX{}
1871 commands won't work with direct PostScript output.
1872 @c (see @ref{PostScript output}).
1874 Text scripts are created in form of @internalsref{TextScript} grobs, in
1875 @internalsref{Voice} context.
1877 @ref{Text markup} describes how to change the font or access
1878 special symbols in text scripts.
1883 @subsection Grace notes
1887 @cindex @code{\grace}
1891 Grace notes are ornaments are written out ornaments
1892 @lilypond[relative=2,verbatim,ifragment]
1893 c4 \grace c16 c4 \grace { [c16 d16] } c4
1896 In normal notation, grace notes are supposed to take up no logical
1897 time in a measure. Such an idea is practical for normal notation, but
1898 is not strict enough to put it into a program. The model that LilyPond
1899 uses for grace notes internally is that all timing is done in two
1902 Every point in musical time consists of two rational numbers: one
1903 denotes the logical time, one denotes the grace timing. The above
1904 example is shown here with timing tuples.
1907 \score { \notes \relative c''{
1908 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1909 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1911 \paper { linewidth = 8.\cm }
1915 The advantage of this approach is that you can use almost any lilypond
1916 construction together with grace notes, for example slurs and clef
1917 changes may appear halfway in between grace notes:
1919 @lilypond[relative=2,verbatim,fragment]
1920 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
1923 The placement of these grace notes is synchronized between different
1924 staffs, using this grace timing.
1926 @lilypond[relative=2,verbatim,fragment]
1927 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
1928 \context Staff = SB { c4 \grace { g8 b } c4 } >
1932 Unbeamed eighth notes and shorter by default have a slash through the
1933 stem. This can be controlled with grob property @code{flag-style} of
1934 @internalsref{Stem}. The change in formatting is accomplished by
1935 inserting @code{\startGraceMusic} before handling the grace notes, and
1936 @code{\stopGraceMusic} after finishing the grace notes. You can add to
1937 these definitions to globally change grace note formatting. The
1938 standard definitions are in @file{ly/grace-init.ly}.
1941 @lilypond[fragment,verbatim]
1942 \relative c'' \context Voice {
1943 \grace c8 c4 \grace { [c16 c16] } c4
1945 \property Voice.Stem \override #'flag-style = #'()
1947 \property Voice.Stem \revert #'flag-style
1954 Grace note synchronization can also lead to surprises. Staff notation,
1955 such as key signatures, barlines, etc. are also synchronized. Take
1956 care when you mix staffs with grace notes and staffs without.
1958 @lilypond[relative=2,verbatim,fragment]
1959 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
1960 \context Staff = SB { c4 \bar "|:" d4 } >
1963 Grace sections should only be used within sequential music
1964 expressions. Nesting, juxtaposing, or ending sequential music with a
1965 grace section is not supported, and might produce crashes or other
1977 @subsection Glissando
1980 @cindex @code{\glissando}
1982 A glissando line can be requested by attaching a @code{\glissando} to
1985 @lilypond[fragment,relative,verbatim]
1991 Printing of an additional text (such as @emph{gliss.}) must be done
1992 manually. See also @seeinternals{Glissando}.
1998 @subsection Dynamics
2011 @cindex @code{\ffff}
2021 Absolute dynamic marks are specified using an identifier after a
2022 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2023 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2024 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2025 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2027 @lilypond[verbatim,singleline,fragment,relative]
2028 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2034 @cindex @code{\decr}
2035 @cindex @code{\rced}
2041 A crescendo mark is started with @code{\cr} and terminated with
2042 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
2043 started with @code{\decr} and terminated with @code{\rced}. There are
2044 also shorthands for these marks. A crescendo can be started with
2045 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2046 can be terminated with @code{\!}. Note that @code{\!} must go before
2047 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2048 after the last note. Because these marks are bound to notes, if you
2049 want several marks during one note, you have to use spacer notes.
2051 @lilypond[fragment,verbatim,center]
2052 c'' \< \! c'' d'' \decr e'' \rced
2053 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2056 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2057 is an example how to do it:
2059 @lilypond[fragment,relative=2,verbatim]
2060 c4 \cresc c4 \endcresc c4
2067 You can also supply your own texts:
2068 @lilypond[fragment,relative,verbatim]
2070 \property Voice.crescendoText = "cresc. poco"
2071 \property Voice.crescendoSpanner = #'dashed-line
2078 Dynamics are grobs of @internalsref{DynamicText} and
2079 @internalsref{Hairpin}. Vertical positioning of these symbols is
2080 handled by the @internalsref{DynamicLineSpanner} grob. If you want to
2081 adjust padding or vertical direction of the dynamics, you must set
2082 properties for the @internalsref{DynamicLineSpanner} grob. Predefined
2083 identifiers to set the vertical direction are \dynamicUp and
2086 @cindex direction, of dynamics
2087 @cindex @code{\dynamicDown}
2088 @cindex @code{\dynamicUp}
2096 @cindex @code{\repeat}
2098 To specify repeats, use the @code{\repeat} keyword. Since repeats
2099 should work differently when played or printed, there are a few
2100 different variants of repeats.
2104 Repeated music is fully written (played) out. Useful for MIDI
2105 output, and entering repetitive music.
2108 This is the normal notation: Repeats are not written out, but
2109 alternative endings (voltas) are printed, left to right.
2112 Alternative endings are written stacked. This has limited use but may be
2113 used to typeset two lines of lyrics in songs with repeats, see
2114 @file{input/star-spangled-banner.ly}.
2120 Make beat or measure repeats. These look like percent signs.
2126 * Repeats and MIDI::
2127 * Manual repeat commands::
2129 * Tremolo subdivisions::
2134 @subsection Repeat syntax
2136 The syntax for repeats is
2139 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2142 If you have alternative endings, you may add
2143 @cindex @code{\alternative}
2145 \alternative @code{@{} @var{alternative1}
2147 @var{alternative3} @dots{} @code{@}}
2149 where each @var{alternative} is a music expression.
2151 Normal notation repeats are used like this:
2152 @lilypond[fragment,verbatim]
2154 \repeat volta 2 { c'4 d' e' f' }
2155 \repeat volta 2 { f' e' d' c' }
2158 With alternative endings:
2159 @lilypond[fragment,verbatim]
2161 \repeat volta 2 {c'4 d' e' f'}
2162 \alternative { {d'2 d'} {f' f} }
2165 Folded repeats look like this:
2168 @lilypond[fragment,verbatim]
2170 \repeat fold 2 {c'4 d' e' f'}
2171 \alternative { {d'2 d'} {f' f} }
2175 If you don't give enough alternatives for all of the repeats, then
2176 the first alternative is assumed to be repeated often enough to equal
2177 the specified number of repeats.
2179 @lilypond[fragment,verbatim]
2183 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2184 \alternative { { g4 g g } { a | a a a a | b2. } }
2189 @node Repeats and MIDI
2190 @subsection Repeats and MIDI
2192 @cindex expanding repeats
2194 For instructions on how to unfoldi repeats for MIDI output, see
2195 the example file @file{input/test/unfold-all-repeats.ly}.
2200 Notice that timing information is not remembered at the start of an
2201 alternative, so you have to reset timing information after a repeat,
2202 e.g. using a bar-check (See @ref{Bar check}), setting
2203 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2204 are also not repeated.
2206 It is possible to nest @code{\repeat}s, although this probably is only
2207 meaningful for unfolded repeats.
2209 Folded repeats offer little more over simultaneous music.
2211 @node Manual repeat commands
2212 @subsection Manual repeat commands
2214 @cindex @code{repeatCommands}
2216 The property @code{repeatCommands} can be used to control the layout of
2217 repeats. Its value is a Scheme list of repeat commands, where each repeat
2225 @item (volta . @var{text})
2226 Print a volta bracket saying @var{text}.
2228 Stop a running volta bracket
2231 @lilypond[verbatim, fragment]
2233 \property Score.repeatCommands = #'((volta "93") end-repeat)
2235 \property Score.repeatCommands = #'((volta #f))
2240 Repeats brackets are @internalsref{VoltaBracket} grobs.
2242 @node Tremolo repeats
2243 @subsection Tremolo repeats
2244 @cindex tremolo beams
2246 To place tremolo marks between notes, use @code{\repeat} with tremolo
2248 @lilypond[verbatim,center,singleline]
2250 \context Voice \notes\relative c' {
2251 \repeat "tremolo" 8 { c16 d16 }
2252 \repeat "tremolo" 4 { c16 d16 }
2253 \repeat "tremolo" 2 { c16 d16 }
2254 \repeat "tremolo" 4 c16
2259 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
2260 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2261 entered without @code{@{} and @code{@}}.
2265 Only powers of two and undotted notes are supported repeat counts.
2267 @node Tremolo subdivisions
2268 @subsection Tremolo subdivisions
2269 @cindex tremolo marks
2270 @cindex @code{tremoloFlags}
2272 Tremolo marks can be printed on a single note by adding
2273 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2274 A @var{length} value of 8 gives one line across the note stem. If the
2275 length is omitted, then then the last value (stored in
2276 @code{Voice.tremoloFlags}) is used.
2278 @lilypond[verbatim,fragment,center]
2279 c'2:8 c':32 | c': c': |
2285 Tremolos in this style do not carry over into the MIDI output.
2288 @node Measure repeats
2289 @subsection Measure repeats
2291 @cindex percent repeats
2292 @cindex measure repeats
2294 In the @code{percent} style, a note pattern can be repeated. It is
2295 printed once, and then the pattern is replaced with a special sign.
2296 Patterns of a one and two measures are replaced by percent-like signs,
2297 patterns that divide the measure length are replaced by slashes.
2299 @lilypond[verbatim,singleline]
2300 \context Voice { \repeat "percent" 4 { c'4 }
2301 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2305 The signs are represented by these grobs: @internalsref{RepeatSlash} and
2306 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2310 You can not nest percent repeats, e.g. by filling in the first measure
2311 with slashes, and repeating that measure with percents.
2313 @node Rhythmic music
2314 @section Rhythmic music
2316 Sometimes you might want to show only the rhythm of a melody. This can
2317 be done with the rhythmic staff. All pitches of notes on such a staff
2318 are squashed, and the staff itself looks has a single staff line:
2320 @lilypond[fragment,relative,verbatim]
2321 \context RhythmicStaff {
2323 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2328 * Percussion staves::
2331 @node Percussion staves
2332 @subsection Percussion staves
2335 To typeset more than one piece of percussion to be played by the same
2336 musician one typically uses a multiline staff where each staff
2337 position refers to a specific piece of percussion.
2339 LilyPond is shipped with a bunch of scheme functions which allows you
2340 to do this fairly easily.
2342 The system is based on the general midi drum-pitches.
2343 In order to use the drum pitches you include
2344 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2345 variable @code{drum-pitch-names} - which definition can be read in
2346 @file{scm/drums.scm}. You see that each piece of percussion has a full
2347 name and an abbreviated name - and you may freely select whether to
2348 refer to the full name or the abbreviation in your music definition.
2350 To typeset the music on a staff you apply the scheme function
2351 @code{drums->paper} to the percussion music. This function takes a
2352 list of percussion instrument names, notehead scripts and staff
2353 positions (that is: pitches relative to the C-clef) and uses this to
2354 transform the input music by moving the pitch, changing the notehead
2355 and (optionally) adding a script:
2356 @lilypond[singleline,verbatim]
2357 \include "drumpitch-init.ly"
2358 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2359 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2361 \apply #(drums->paper 'drums) \context Staff <
2363 \context Voice = up { \voiceOne \up }
2364 \context Voice = down { \voiceTwo \down }
2369 In the above example the music was transformed using the list @code{'drums}.
2370 Currently the following lists are defined in @file{scm/drums.scm}:
2373 To typeset a typical drum kit on a five line staff.
2375 \include "drumpitch-init.ly"
2376 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2377 bd sn ss tomh tommh tomml toml tomfh tomfl }
2378 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2379 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2382 \apply #(drums->paper 'drums) \context Staff <
2386 \context Lyrics \nam
2391 \remove Bar_engraver
2392 \remove Time_signature_engraver
2393 minimumVerticalExtent = #'(-4.0 . 5.0)
2397 \remove Stem_engraver
2402 Notice that the scheme supports six different toms.
2403 If you are using fewer toms then you simply select the toms that produce
2404 the desired result - i.e. to get toms on the three middle lines you
2405 use @code{tommh}, @code{tomml} and @code{tomfh}.
2407 Because the general midi contain no rimshots we use the sidestick for
2408 this purpose instead.
2410 To typeset timbales on a two line staff.
2411 @lilypond[singleline]
2412 \include "drumpitch-init.ly"
2413 nam = \lyrics { timh ssh timl ssl cb }
2414 mus = \notes { timh ssh timl ssl cb s16 }
2417 \apply #(drums->paper 'timbales) \context Staff <
2421 \context Lyrics \nam
2426 \remove Bar_engraver
2427 \remove Time_signature_engraver
2428 StaffSymbol \override #'line-count = #2
2429 StaffSymbol \override #'staff-space = #2
2430 minimumVerticalExtent = #'(-3.0 . 4.0)
2434 \remove Stem_engraver
2441 To typeset congas on a two line staff.
2442 @lilypond[singleline]
2443 \include "drumpitch-init.ly"
2444 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2445 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2448 \apply #(drums->paper 'congas) \context Staff <
2452 \context Lyrics \nam
2457 \remove Bar_engraver
2458 \remove Time_signature_engraver
2459 StaffSymbol \override #'line-count = #2
2460 StaffSymbol \override #'staff-space = #2
2461 minimumVerticalExtent = #'(-3.0 . 4.0)
2465 \remove Stem_engraver
2471 To typeset bongos on a two line staff.
2472 @lilypond[singleline]
2473 \include "drumpitch-init.ly"
2474 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2475 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2478 \apply #(drums->paper 'bongos) \context Staff <
2482 \context Lyrics \nam
2487 \remove Bar_engraver
2488 \remove Time_signature_engraver
2489 StaffSymbol \override #'line-count = #2
2490 StaffSymbol \override #'staff-space = #2
2491 minimumVerticalExtent = #'(-3.0 . 4.0)
2495 \remove Stem_engraver
2501 To typeset all kinds of simple percussion on one line staves.
2502 @lilypond[singleline]
2503 \include "drumpitch-init.ly"
2504 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2505 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2508 \apply #(drums->paper 'percussion) \context Staff <
2512 \context Lyrics \nam
2517 \remove Bar_engraver
2518 \remove Time_signature_engraver
2519 StaffSymbol \override #'line-count = #1
2520 minimumVerticalExtent = #'(-2.0 . 3.0)
2524 \remove Stem_engraver
2531 If you don't like any of the predefined lists you can define your own
2532 list at the top of your file:
2534 @lilypond[singleline, verbatim]
2536 (bassdrum default #f ,(make-pitch -1 2 0))
2537 (snare default #f ,(make-pitch 0 1 0))
2538 (hihat cross #f ,(make-pitch 0 5 0))
2539 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2540 (lowtom diamond #f ,(make-pitch -1 6 0))
2542 \include "drumpitch-init.ly"
2543 up = \notes { hh8 hh hh hh hhp4 hhp }
2544 down = \notes { bd4 sn bd toml8 toml }
2546 \apply #(drums->paper 'mydrums) \context Staff <
2548 \context Voice = up { \voiceOne \up }
2549 \context Voice = down { \voiceTwo \down }
2554 To use a modified existing list instead of building your own from
2555 scratch you can append your modifications to the start of the existing
2559 #(define mydrums (append `(
2560 (bassdrum default #f ,(make-pitch -1 2 0))
2561 (lowtom diamond #f ,(make-pitch -1 6 0))
2565 @c FIXME: Too many levels of headers when using subsubsections.
2566 @c Perhaps junk subsection ``Percussion staves''
2567 @subsubsection Percussion staves with normal staves
2568 When you include @file{drumpitch-init.ly} then the default pitches
2569 are overridden so that you after the inclusion cannot use the common
2570 dutch pitch names anymore. Hence you might wan't to reinclude
2571 @file{nederlands.ly} after the drum-pattern-definitions:
2572 @lilypond[singleline,verbatim]
2573 \include "drumpitch-init.ly"
2574 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2575 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2576 \include "nederlands.ly"
2577 bass = \notes \transpose c, { a4. e8 r e g e }
2580 \apply #(drums->paper 'drums) \context Staff = drums <
2582 \context Voice = up { \voiceOne \up }
2583 \context Voice = down { \voiceTwo \down }
2585 \context Staff = bass { \clef "F_8" \bass }
2590 @subsubsection Percussion midi output
2591 In order to produce correct midi output you need to produce two score
2592 blocks - one for the paper and one for the midi.
2593 To use the percussion channel you set the property @code{instrument}
2594 to @code{'drums}. Because the drum-pitches themself are similar to the
2595 general midi pitches all you have to do is to insert the voices with
2596 none of the scheme functions to get the correct midi output:
2600 \apply #(drums->paper 'mydrums) \context Staff <
2602 \context Voice = up @{ \voiceOne \up @}
2603 \context Voice = down @{ \voiceTwo \down @}
2609 \property Staff.instrument = #'drums
2618 This scheme is to be considered a temporary implementation. Even
2619 though the scheme will probably keep on working then the future might
2620 bring some other way of typesetting drums, and probably
2621 there will be made no great efforts in keeping things downwards
2626 @section Piano music
2628 Piano music is an odd type of notation. Piano staves are two normal
2629 staves coupled with a brace. The staves are largely independent, but
2630 sometimes voices can cross between the two staves. The
2631 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2632 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2633 other pianistic peculiarities.
2636 * Automatic staff changes::
2637 * Manual staff switches::
2640 * Voice follower lines::
2644 @c . {Automatic staff changes}
2645 @node Automatic staff changes
2646 @subsection Automatic staff changes
2647 @cindex Automatic staff changes
2649 Voices can switch automatically between the top and the bottom
2650 staff. The syntax for this is
2652 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2654 The autochanger switches on basis of pitch (central C is the turning
2655 point), and it looks ahead skipping over rests to switch rests in
2656 advance. Here is a practical example:
2658 @lilypond[verbatim,singleline]
2659 \score { \notes \context PianoStaff <
2660 \context Staff = "up" {
2661 \autochange Staff \context Voice = VA < \relative c' {
2662 g4 a b c d r4 a g } > }
2663 \context Staff = "down" {
2668 Spacer rests are used to prevent the bottom staff from
2669 terminating too soon.
2672 @node Manual staff switches
2673 @subsection Manual staff switches
2675 @cindex manual staff switches
2676 @cindex staff switch, manual
2678 Voices can be switched between staves manually, using the following command:
2680 \translator Staff = @var{staffname} @var{music}
2682 The string @var{staffname} is the name of the staff. It switches the
2683 current voice from its current staff to the Staff called
2684 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2692 Piano pedal instruction can be expressed using
2693 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2694 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2696 These identifiers are shorthands for spanner commands of the types
2697 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2699 @lilypond[fragment,verbatim]
2700 c''4 \spanrequest \start "Sustain" c''4
2701 c''4 \spanrequest \stop "Sustain"
2704 The symbols that are printed can be modified by setting
2705 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2706 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2707 @rgrob{SustainPedal}, for example, for more information.
2709 Pedals can also be indicated by a sequence of brackets, by setting the
2710 @code{pedal-type} property of SustainPedal grobs:
2712 @lilypond[fragment,verbatim]
2713 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2714 c''4 \sustainDown d''4 e''4 a'4
2715 \sustainUp \sustainDown
2716 f'4 g'4 a'4 \sustainUp
2719 A third style of pedal notation is a mixture of text and brackets,
2720 obtained by setting @code{pedal-type} to @code{mixed}:
2722 @lilypond[fragment,verbatim]
2723 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2724 c''4 \sustainDown d''4 e''4 c'4
2725 \sustainUp \sustainDown
2726 f'4 g'4 a'4 \sustainUp
2729 The default '*Ped' style for sustain and damper pedals corresponds to
2730 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2731 for a sostenuto pedal:
2733 @lilypond[fragment,verbatim]
2734 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2737 For fine-tuning of the appearance of a pedal bracket, the properties
2738 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2739 @code{PianoPedalBracket} grobs (see the detailed documentation of
2740 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2741 may be extended to the end of the note head.
2743 @lilypond[fragment,verbatim]
2744 \property Staff.PianoPedalBracket \override
2745 #'shorten-pair = #'(0 . -1.0)
2746 c''4 \sostenutoDown d''4 e''4 c'4
2747 f'4 g'4 a'4 \sostenutoUp
2754 @subsection Arpeggio
2757 @cindex broken arpeggio
2758 @cindex @code{\arpeggio}
2760 You can specify an arpeggio sign on a chord by attaching an
2761 @code{\arpeggio} to a note of the chord.
2764 @lilypond[fragment,relative,verbatim]
2765 \context Voice <c\arpeggio e g c>
2768 When an arpeggio crosses staves in piano music, you attach an arpeggio
2769 to the chords in both staves, and set
2770 @code{PianoStaff.connectArpeggios}.
2772 @lilypond[fragment,relative,verbatim]
2773 \context PianoStaff <
2774 \property PianoStaff.connectArpeggios = ##t
2775 \context Voice = one { <c'\arpeggio e g c> }
2776 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2780 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2781 are @code{PianoStaff.Arpeggio}.
2783 To add an arrow head to explicitly specify the direction of the
2784 arpeggio, you should set the arpeggio grob property
2785 @code{arpeggio-direction}.
2787 @lilypond[fragment,relative,verbatim]
2789 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2791 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2796 A square bracket on the left indicates that the player should not
2797 arpeggiate the chord. To draw these brackets, set the
2798 @code{molecule-callback} property of @code{Arpeggio} or
2799 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2800 @code{\arpeggio} statements within the chords as before.
2802 @lilypond[fragment,relative,verbatim]
2803 \context PianoStaff <
2804 \property PianoStaff.connectArpeggios = ##t
2805 \property PianoStaff.Arpeggio \override
2806 #'molecule-callback = \arpeggioBracket
2807 \context Voice = one { <c'\arpeggio e g c> }
2808 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2815 It is not possible to mix connected arpeggios and unconnected
2816 arpeggios in one PianoStaff at the same time.
2820 @node Voice follower lines
2821 @subsection Voice follower lines
2823 @cindex follow voice
2824 @cindex staff switching
2827 @cindex @code{followVoice}
2829 Whenever a voice switches to another staff a line connecting the notes
2830 can be printed automatically. This is enabled if the property
2831 @code{PianoStaff.followVoice} is set to true:
2833 @lilypond[fragment,relative,verbatim]
2834 \context PianoStaff <
2835 \property PianoStaff.followVoice = ##t
2836 \context Staff \context Voice {
2838 \translator Staff=two
2841 \context Staff=two {\clef bass \skip 1*2 }
2845 The associated grob is @internalsref{VoiceFollower}.
2851 Tablature notation is used music for plucked string instruments. It
2852 notates pitches not by using note heads, but by indicating on which
2853 string and fret a note must be played. LilyPond offers limited
2854 support for tablature, by abusing the fingering system.
2857 * Tablatures basic::
2858 * Non-guitar tablatures::
2859 * Tablature in addition to normal staff::
2862 @node Tablatures basic
2863 @subsection Tablatures basic
2864 @cindex Tablatures basic
2866 Tablature can be typeset with Lilypond by using the
2867 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2868 tablature is a recent feature in Lilypond, most of the guitar special
2869 effects such as hammer, pull, bend are not yet supported.
2871 With the @internalsref{TabStaff}, the string number associated to a note
2872 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2873 quarter on the third string. The string 1 is the lowest one, and the
2874 tuning defaults to the standard guitar tuning (with 6 strings).
2876 @lilypond[fragment,verbatim]
2879 \property Staff.Stem \override #'direction = #1
2888 @node Non-guitar tablatures
2889 @subsection Non-guitar tablatures
2890 @cindex Non-guitar tablatures
2892 There are many ways to customize Lilypond tablatures.
2894 First you can change the number of strings, by setting the number of
2895 lines in the @internalsref{TabStaff}. You can change the strings
2896 tuning. A string tuning is given as a Scheme list with one integer
2897 number for each string, the number being the pitch of an open string.
2899 Finally, it is possible to change the Scheme function to format the
2900 tablature note text. The default is @var{fret-number-tablature-format},
2901 which uses the fret number, but for some instruments that may not use
2902 this notation, just create your own tablature-format function. This
2903 function takes three argument: the string number, the string tuning and
2907 @node Tablature in addition to normal staff
2908 @subsection Tablature in addition to normal staff
2909 @cindex Tablature in addition to normal staff
2911 It is possible to typeset both tablature and a "normal" staff, as
2912 commonly done in many parts.
2914 A common trick for that is to put the notes in a variables, and to hide
2915 the fingering information (which correspond to the string number) for
2924 \context StaffGroup <
2926 % Hide fingering number
2927 \property Staff.Fingering \override #'transparent = ##t
2932 \property Staff.Stem \override #'direction = #1
2946 LilyPond has support for both entering and printing chords.
2947 @lilypond[verbatim,singleline]
2948 twoWays = \notes \transpose c'' {
2958 < \context ChordNames \twoWays
2959 \context Voice \twoWays > }
2962 This example also shows that the chord printing routines do not try to
2963 be intelligent. If you enter @code{f bes d}, it does not interpret
2964 this as an inversion.
2966 As you can see chords really are a set of pitches. They are internally
2967 stored as simultaneous music expressions. This means you can enter
2968 chords by name and print them as notes, enter them as notes and print
2969 them as chord names, or (the most common case) enter them by name, and
2974 * Printing named chords::
2979 @subsection Chords mode
2982 Chord mode is a mode where you can input sets of pitches using common
2983 names. It is introduced by the keyword @code{\chords}. It is similar
2984 to note mode, but words are also looked up in a chord modifier table
2985 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
2986 to indicate chord additions and subtractions, so articulation scripts
2987 can not be entered in Chord mode.
2989 Throughout these examples, chords have been shifted around the staff
2990 using @code{\transpose}.
2992 @lilypond[fragment,verbatim]
2996 c:9 c:9-.5+.7+ c:3-.5-
3006 The second type of modifier that may appear after the @code{:} is a
3007 named modifier. Named modifiers are listed in the file
3008 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
3009 @code{min} which lower the 3rd half a step, `@code{aug}' which
3010 raises the 5th, `@code{dim}' which lowers the 5th,
3011 `@code{maj}' which adds a raised 7th, and `@code{sus}'
3012 which replaces the 5th with a 4th.
3014 @lilypond[fragment,verbatim]
3017 c1:m c:min7 c:maj c:aug c:dim c:sus
3023 Chord subtractions are used to eliminate notes from a chord. The
3024 notes to be subtracted are listed after a @code{^} character,
3027 @lilypond[fragment,verbatim,center]
3036 Chord inversions can be specified by appending `@code{/}' and the name
3037 of a single note to a chord. In a chord inversion, the inverted note is
3038 transposed down until it is the lowest note in the chord. If the note
3039 is not in the chord, a warning will be printed.
3041 @lilypond[fragment,verbatim,center]
3051 Bass notes can be added by `@code{/+}' and
3052 the name of a single note to a chord. This has the effect of
3053 adding the specified note to the chord, lowered by an octave,
3054 so it becomes the lowest note in the chord.
3056 @lilypond[fragment,verbatim,center]
3065 The formal syntax for named chords is as follows:
3067 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
3070 @var{tonic} should be the tonic note of the chord, and @var{duration} is
3071 the chord duration in the usual notation. There are two kinds of
3072 modifiers. One type is formed by @emph{chord additions}. Additions are
3073 obtained by listing intervals separated by dots. An interval is written
3074 by its number with an optional @code{+} or @code{-} to indicate raising
3075 or lowering by half a step. Chord additions have two effects: they adds
3076 the specified interval and all lower odd numbered intervals to the
3077 chord, and they may lower or raise the specified interval.
3082 Implementation details are gory. For example @code{c:4} not only adds
3083 a fourth, but also removes the third.
3086 @c . {Printing named chords}
3087 @node Printing named chords
3088 @subsection Printing named chords
3090 @cindex printing chord names
3094 For displaying printed chord names, use the @internalsref{ChordNames} context.
3095 The chords may be entered either using the notation described above, or
3096 directly using simultaneous music.
3098 @lilypond[verbatim,singleline]
3100 \chords {a1 b c} <d f g> <e g b>
3104 \context ChordNames \scheme
3105 \context Staff \transpose c'' \scheme
3110 You can make the chord changes stand out by setting
3111 @code{ChordNames.chordChanges} to true. This will only display chord
3112 names when there's a change in the chords scheme and at the start of a
3117 c1:m c:m \break c:m c:m d
3121 \context ChordNames {
3122 \property ChordNames.chordChanges = ##t
3124 \context Staff \transpose c'' \scheme
3126 \paper{linewidth= 9.\cm}
3130 LilyPond examines chords specified as lists of notes to determine a name
3131 to give the chord. LilyPond will not try to identify chord inversions or
3132 an added bass note, which may result in strange chord names when chords
3133 are entered as a list of pitches:
3135 @lilypond[verbatim,center,singleline]
3144 \context ChordNames \scheme
3145 \context Staff \scheme
3151 By default, a chord name system proposed by Harald Banter (See
3152 @ref{Literature}) is used. The system is very regular and predictable.
3153 Typical American style chord names may be selected by setting the
3154 @code{style} property of the @code{ChordNames.ChordName} grob to
3155 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3157 Routines that determine the names to be printed are written in Scheme,
3158 and may be customized by the user. The code can be found in
3159 @file{scm/chord-name.scm}. Here's an example showing the differences in
3163 @c maybe just junk verbatim option?
3164 @lilypond[verbatim,singleline]
3174 \context ChordNames = banter \scheme
3175 \context ChordNames = american {
3176 \property ChordNames.ChordName \override
3177 #'style = #'american \scheme }
3178 \context ChordNames = jazz {
3179 \property ChordNames.ChordName \override
3180 #'style = #'jazz \scheme }
3181 \context Staff \transpose c'' \scheme
3188 @section Writing parts
3190 Orchestral music involves some special notation, both in the full score,
3191 as in the individual parts. This section explains how to tackle common
3192 problems in orchestral music.
3199 * Instrument names::
3201 * Multi measure rests::
3202 * Automatic part combining::
3203 * Hara kiri staves::
3204 * Sound output for transposing instruments::
3207 @c . {Rehearsal marks}
3208 @node Rehearsal marks
3209 @subsection Rehearsal marks
3210 @cindex Rehearsal marks
3212 @cindex @code{\mark}
3214 To print a rehearsal mark, use the @code{\mark} command.
3215 @lilypond[fragment,verbatim]
3226 As you can see, the mark is incremented automatically if you use
3227 @code{\mark \default}. The value to use is stored in the property
3228 @code{rehearsalMark} is used and automatically incremented. The grob
3229 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3230 @code{input/test/boxed-molecule.ly} if you need boxes around the
3233 The @code{\mark} command can also be used to put signs like coda,
3234 segno and fermatas on a barline. The trick is to use the text markup
3235 mechanism to access the fermata symbol.
3236 @lilypond[fragment,verbatim,relative=1]
3237 c1 \mark #'(music "scripts-ufermata")
3241 The problem is that marks that occur at a line break are typeset only
3242 at the beginning of the next line, opposite to what you want for the
3243 fermata. This can be corrected by the following property setting
3245 \property Score.RehearsalMark \override
3246 #'visibility-lambda = #begin-of-line-invisible
3252 @cindex barlines, putting symbols on
3256 @subsection Bar numbers
3260 @cindex measure numbers
3261 @cindex currentBarNumber
3263 Bar numbers are printed by default at the start of the line. The
3264 number itself is a property that can be set by modifying the
3265 @code{currentBarNumber} property, i.e.
3267 \property Score.currentBarNumber = #217
3270 If you want boxed bar numbers, see the example file
3271 @code{input/test/boxed-molecule.ly}.
3273 See also @seeinternals{BarNumber}.
3277 Printing bar numbers at regular intervals is not implemented.
3278 Barnumbers can collide with the StaffGroup, if there is one at the
3279 top. To solve this, You have to twiddle with the
3280 @internalsref{padding} property of @internalsref{BarNumber} if your
3281 score starts with a @internalsref{StaffGroup}.
3283 @node Instrument names
3284 @subsection Instrument names
3286 In scores, the instrument name is printed before the staff. This can
3287 be done by setting @code{Staff.instrument} and
3288 @code{Staff.instr}. This will print a string before the start of the
3289 staff. For the first start, @code{instrument} is used, for the next
3290 ones @code{instr} is used.
3292 @lilypond[verbatim,singleline]
3293 \property Staff.instrument = "ploink " { c''4 }
3296 You can also use markup texts to construct more complicated instrument
3300 @lilypond[verbatim,singleline]
3302 '((font-relative-size . -2 ) (music "accidentals--1")))
3305 \property Staff.instrument = #`((kern . 0.5) (lines
3306 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3314 When you put a name on a grand staff or piano staff the width of the
3315 brace is not taken into account. You must add extra spaces to the end of
3316 the name to avoid a collision.
3319 @subsection Transpose
3321 @cindex transposition of pitches
3322 @cindex @code{\transpose}
3324 A music expression can be transposed with @code{\transpose}. The syntax
3327 \transpose @var{pitch} @var{musicexpr}
3330 This means that middle C in @var{musicexpr} is transposed to
3333 @code{\transpose} distinguishes between enharmonic pitches: both
3334 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3335 a tone. The first version will print sharps and the second version
3338 @lilypond[singleline, verbatim]
3339 mus =\notes { \key d \major cis d fis g }
3340 \score { \notes \context Staff {
3348 If you want to use both @code{\transpose} and @code{\relative}, then
3349 you must use @code{\transpose} first. @code{\relative} will have no
3350 effect music that appears inside a @code{\transpose}.
3352 @c . {Multi measure rests}
3353 @node Multi measure rests
3354 @subsection Multi measure rests
3355 @cindex Multi measure rests
3359 Multi measure rests are entered using `@code{R}'. It is specifically
3360 meant for full bar rests and for entering parts: the rest can expand to
3362 rests, or it can be printed as a single multimeasure rest This expansion
3363 is controlled by the property @code{Score.skipBars}. If this is set to true,
3364 Lily will not expand empty measures, and the appropriate number is added
3367 @lilypond[fragment,verbatim]
3368 \time 3/4 r2. | R2. | R2.*2
3369 \property Score.skipBars = ##t R2.*17 R2.*4
3372 Notice that the @code{R2.} is printed as a whole rest, centered in the
3375 @cindex whole rests for a full measure
3377 The grob for this object is @internalsref{MultiMeasureRest}.
3381 Currently, there is no way to automatically condense multiple rests
3382 into a single multimeasure rest. Multi measure rests do not take part
3385 @cindex condensing rests
3387 @node Automatic part combining
3388 @subsection Automatic part combining
3389 @cindex automatic part combining
3390 @cindex part combiner
3393 Automatic part combining is used to merge two parts of music onto a
3394 staff in an intelligent way. It is aimed primarily at typesetting
3395 orchestral scores. When the two parts are identical for a period of
3396 time, only one is shown. In places where the two parts differ, they
3397 are typeset as separate voices, and stem directions are set
3398 automatically. Also, solo and @emph{a due} parts can be identified
3401 The syntax for part combining is
3404 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3406 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3407 combined into one context of type @var{context}. The music expressions
3408 must be interpreted by contexts whose names should start with @code{one}
3411 The most useful function of the part combiner is to combine parts into
3412 one voice, as common for wind parts in orchestral scores:
3414 @lilypond[verbatim,singleline,fragment]
3416 \context Voice=one \partcombine Voice
3417 \context Thread=one \relative c'' {
3420 \context Thread=two \relative c'' {
3426 Notice that the first @code{g} appears only once, although it was
3427 specified twice (once in each part). Stem, slur and tie directions are
3428 set automatically, depending whether there is a solo or unisono. The
3429 first part (with context called @code{one}) always gets up stems, and
3430 `solo', while the second (called @code{two}) always gets down stems and
3433 If you just want the merging parts, and not the textual markings, you
3434 may set the property @var{soloADue} to false.
3436 @lilypond[verbatim,singleline,fragment]
3438 \property Staff.soloADue = ##f
3439 \context Voice=one \partcombine Voice
3440 \context Thread=one \relative c'' {
3443 \context Thread=two \relative c'' {
3449 There are a number of other properties that you can use to tweak the
3450 behavior of part combining, refer to the automatically generated
3451 documentation of @reng{Thread_devnull_engraver} and
3452 @reng{Voice_devnull_engraver}. Look at the documentation of the
3453 responsible engravers, @code{Thread_devnull_engraver},
3454 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3458 In @code{soloADue} mode, when the two voices play the same notes on and
3459 off, the part combiner may typeset @code{a2} more than once in a
3462 @lilypond[fragment,singleline]
3464 \context Voice=one \partcombine Voice
3465 \context Thread=one \relative c'' {
3468 \context Thread=two \relative c'' {
3474 @cindex @code{Thread_devnull_engraver}
3475 @cindex @code{Voice_engraver}
3476 @cindex @code{A2_engraver}
3478 @node Hara kiri staves
3479 @subsection Hara kiri staves
3481 In orchestral scores, staff lines that only have rests are usually removed.
3482 This saves some space. LilyPond also supports this through the hara
3483 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3484 the Japanese Samourai warriors.} staff. This staff commits suicide when
3485 it finds itself to be empty after the line-breaking process. It will
3486 not disappear when it contains normal rests, you must use multi measure
3489 The hara kiri staff is specialized version of the @internalsref{Staff}
3490 context. It is available as the context identifier
3491 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3492 example disappears in the second line.
3496 \notes \relative c' <
3497 \context Staff = SA { e4 f g a \break c1 }
3498 \context Staff = SB { c4 d e f \break R1 }
3502 \translator { \HaraKiriStaffContext }
3508 @node Sound output for transposing instruments
3509 @subsection Sound output for transposing instruments
3511 When you want to make a MIDI file from a score containing transposed
3512 and untransposed instruments, you have to instruct LilyPond the pitch
3513 offset (in semitones) for the transposed instruments. This is done
3514 using the @code{transposing} property. It does not affect printed
3517 @cindex @code{transposing}
3520 \property Staff.instrument = #"Cl. in B-flat"
3521 \property Staff.transposing = #-2
3527 @node Ancient notation
3528 @section Ancient notation
3531 * Ancient note heads::
3538 @node Ancient note heads
3539 @subsection Ancient note heads
3541 To get a longa note head, you have to use mensural note heads. This
3542 is accomplished by setting the @code{style} property of the
3543 NoteHead grob to @code{mensural}. There is also a note head style
3544 @code{baroque} which gives mensural note heads for @code{\longa} and
3545 @code{\breve} but standard note heads for shorter notes.
3547 @lilypond[fragment,singleline,verbatim]
3548 \property Voice.NoteHead \set #'style = #'mensural
3549 \property Voice.NoteHead \set #'font-family = #'ancient
3554 @subsection Custodes
3559 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3560 staff context symbol that appears at the end of a staff line. It
3561 anticipates the pitch of the first note(s) of the following line and
3562 thus helps the player or singer to manage line breaks during
3563 performance, thus enhancing readability of a score.
3568 \property Staff.Custos \set #'style = #'mensural
3573 \consists Custos_engraver
3579 Custodes were frequently used in music notation until the 17th century.
3580 There were different appearances for different notation styles.
3581 Nowadays, they have survived only in special forms of musical notation
3582 such as via the @emph{editio vaticana} dating back to the beginning of
3585 For typesetting custodes, just put a @code{Custos_engraver} into the
3586 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3587 block, you can also globally control the appearance of the custos symbol
3588 by setting the custos @code{style} property. Currently supported styles
3589 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3596 \consists Custos_engraver
3597 Custos \override #'style = #'mensural
3602 The property can also be set locally, for example in a @code{\notes}
3607 \property Staff.Custos \override #'style = #'vaticana
3608 c'1 d' e' d' \break c' d' e' d'
3613 @subsection Ancient clefs
3615 LilyPond supports a variety of clefs, many of them ancient. These can
3616 be selected from the @code{ancient} font family, by setting
3617 @code{Staff.clefGlyph}) to one of the following values
3626 @item clefs-vaticana_do
3627 Editio Vaticana style do clef
3628 @item clefs-vaticana_fa
3629 Editio Vaticana style fa clef
3630 @item clefs-medicaea_do
3631 Editio Medicaea style do clef
3632 @item clefs-medicaea_fa
3633 Editio Medicaea style fa clef
3634 @item clefs-mensural1_c
3635 modern style mensural C clef
3636 @item clefs-mensural2_c
3637 historic style small mensural C clef
3638 @item clefs-mensural3_c
3639 historic style big mensural C clef
3640 @item clefs-mensural1_f
3641 historic style traditional mensural F clef
3642 @item clefs-mensural2_f
3643 historic style new mensural F clef
3644 @item clefs-mensural_g
3645 historic style mensural G clef
3646 @item clefs-hufnagel_do
3647 historic style hufnagel do clef
3648 @item clefs-hufnagel_fa
3649 historic style hufnagel fa clef
3650 @item clefs-hufnagel_do_fa
3651 historic style hufnagel combined do/fa clef
3652 @item clefs-percussion
3653 modern style percussion clef
3656 @emph{Modern style} means ``as is typeset in current editions.''
3657 @emph{Historic style} means ``as was typeset or written in contemporary
3658 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3661 @cindex Vaticana, Editio
3662 @cindex Medicaea, Editio
3663 @cindex hufnagel clefs
3667 @subsection Figured bass
3669 @cindex Basso continuo
3671 LilyPond has limited support for figured bass:
3673 @lilypond[verbatim,fragment]
3675 \context FiguredBass
3680 \context Voice { c4 g8 }
3684 The support for figured bass consists of two parts: there is an input
3685 mode, introduced by @code{\figures}, where you can enter bass figures
3686 as numbers, and there is a context called @internalsref{FiguredBass}
3687 that takes care of making @internalsref{BassFigure} grobs.
3689 In figures input mode, a group of bass figures is delimited by
3690 @code{<} and @code{>}. The duration is entered after the @code{>}.
3695 \context FiguredBass
3699 Accidentals are added to the numbers if you alterate them by
3700 appending @code{-}, @code{!} and @code{+}.
3706 \context FiguredBass
3707 \figures { <4- 6+ 7!> }
3710 Spaces or dashes may be inserted by using @code{_}. Brackets are
3711 introduced with @code{[} and @code{]}.
3717 \context FiguredBass
3718 \figures { < [4 6] 8 [_ 12]> }
3721 Although the support for figured bass may superficially resemble chord
3722 support, it works much simpler: in figured bass simply stores the
3723 numbers, and then prints the numbers you entered. There is no
3724 conversion to pitches, and no realizations of the bass are played in
3728 @c . {Tuning output}
3730 @section Tuning output
3732 LilyPond tries to take as much formatting as possible out of your
3733 hands. Nevertheless, there are situations where it needs some help, or
3734 where you want to override its decisions. In this section we discuss
3735 ways to do just that.
3737 Formatting is internally done by manipulating so called grobs (graphic
3738 objects). Each grob carries with it a set of properties (grob
3739 properties) specific to that object. For example, a stem grob has
3740 properties that specify its direction, length and thickness.
3742 The most direct way of tuning the output is by altering the values of
3743 these properties. There are two ways of doing that: first, you can
3744 temporarily change the definition of a certain type of grob, thus
3745 affecting a whole set of objects. Second, you can select one specific
3746 object, and set a grob property in that object.
3749 * Tuning groups of grobs ::
3750 * Tuning per grob ::
3755 @node Tuning groups of grobs
3756 @subsection Tuning groups of grobs
3758 @cindex grob description
3762 A grob definition is a Scheme association list, that is stored in a
3763 context property. By assigning to that property (using plain
3764 @code{\property}), you can change the resulting grobs.
3766 @lilypond[verbatim, fragment]
3767 c'4 \property Voice.Stem = #'()
3770 The @code{\property} assignment effectively empties the definition of
3771 the Stem object. One of the effects is that the recipe of how it should be
3772 printed is erased, with the effect of rendering it invisible. The above
3773 assignment is available as a standard identifier, for the case that you
3777 \property Voice.Stem = \turnOff
3784 This mechanism is fairly crude, since you can only set, but not modify,
3785 the definition of a grob. For this reason, there is a more advanced
3788 The definition of a grob is actually a list of default grob
3789 properties. For example, the definition of the Stem grob (available in
3790 @file{scm/grob-description.scm}), defines the following values for
3795 (beamed-lengths . (0.0 2.5 2.0 1.5))
3796 (Y-extent-callback . ,Stem::height)
3800 You can add a property on top of the existing definition, or remove a
3801 property, thus overriding the system defaults:
3803 c'4 \property Voice.Stem \override #'thickness = #4.0
3804 c'4 \property Voice.Stem \revert #'thickness
3807 You should balance @code{\override} and @code{\revert}. If that's too
3808 much work, you can use the @code{\set} shorthand. It performs a revert
3809 followed by an override. The following example gives exactly the same
3810 result as the previous one.
3812 c'4 \property Voice.Stem \set #'thickness = #4.0
3813 c'4 \property Voice.Stem \set #'thickness = #0.8
3816 If you use @code{\set}, you must explicitly restore the default.
3819 Formally the syntax for these constructions is
3821 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3822 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3823 \property @var{context}.@var{grobname} \revert @var{symbol}
3825 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3826 and @var{grobname} are strings and @var{value} is a Scheme expression.
3829 If you revert a setting which was not set in the first place, then it
3830 has no effect. However, if the setting was set as a system default, it
3831 may remove the default value, and this may give surprising results,
3832 including crashes. In other words, @code{\override} and @code{\revert},
3833 must be carefully balanced.
3835 These are examples of correct nesting of @code{\override}, @code{\set},
3838 A clumsy but correct form:
3840 \override \revert \override \revert \override \revert
3843 Shorter version of the same:
3845 \override \set \set \revert
3848 A short form, using only @code{\set}. This requires you to know the
3851 \set \set \set \set @var{to default value}
3854 If there is no default (i.e. by default, the grob property is unset),
3857 \set \set \set \revert
3860 For the digirati, the grob description is an Scheme association
3861 list. Since a Scheme list is a singly linked list, we can treat it as a
3862 stack, and @code{\override} and @code{\revert} are just push and pop
3863 operations. This pushing and popping is also used for overriding
3864 automatic beaming settings.
3868 LilyPond will hang or crash if @var{value} contains cyclic references.
3869 The backend is not very strict in type-checking grob properties. If you
3870 @code{\revert} properties that are expected to be set by default,
3876 @node Tuning per grob
3877 @subsection Tuning per grob
3879 @cindex \outputproperty
3881 A second way of tuning grobs is the more arcane @code{\outputproperty}
3882 feature. The syntax is as follows:
3884 \outputproperty @var{predicate} @var{symbol} = @var{value}
3886 Here @code{predicate} is a Scheme function taking a grob argument, and
3887 returning a boolean. This statement is processed by the
3888 @code{Output_property_engraver}. It instructs the engraver to feed all
3889 grobs that it sees to @var{predicate}. Whenever the predicate returns
3890 true, the grob property @var{symbol} will be set to @var{value}.
3892 You will need to combine this statement with @code{\context} to select
3893 the appropriate context to apply this to.
3895 Here are some random examples.
3898 In the following example, all note heads occurring at current staff
3899 level, are shifted up and right by setting their @code{extra-offset}
3902 @lilypond[fragment,verbatim,singleline]
3904 \context Staff \outputproperty
3905 #(make-type-checker 'note-head-interface)
3906 #'extra-offset = #'(0.5 . 0.75)
3910 @cindex @code{extra-offset}
3912 In this example, the predicate checks the @code{text} grob property, to
3913 shift only the `m.d.' text, but not the fingering instruction "2".
3914 @lilypond[verbatim,singleline]
3915 #(define (make-text-checker text)
3916 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3919 \notes\relative c''' {
3920 \property Voice.Stem \set #'direction = #1
3921 \outputproperty #(make-text-checker "m.d.")
3922 #'extra-offset = #'(-3.5 . -4.5)
3930 If possible, avoid this feature: the semantics are not very clean, and
3931 the syntax and semantics are up for rewrite.
3936 @node Font selection
3937 @subsection Font selection
3939 The most common thing to change about the appearance of fonts is
3940 their size. The font size of a @internalsref{Voice},
3941 @internalsref{Staff} or @internalsref{Thread} context, can be easily
3942 changed by setting the @code{fontSize} property for that context:
3943 @lilypond[fragment,relative=1]
3944 c4 c4 \property Voice.fontSize = #-1
3947 This command will not change the size of variable symbols, such as
3948 beams or slurs. You can use this command to get smaller symbol for
3949 cue notes, but that involves some more subtleties. An elaborate
3950 example of those is in @file{input/test/cue-notes.ly}.
3956 The font used for printing a grob can be selected by setting
3957 @code{font-name}, e.g.
3959 \property Staff.TimeSignature
3960 \set #'font-name = #"cmr17"
3962 You may use any font which is available to @TeX{}, such as foreign
3963 fonts or fonts that do not belong to the Computer Modern font family.
3964 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
3965 can also be adjusted with a more fine-grained mechanism. By setting
3966 the grob properties described below, you can select a different font.
3967 All three mechanisms work for every grob that supports
3968 @code{font-interface}.
3972 A symbol indicating the general class of the typeface. Supported are
3973 @code{roman} (Computer Modern), @code{braces} (for piano staff
3974 braces), @code{music} (the standard music font), @code{ancient} (the
3975 ancient notation font) @code{dynamic} (font for dynamic signs) and
3979 A symbol indicating the shape of the font, there are typically several
3980 font shapes available for each font family. Choices are @code{italic},
3981 @code{caps} and @code{upright}
3984 A symbol indicating the series of the font. There are typically several
3985 font series for each font family and shape. Choices are @code{medium}
3988 @item font-relative-size
3989 A number indicating the size relative the standard size. For example,
3990 with 20pt staff height, relative size -1 corresponds to 16pt staff
3991 height, and relative size +1 corresponds to 23 pt staff height.
3993 @item font-design-size
3994 A number indicating the design size of the font.
3996 This is a feature of the Computer Modern Font: each point size has a
3997 slightly different design. Smaller design sizes are relatively wider,
3998 which enhances readability.
4001 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
4002 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
4003 to override default setting, which are always present. For example:
4005 \property Lyrics . LyricText \override #'font-series = #'bold
4006 \property Lyrics . LyricText \override #'font-family = #'typewriter
4007 \property Lyrics . LyricText \override #'font-shape = #'*
4010 @cindex @code{font-style}
4012 There are also pre-cooked font selection qualifiers. These are
4013 selected through the grob property @code{font-style}. For example,
4014 the style @code{finger} selects family @code{number} and relative size
4015 @code{-3}. Styles available include @code{volta}, @code{finger},
4016 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
4017 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
4018 tables for selecting fonts are located in @file{scm/font.scm}. Refer
4019 to this file for more information.
4021 @cindex magnification
4023 The size of the font may be scaled with the grob property
4024 @code{font-magnification}. For example, @code{2.0} blows up all
4025 letters by a factor 2 in both directions.
4029 Relative size is not linked to any real size.
4031 There is no style sheet provided for other fonts besides the @TeX{}
4032 family, and the style sheet can not be modified easiyl.
4034 @cindex font selection
4035 @cindex font magnification
4036 @cindex @code{font-interface}
4040 @subsection Text markup
4044 LilyPond has an internal mechanism to typeset texts. You can
4045 form text markup expressions by composing scheme expressions
4046 in the following way.
4048 @lilypond[verbatim, singleline]
4053 c^#'(italic "italic")
4054 d_#'((bold italic) "ff")
4056 f_#'(lines "one" (bold "two"))
4057 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
4061 Normally, the Scheme markup text is stored in the @code{text} property
4062 of a grob. Formally, it is defined as follows:
4065 text: string | (head? text+)
4066 head: markup | (markup+)
4067 markup-item: property | abbrev
4068 property: (@var{key} . @var{value})
4069 abbrev: @code{columns lines roman music bold italic named super sub}
4070 @code{overstrike text finger volta timesig mmrest mark script}
4071 @code{large Large dynamic}
4074 The markup is broken down and converted into a list of grob properties,
4075 which are prepended to the property list. The @var{key}-@var{value}
4076 pair is a grob property. A list of properties available is included in
4077 the generated documentation for @rint{Text_interface}.
4079 The following abbreviations are defined:
4082 horizontal mode: set all text on one line (default)
4084 vertical mode: set every text on a new line
4088 selects the Feta font (the standard font for music notation glyphs),
4089 and uses named lookup
4096 lookup by character name
4098 plain text lookup (by character value)
4104 the next text or character overstrikes this one
4106 select fingering number fontstyle
4108 select volta number fontstyle
4110 select time signature number fontstyle
4112 select multi measure rest number fontstyle
4114 select mark number fontstyle
4116 select scriptsize roman fontstyle
4118 select large roman fontstyle
4120 select Large roman fontstyle
4122 select dynamics fontstyle
4126 @cindex metronome mark
4128 One practical application of complicated markup is to fake a metronome
4132 #(define note '(columns
4133 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4134 #(define eight-note `(columns ,note ((kern . -0.1)
4135 (music ((raise . 3.5) "flags-u3")))))
4136 #(define dotted-eight-note
4137 `(columns ,eight-note (music "dots-dot")))
4140 \notes\relative c'' {
4141 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
4147 TextScript \override #'font-shape = #'upright
4155 The syntax and semantics of markup texts are not clean, and both
4156 syntax and semantics are slated for a rewrite.
4158 LilyPond does not do kerning, and there generally spaces texts
4164 @section Global layout
4166 The global layout determined by three factors: the page layout, the
4167 iline breaks and the spacing. These all influence each other: The
4168 choice of spacing determines how densely each system of music is set,
4169 whree line breaks breaks are chosen, and thus ultimately how many
4170 pages a piece of music takes. In this section we will explain how the
4171 lilypond spacing engine works, and how you can tune its results.
4173 Globally spoken, this procedure happens in three steps: first,
4174 flexible distances (``springs'') are chosen, based on durations. All
4175 possible line breaking combination are tried, and the one with the
4176 best results---a layout that has uniform density and requires as
4177 little stretching or cramping as possible---is chosen. When the score
4178 is processed by @TeX{}, page are filled with systems, and page breaks
4179 are chosen whenever the page gets full.
4182 * Vertical spacing::
4183 * Horizontal spacing::
4190 @node Vertical spacing
4191 @subsection Vertical spacing
4193 @cindex vertical spacing
4194 @cindex distance between staffs
4195 @cindex staff distance
4196 @cindex between staves, distance
4198 The height of each system is determined automatically by lilypond, to
4199 keep systems from bumping into each other, some minimum distances are
4200 set. By changing these, you can put staffs closer together, and thus
4201 put more systems onto one page.
4203 Normally staves are stacked vertically. To make
4204 staves maintain a distance, their vertical size is padded. This is
4205 done with the property @code{minimumVerticalExtent}. It takes a pair
4206 of numbers, so if you want to make it smaller from its, then you could
4209 \property Staff.minimumVerticalExtent = #'(-4 . 4)
4211 This sets the vertical size of the current staff to 4 staff-space on
4212 either side of the center staff line. The argument of
4213 @code{minimumVerticalExtent} is interpreted as an interval, where the
4214 center line is the 0, so the first number is generally negative. you
4215 could also make the staff larger at the bottom by setting it to
4216 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
4218 Vertical aligment of staves is handled by the
4219 @internalsref{VerticalAlignment} grob, which lives at
4220 @internalsref{Score} level.
4222 The piano staffs are handled a little differently: to make cross-staff
4223 beaming work correctly, it necessary that the distance between staves
4224 is fixed. This is also done with a @internalsref{VerticalAlignment}
4225 grob, created in @internalsref{PianoStaff}, but a forced distance is
4226 set. This is done with the grob property #'forced-distance. If you
4227 want to override this, use a @code{\translator} block as follows:
4231 VerticalAlignment \override #'forced-distance = #9
4234 This would bring the staffs together at a distance of 9 staff spaces,
4235 and again this is measured from the center line of each staff.
4239 @node Horizontal spacing
4240 @subsection Horizontal Spacing
4242 The spacing engine translates differences in durations into
4243 stretchable distances (``springs'') of differing lengths. Longer
4244 durations get more space, shorter durations get less. The basis for
4245 assigning spaces to durations, is that the shortest durations get a
4246 fixed amount of space, and the longer durations get more: doubling a
4247 duration adds a fixed amount of space to the note.
4249 For example, the following piece contains lots of half, quarter and
4250 8th notes, the eighth note is followed by 1 note head width. The The
4251 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4252 @lilypond[fragment, verbatim, relative=1]
4253 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4256 These two amounts of space are @code{shortest-duration-space}
4257 @code{spacing-increment}, grob properties of
4258 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4259 set to 1.2, which is the width of a note head, and
4260 @code{shortest-duration-space} is set to 2.0, meaning that the
4261 shortest note gets 2 noteheads of space. For normal notes, this space
4262 is always counted from the left edge of the symbol, so the short notes
4263 in a score is generally followed by one note head width of space.
4265 If one would follow the above procedure exactly, then adding a single
4266 32th note to a score that uses 8th and 16th notes, would widen up the
4267 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4268 thus adding 2 noteheads of space to every note. To prevent this, the
4269 shortest duration for spacing is not the shortest note in the score,
4270 but the most commonly found shortest note. Notes that are even
4271 shorter this are followed by a space that is proportonial to their
4272 duration relative to the common shortest note. So if we were to add
4273 only a few 16th notes to the example above, they would be followed by
4276 @lilypond[fragment, verbatim, relative=1]
4277 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4280 The most common shortest duration is determined as follows: in every
4281 measure, the shortest duration is determined. The most common short
4282 duration, is taken as the basis for the spacing, with the stipulation
4283 that this shortest duration should always be equal to or shorter than
4284 1/8th note. The shortest duration is printed when you run lilypond
4285 with @code{--verbose}. These durations may also be customized. If you
4286 set the @code{common-shortest-duration} in
4287 @internalsref{SpacingSpanner}, then this sets the base duration for
4288 spacing. The maximum duration for this base (normally 1/8th), is set
4289 through @code{base-shortest-duration}.
4291 @cindex @code{common-shortest-duration}
4292 @cindex @code{base-shortest-duration}
4293 @cindex @code{stem-spacing-correction}
4294 @cindex @code{spacing}
4296 In the introduction it was explained that stem directions influence
4297 spacing. This is controlled with @code{stem-spacing-correction} in
4298 @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
4299 same property for controlling the stem/barline spacing. In the
4300 following example shows these corrections, once with default settings,
4301 and once with exaggerated corrections.
4307 \property Staff.NoteSpacing \override #'stem-spacing-correction
4309 \property Staff.StaffSpacing \override #'stem-spacing-correction
4314 \paper { linewidth = -1. } }
4321 Spacing is determined on a score wide basis. If you have a score that
4322 changes its character (measured in durations) half way during the
4323 score, the part containing the longer durations will be spaced too
4326 Generating optically pleasing spacing is black magic. LilyPond tries
4327 to deal with a number of frequent cases. Here is an example that is
4328 not handled correctly, due to the combination of chord collisions and
4333 \context PianoStaff \notes \transpose c''' <
4334 \context Staff = up { s1 }
4335 \context Staff = down { [c8 c \translator Staff=up <c d> c
4336 \translator Staff=down c c c] }
4338 \paper { linewidth = -1 }
4345 @subsection Font size
4346 @cindex font size, setting
4347 @cindex staff size, setting
4348 @cindex @code{paper} file
4350 The Feta font provides musical symbols at seven different sizes.
4351 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4352 point, and 26 point. The point size of a font is the height of the
4353 five lines in a staff when displayed in the font.
4355 Definitions for these sizes are the files @file{paperSZ.ly}, where
4356 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4357 of these files, the identifiers @code{paperEleven},
4358 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4359 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4360 are defined respectively. The default @code{\paper} block is also
4361 set. These files should be imported at toplevel, i.e.
4363 \include "paper26.ly"
4367 The font definitions are generated using a Scheme function. For more
4368 details, see the file @file{scm/font.scm}.
4373 @subsection Line breaking
4376 @cindex breaking lines
4378 Line breaks are normally computed automatically. They are chosen such
4379 that it looks neither cramped nor loose, and that consecutive lines have
4382 Occasionally you might want to override the automatic breaks; you can
4383 do this by specifying @code{\break}. This will force a line break at
4384 this point. Line breaks can only occur at places where there are bar
4385 lines. If you want to have a line break where there is no bar line,
4386 you can force an invisible bar line by entering @code{\bar
4387 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4390 If you want linebreaks at regular intervals, you can use the following:
4392 < \repeat 7 unfold @{ s1 * 4 \break @}
4396 This makes the following 28 measures (assuming 4/4 time) be broken every
4400 @subsection Page layout
4403 @cindex breaking pages
4405 @cindex @code{indent}
4406 @cindex @code{linewidth}
4408 The most basic settings influencing the spacing are @code{linewidth}
4409 and @code{indent}, both set in the @code{\paper} block. They control
4410 the indentation of the first line of music, and the lengths of the
4411 lines. If @code{linewidth} set to a negative value, a single
4412 unjustified line is produced. A similar effect for scores that are
4413 longer than one line, can be produced by setting @code{raggedright} to
4414 true in the @code{\paper} block.
4418 The page layout process happens outside lilypond. Ly2dvi sets page
4419 layout instructions. Ly2dvi responds to the following variables in the
4420 @code{\paper} block. The variable @code{textheight} sets the total
4421 height of the music on each page. The spacing between systems is
4422 controlled with @code{interscoreline}, its default is 16pt.
4423 The distance between the score lines will stretch in order to fill the
4424 full page @code{interscorelinefill} is set to a positive number. In
4425 that case @code{interscoreline} specifies the minimum spacing.
4427 @cindex @code{textheight}
4428 @cindex @code{interscoreline}
4429 @cindex @code{interscorelinefill}
4431 Page breaks are normally computed by @TeX{}, so they are not under
4432 direct control of LilyPond. However, you can insert a commands into
4433 the @file{.tex} output to instruct @TeX{} where to break pages. You
4434 can insert a @code{\newpage} from within lilypond. This is done by
4435 setting the @code{between-systems-strings} on the
4436 @internalsref{NonMusicalPaperColumn} where the system is broken.
4440 @cindex @code{papersize}
4442 To change the paper size, you must first set the
4443 @code{papersize} paper variable variable. Set it to
4444 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4445 specification, you must set the font as described above. If you want
4446 the default font, then use the 20 point font.
4449 \paper@{ papersize = "a4" @}
4450 \include "paper16.ly"
4453 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4454 will set the paper variables @code{hsize} and @code{vsize} (used by
4455 Lilypond and @code{ly2dvi})
4465 LilyPond can produce MIDI output. The performance lacks lots of
4466 interesting effects, such as swing, articulation, slurring, etc., but it
4467 is good enough for proof-hearing the music you have entered. Ties,
4468 dynamics and tempo changes are interpreted.
4470 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4471 levels. Dynamic marks translate to a fixed fraction of the available
4472 MIDI volume range, crescendi and decrescendi make the the volume vary
4473 linearly between their two extremities. The fractions be adjusted by
4474 overriding the @code{absolute-volume-alist} defined in
4475 @file{scm/midi.scm}.
4477 For each type of musical instrument (that MIDI supports), a volume range
4478 can be defined. This gives you basic equalizer control, which can
4479 enhance the quality of the MIDI output remarkably. You can add
4480 instruments and ranges or change the default settings by overriding the
4481 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4483 Both loudness controls are combined to produce the final MIDI volume.
4489 * MIDI instrument names::
4494 @subsection MIDI block
4498 The MIDI block is analogous to the paper block, but it is somewhat
4499 simpler. The @code{\midi} block can contain:
4503 @item a @code{\tempo} definition
4504 @item context definitions
4507 Assignments in the @code{\midi} block are not allowed.
4511 @cindex context definition
4513 Context definitions follow precisely the same syntax as within the
4514 \paper block. Translation modules for sound are called performers.
4515 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4518 @node MIDI instrument names
4519 @subsection MIDI instrument names
4521 @cindex instrument names
4522 @cindex @code{Staff.midiInstrument}
4523 @cindex @code{Staff.instrument}
4525 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4526 property or, if that property is not set, the @code{Staff.instrument}
4527 property. The instrument name should be chosen from the list in
4528 @ref{MIDI instruments}.
4532 If the selected string does not exactly match, then LilyPond uses the
4533 default (Grand Piano). It is not possible to select an instrument by