3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads ::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @lilypond[verbatim,relative 2]
124 There are predefined sets of note names for various other languages.
125 To use them, include the language specific init file. For
126 example: @code{\include "english.ly"}. The available language files
127 and the note names they define are:
132 Note Names sharp flat
133 nederlands.ly c d e f g a bes b -is -es
134 english.ly c d e f g a bf b -s/-sharp -f/-flat
136 deutsch.ly c d e f g a b h -is -es
137 norsk.ly c d e f g a b h -iss/-is -ess/-es
138 svenska.ly c d e f g a b h -iss -ess
139 italiano.ly do re mi fa sol la sib si -d -b
140 catalan.ly do re mi fa sol la sib si -d/-s -b
141 espanol.ly do re mi fa sol la sib si -s -b
150 The optional octave specification takes the form of a series of
151 single quote (`@code{'}') characters or a series of comma
152 (`@code{,}') characters. Each @code{'} raises the pitch by one
153 octave; each @code{,} lowers the pitch by an octave:
155 @lilypond[fragment,verbatim,center]
156 c' c'' es' g' as' gisis' ais'
162 Notes can be hidden and unhidden with the following commands:
164 @cindex @code{\hideNotes}
166 @cindex @code{\unHideNotes}
176 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
178 @node Chromatic alterations
179 @subsection Chromatic alterations
181 Normally accidentals are printed automatically, but you may also
182 print them manually. A reminder accidental
183 @cindex reminder accidental
185 can be forced by adding an exclamation mark @code{!}
186 after the pitch. A cautionary accidental
187 @cindex cautionary accidental
188 @cindex parenthesized accidental
189 (an accidental within parentheses) can be obtained by adding the
190 question mark `@code{?}' after the pitch:
192 @lilypond[fragment,verbatim]
193 cis' cis' cis'! cis'?
197 The automatic production of accidentals can be tuned in many
198 ways. For more information, refer to @ref{Accidentals}.
203 A chord is formed by a enclosing a set of pitches in @code{<} and
204 @code{>}. A chord may be followed by a duration, and a set of
205 articulations, just like simple notes.
215 Rests are entered like notes, with the note name @code{r}:
217 @lilypond[singleline,verbatim]
221 Whole bar rests, centered in middle of the bar,
222 must be done with multi measure rests. They are discussed in
223 @ref{Multi measure rests}.
226 A rest's vertical position may be explicitly specified by entering a
227 note with the @code{\rest} keyword appended. This makes manual
228 formatting in polyphonic music easier. Rest collision testing will
229 leave these rests alone:
231 @lilypond[singleline,verbatim]
237 @internalsref{RestEvent}, and @internalsref{Rest}.
244 @cindex Invisible rest
247 An invisible rest (also called a `skip') can be entered like a note
248 with note name `@code{s}' or with @code{\skip @var{duration}}:
250 @lilypond[singleline,verbatim]
254 The @code{s} syntax is only available in Note mode and Chord mode. In
255 other situations, you should use the @code{\skip} command:
257 @lilypond[singleline,verbatim]
260 { \time 4/8 \skip 2 \time 4/4 }
261 \notes\relative c'' { a2 a1 }
266 The skip command is merely an empty musical placeholder. It does not
267 produce any output, not even transparent output.
271 @internalsref{SkipEvent}.
276 @subsection Durations
282 In Note, Chord, and Lyrics mode, durations are designated by numbers
283 and dots: durations are entered as their reciprocal values. For example,
284 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
285 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
286 longer than a whole you must use variables:
288 @c FIXME: what is an identifier? I do not think it's been introduced yet.
289 @c and if it has, I obviously skipped that part. - Graham
293 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
295 r1 r2 r4 r8 r16 r32 r64 r64
300 \notes \relative c'' {
302 a1 a2 a4 a8 a16 a32 a64 a64
304 r1 r2 r4 r8 r16 r32 r64 r64
309 \remove "Clef_engraver"
310 \remove "Staff_symbol_engraver"
311 \remove "Time_signature_engraver"
312 \consists "Pitch_squash_engraver"
319 If the duration is omitted then it is set to the previously entered
320 duration. The default for the first note is a quarter note. The duration
321 can be followed by dots (`@code{.}') in order to obtain dotted note
325 @lilypond[fragment,verbatim,center]
326 a' b' c''8 b' a'4 a'4. b'4.. c'8.
331 You can alter the length of duration by a fraction @var{N/M}
332 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
333 will not affect the appearance of the notes or rests produced.
334 In the following example, the first three notes take up exactly two
336 @lilypond[fragment,relative 2,verbatim]
338 a4*2/3 gis4*2/3 a4*2/3
345 Dots are normally moved up to avoid staff lines, except in polyphonic
346 situations. The following commands may be used to force a particular
349 @cindex @code{\dotsUp}
351 @cindex @code{\dotsDown}
353 @cindex @code{\dotsBoth}
358 @internalsref{Dots}, and @internalsref{DotColumn}.
362 In dense chords, dots can overlap.
367 Whenever a note is found, a @internalsref{Stem} object is created
368 automatically. For whole notes and rests, they are also created but
373 @cindex @code{\stemUp}
375 @cindex @code{\stemDown}
377 @cindex @code{\stemBoth}
388 A tie connects two adjacent note heads of the same pitch. The tie in
389 effect extends the length of a note. Ties should not be confused with
390 slurs, which indicate articulation, or phrasing slurs, which indicate
391 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
393 @lilypond[fragment,verbatim,center]
394 e' ~ e' <c' e' g'> ~ <c' e' g'>
397 When a tie is applied to a chord, all note heads whose pitches match
398 are connected. When no note heads match, no ties will be created.
400 In its meaning a tie is just a way of extending a note duration, similar
401 to the augmentation dot; in the following example there are two ways of
402 notating exactly the same concept:
404 @lilypond[fragment, singleline,quote]
405 \time 3/4 c'2. c'2 ~ c'4
407 If you need to tie a lot of notes over bars, it may be easier to use automatic
408 note splitting (See @ref{Automatic note splitting}).
413 @cindex @code{\tieUp}
415 @cindex @code{\tieDown}
417 @cindex @code{\tieBoth}
419 @cindex @code{\tieDotted}
421 @cindex @code{\tieSolid}
426 @internalsref{TieEvent}, @internalsref{NewTieEvent},
427 @internalsref{Tie}, and @ref{Automatic note splitting}.
430 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
434 Tieing only a subset of the note heads of a pair of chords is not
435 supported in a simple way.
438 It can be achieved by moving the
439 tie-engraver into the @internalsref{Thread} context and turning on and
440 off ties per @internalsref{Thread}.
443 Switching staves when a tie is active will not produce a slanted tie.
445 Formatting of ties is a difficult subject. The results are often not
455 @cindex @code{\times}
457 Tuplets are made out of a music expression by multiplying all durations
460 @cindex @code{\times}
462 \times @var{fraction} @var{musicexpr}
466 The duration of @var{musicexpr} will be multiplied by the fraction.
467 The fraction's denominator will be printed over the notes, optionally
468 with a bracket. The most common tuplet is the triplet in which 3
469 notes have the length of 2, so the notes are 2/3 of their written
472 @lilypond[fragment,verbatim,center]
473 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
476 The property @code{tupletSpannerDuration} specifies how long each
477 bracket should last. With this, you can make lots of tuplets while
478 typing @code{\times} only once, saving lots of typing. In the next
479 example, there are two triplets shown, while @code{\times} was only
482 @lilypond[fragment, relative, singleline, verbatim]
483 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
484 \times 2/3 { c'8 c c c c c }
487 The format of the number is determined by the property
488 @code{tupletNumberFormatFunction}. The default prints only the
489 denominator, but if it is set to the Scheme function
490 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
494 @cindex @code{tupletNumberFormatFunction}
495 @cindex tuplet formatting
500 @cindex @code{\tupletUp}
502 @cindex @code{\tupletDown}
504 @cindex @code{\tupletBoth}
509 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
513 Nested tuplets are not formatted automatically. In this case, outer
514 tuplet brackets should be moved manually.
516 @node Easy Notation note heads
517 @subsection Easy Notation note heads
519 @cindex easy notation
522 The `easy play' note head includes a note name inside the head. It is
523 used in music aimed at beginners:
525 @lilypond[singleline,verbatim,26pt]
527 \notes { c'2 e'4 f' | g'1 }
528 \paper { \translator { \EasyNotation } }
532 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
533 You probably will want to print it with magnification or a
534 large font size to make it more readable. To print with
535 magnification, you must create a DVI file (with @file{lilypond}) and
536 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
537 See the @code{dvips} documentation for more details. To print with a
538 larger font, see @ref{Font Size}.
544 If you view the result with Xdvi, then staff lines will show through
545 the letters. Printing the PostScript file obtained does produce the
549 @node Easier music entry
550 @section Easier music entry
553 When entering music it is easy to introduce errors. This section deals
554 with tricks and features of the input language that were added solely
555 to help entering music, and find and correct mistakes.
557 It is also possible to use external programs, for example GUI
558 interfaces, or MIDI transcription programs, to enter or edit
559 music. Refer to the website for more information. Finally, there are
560 tools make debugging easier, by linking the input file and the output
561 shown on screen. See @ref{Point and click} for more information.
568 * Skipping corrected music::
569 * Automatic note splitting ::
575 @node Relative octaves
576 @subsection Relative octaves
578 @cindex relative octave specification
580 Octaves are specified by adding @code{'} and @code{,} to pitch names.
581 When you copy existing music, it is easy to accidentally put a pitch
582 in the wrong octave and hard to find such an error. The relative
583 octave mode prevents these errors: a single error puts the rest of the
584 piece off by one octave:
586 @cindex @code{\relative}
588 \relative @var{startpitch} @var{musicexpr}
591 The octave of notes that appear in @var{musicexpr} are calculated as
592 follows: If no octave changing marks are used, the basic interval
593 between this and the last note is always taken to be a fourth or less
594 (; this distance is determined without regarding alterations: a
595 @code{fisis} following a @code{ceses} will be put above the
598 The octave changing marks @code{'} and @code{,} can be added to raise
599 or lower the pitch by an extra octave. Upon entering relative mode,
600 an absolute starting pitch must be specified that will act as the
601 predecessor of the first note of @var{musicexpr}.
603 Here is the relative mode shown in action:
604 @lilypond[fragment,singleline,verbatim,center]
610 Octave changing marks are used for intervals greater than a fourth:
611 @lilypond[fragment,verbatim,center]
616 If the preceding item is a chord, the first note of the chord is used
617 to determine the first note of the next chord:
619 @lilypond[fragment,verbatim,center]
626 @cindex @code{\notes}
628 The pitch after the @code{\relative} contains a note name. To parse
629 the pitch as a note name, you have to be in note mode, so there must
630 be a surrounding @code{\notes} keyword (which is not
633 The relative conversion will not affect @code{\transpose},
634 @code{\chords} or @code{\relative} sections in its argument. If you
635 want to use relative within transposed music, you must place an
636 additional @code{\relative} inside the @code{\transpose}.
639 @subsection Octave check
642 Octave checks make octave errors easier to correct.
648 This checks that @var{pitch} (without octave) yields @var{pitch} (with
649 octave) in \relative mode. If not, a warning is printed, and the
650 octave is corrected, for example, the first check is passed
651 successfully. The second check fails with an error message. The
652 octave is adjusted so the following notes are in the correct octave
663 The octave of a note following an octave check is determined with
664 respect to the note preceding it. In the next fragment, the last note
665 is a @code{a'}, above central C. Hence, the @code{\octave} check may
666 be deleted without changing the meaning of the piece.
668 @lilypond[verbatim,fragment]
679 @subsection Bar check
683 @cindex @code{barCheckSynchronize}
686 Bar checks help detect errors in the durations. A bar check is
687 entered using the bar symbol, `@code{|}'. Whenever it is encountered
688 during interpretation, it should fall on a measure boundary. If it
689 does not, a warning is printed. Depending on the value of
690 @code{barCheckSynchronize}, the beginning of the measure will be
693 In the next example, the second bar check will signal an error:
695 \time 3/4 c2 e4 | g2 |
700 @cindex skipTypesetting
702 Failed bar checks are caused by entering incorrect
703 durations. Incorrect durations often completely garble up the score,
704 especially if it is polyphonic, so you should start correcting the
705 score by scanning for failed bar checks and incorrect durations. To
706 speed up this process, you can use @code{skipTypesetting}, described
709 @node Skipping corrected music
710 @subsection Skipping corrected music
712 The property @code{Score.skipTypesetting} can be used to switch on and
713 off typesetting completely during the interpretation phase. When
714 typesetting is switched off, the music is processed much more quickly.
715 This can be used to skip over the parts of a score that have already
716 been checked for errors:
718 @lilypond[fragment,singleline,verbatim]
720 \property Score.skipTypesetting = ##t
722 \property Score.skipTypesetting = ##f
726 @node Automatic note splitting
727 @subsection Automatic note splitting
729 Long notes can be converted automatically to tied notes. This is done
730 by replacing the @internalsref{Note_heads_engraver} by the
731 @internalsref{Completion_heads_engraver}:
734 \paper @{ \translator @{
736 \remove "Note_heads_engraver"
737 \consists "Completion_heads_engraver"
741 which will make long notes tied in the following example:
744 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
751 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
753 \paper { \translator {
755 \remove "Note_heads_engraver"
756 \consists "Completion_heads_engraver"
761 This engraver splits all running notes at the bar line, and inserts
762 ties. One of its uses is to debug complex scores: if the measures are
763 not entirely filled, then the ties exactly show how much each measure
768 Not all durations (especially those containing tuplets) can be
769 represented exactly; the engraver will not insert tuplets.
775 @section Staff notation
777 This section describes music notation that occurs on staff level,
778 such as keys, clefs and time signatures.
780 @cindex Staff notation
794 @subsection Staff symbol
796 @cindex adjusting staff symbol
797 @cindex StaffSymbol, using \property
799 Notes, dynamic signs, etc. are grouped
800 with a set of horizontal lines, into a staff (plural `staves'). In our
801 system, these lines are drawn using a separate layout object called
805 @cindex staff lines, setting number of
806 @cindex staff lines, setting thickness of
807 @cindex thickness of staff lines, setting
808 @cindex number of staff lines, setting
810 This object is created whenever a @internalsref{Staff} context is
811 created. The appearance of the staff symbol cannot be changed by
812 using @code{\override} or @code{\set}. At the moment that
813 @code{\property Staff} is interpreted, a @internalsref{Staff} context
814 is made, and the @internalsref{StaffSymbol} is created before any
815 @code{\override} is effective. Properties can be changed in a
816 @code{\translator} definition, or by using @code{\outputproperty}.
820 If a staff is ended halfway a piece, the staff symbol may not end
821 exactly on the barline.
825 @subsection Key signature
826 @cindex Key signature
830 The key signature indicates the scale in which a piece is played. It
831 is denoted by a set of alterations (flats or sharps) at the start of
836 Setting or changing the key signature is done with the @code{\key}
839 @code{\key} @var{pitch} @var{type}
842 @cindex @code{\minor}
843 @cindex @code{\major}
844 @cindex @code{\minor}
845 @cindex @code{\ionian}
846 @cindex @code{\locrian}
847 @cindex @code{\aeolian}
848 @cindex @code{\mixolydian}
849 @cindex @code{\lydian}
850 @cindex @code{\phrygian}
851 @cindex @code{\dorian}
853 Here, @var{type} should be @code{\major} or @code{\minor} to get
854 @var{pitch}-major or @var{pitch}-minor, respectively.
855 The standard mode names @code{\ionian},
856 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
857 @code{\phrygian}, and @code{\dorian} are also defined.
859 This command sets the context property
860 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
861 can be specified by setting this property directly.
863 Accidentals and key signatures often confuse new users, because
864 unaltered notes get natural signs depending on the keysignature. The
865 tutorial explains why this is so in @ref{More about pitches}.
869 The ordering of a key cancellation is wrong when it is combined with
870 repeat bar lines. The cancellation is also printed after a line break.
874 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
876 @cindex @code{keySignature}
883 The clef indicates which lines of the staff correspond to which
888 The clef can be set or changed with the @code{\clef} command:
889 @lilypond[fragment,verbatim]
890 \key f\major c''2 \clef alto g'2
893 Supported clef-names include:
894 @c Moved standard clefs to the top /MB
898 @item treble, violin, G, G2
911 G clef on 1st line, so-called French violin clef
916 @cindex mezzosoprano clef
919 @cindex baritone clef
922 @cindex varbaritone clef
931 By adding @code{_8} or @code{^8} to the clef name, the clef is
932 transposed one octave down or up, respectively, and @code{_15} and
933 @code{^15} transposes by two octaves. The argument @var{clefname}
934 must be enclosed in quotes when it contains underscores or digits. For
938 @cindex choral tenor clef
939 @lilypond[verbatim,fragment,relative]
943 This command is equivalent to setting @code{clefGlyph},
944 @code{clefPosition} (which controls the Y position of the clef),
945 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
946 when any of these properties are changed.
950 The object for this symbol is @internalsref{Clef}.
954 @node Ottava brackets
955 @subsection Ottava brackets
957 ``Ottava'' brackets introduce an extra transposition of an octave for
958 the staff. They are created by invoking the function
959 @code{set-octavation}:
965 @lilypond[verbatim,fragment]
974 Internally the @code{set-octavation} function sets the properties
975 @code{ottavation} (eg. to @code{"8va"}) and
976 @code{centralCPosition}. The function also takes arguments -1 (for 8va
977 bassa) and 2 (for 15ma).
979 @internalsref{OttavaSpanner}.
983 @code{set-octavation} will get confused when clef changes happen
984 during an octavation bracket.
987 @subsection Time signature
988 @cindex Time signature
992 Time signature indicates the metrum of a piece: a regular pattern of
993 strong and weak beats. It is denoted by a fraction at the start of the
998 The time signature is set or changed by the @code{\time}
1000 @lilypond[fragment,verbatim]
1001 \time 2/4 c'2 \time 3/4 c'2.
1004 The symbol that is printed can be customized with the @code{style}
1005 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1006 2/2 time. There are many more options for its layout. See
1007 @inputfileref{input/test,time.ly} for more examples.
1010 This command sets the property @code{timeSignatureFraction},
1011 @code{beatLength} and @code{measureLength} in the @code{Timing}
1012 context, which is normally aliased to @internalsref{Score}. The
1013 property @code{measureLength} determines where bar lines should be
1014 inserted, and how automatic beams should be generated. Changing the
1015 value of @code{timeSignatureFraction} also causes the symbol to be
1018 More options are available through the Scheme function
1019 @code{set-time-signature}. In combination with the
1020 @internalsref{Measure_grouping_engraver}, it will create
1021 @internalsref{MeasureGrouping} signs. Such signs ease reading
1022 rhythmically complex modern music. In the following example, the 9/8
1023 measure is subdivided in 2, 2, 2 and 3. This is passed to
1024 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1027 \score { \notes \relative c'' {
1028 #(set-time-signature 9 8 '(2 2 2 3))
1029 g8[ g] d[ d] g[ g] a8[( bes g]) |
1030 #(set-time-signature 5 8 '(3 2))
1035 \translator { \StaffContext
1036 \consists "Measure_grouping_engraver"
1042 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1047 Automatic beaming does not use measure grouping specified with
1048 @code{set-time-signature}.
1050 @node Partial measures
1051 @subsection Partial measures
1054 @cindex partial measure
1055 @cindex measure, partial
1056 @cindex shorten measures
1057 @cindex @code{\partial}
1059 Partial measures, for example in upsteps, are entered using the
1060 @code{\partial} command:
1061 @lilypond[fragment,verbatim,relative 1]
1062 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1065 The syntax for this command is
1067 \partial @var{duration}
1069 This is internally translated into
1071 \property Timing.measurePosition = -@var{length of duration}
1074 The property @code{measurePosition} contains a rational number
1075 indicating how much of the measure has passed at this point.
1077 @node Unmetered music
1078 @subsection Unmetered music
1080 Bar lines and bar numbers are calculated automatically. For unmetered
1081 music (e.g. cadenzas), this is not desirable. By setting
1082 @code{Score.timing} to false, this automatic timing can be switched
1088 @cindex @code{\cadenzaOn}
1090 @cindex @code{\cadenzaOff}
1094 @subsection Bar lines
1098 @cindex measure lines
1102 Bar lines delimit measures, but are also used to indicate repeats.
1103 Normally, they are inserted automatically. Line breaks may only
1109 of barlines can be forced with the @code{\bar} command:
1111 @lilypond[relative=1,fragment,verbatim]
1115 The following bar types are available:
1116 @lilypond[fragment, relative, singleline, verbatim]
1127 For allowing linebreaks, there is a special command,
1131 This will insert an invisible barline, and allow linebreaks at this
1134 In scores with many staves, a @code{\bar} command in one staff is
1135 automatically applied to all staves. The resulting bar lines are
1136 connected between different staves of a @internalsref{StaffGroup}:
1138 @lilypond[fragment, verbatim]
1139 << \context StaffGroup <<
1143 \new Staff { \clef bass c4 g e g } >>
1144 \new Staff { \clef bass c2 c2 } >>
1148 The command @code{\bar @var{bartype}} is a short cut for doing
1149 @code{\property Score.whichBar = @var{bartype}} Whenever
1150 @code{whichBar} is set to a string, a bar line of that type is
1151 created. At the start of a measure it is set to
1152 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1153 to override default measure bars.
1155 Property @code{whichBar} can also be set directly, using @code{\property}
1156 or @code{\bar}. These settings take precedence over the automatic
1157 @code{whichBar} settings.
1160 @cindex repeatCommands
1161 @cindex defaultBarType
1163 You are encouraged to use @code{\repeat} for repetitions. See
1173 The bar line objects that are created at @internalsref{Staff} level
1174 are called @internalsref{BarLine}, the bar lines that span staves are
1175 @internalsref{SpanBar}s.
1177 @cindex bar lines at start of system
1178 @cindex start of system
1180 The barlines at the start of each system are
1181 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1182 @internalsref{SystemStartBracket}. They are spanner objects and
1183 typically must be tuned from a @code{\translator} block.
1190 The easiest way to enter fragments with more than one voice on a staff
1191 is to split chords using the separator @code{\\}. You can use it for
1192 small, short-lived voices or for single chords:
1194 @lilypond[verbatim,fragment]
1195 \context Staff \relative c'' {
1196 c4 << { f d e } \\ { b c2 } >>
1197 c4 << g' \\ b, \\ f' \\ d >>
1201 The separator causes @internalsref{Voice} contexts to be
1203 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1204 contexts, vertical direction of slurs, stems, etc. is set
1207 This can also be done by instantiating @internalsref{Voice} contexts
1208 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1209 a stem directions and horizontal shift for each part:
1212 @lilypond[singleline, verbatim]
1214 \context Staff << \new Voice { \voiceOne cis2 b }
1215 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1216 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1219 Normally, note heads with a different number of dots are not merged, but
1220 when the object property @code{merge-differently-dotted} is set in
1221 the @internalsref{NoteCollision} object, they are merged:
1222 @lilypond[verbatim,fragment,singleline]
1223 \relative c'' \context Voice << {
1225 \property Staff.NoteCollision \override
1226 #'merge-differently-dotted = ##t
1228 } \\ { g8.[ f16] g8.[ f16] }
1232 Similarly, you can merge half note heads with eighth notes, by setting
1233 @code{merge-differently-headed}:
1234 @lilypond[fragment, relative=2,verbatim]
1237 \property Staff.NoteCollision
1238 \override #'merge-differently-headed = ##t
1239 c8 c4. } \\ { c2 c2 } >>
1242 LilyPond also vertically shifts rests that are opposite of a stem:
1245 @lilypond[singleline,fragment,verbatim]
1246 \context Voice << c''4 \\ r4 >>
1254 @cindex @code{\oneVoice}
1256 @cindex @code{\voiceOne}
1258 @cindex @code{\voiceTwo}
1260 @cindex @code{\voiceThree}
1262 @cindex @code{\voiceFour}
1265 The following commands specify in what chords of the current voice
1266 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1267 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1270 @cindex @code{\shiftOn}
1272 @cindex @code{\shiftOnn}
1274 @cindex @code{\shiftOnnn}
1276 @cindex @code{\shiftOff}
1283 The objects responsible for resolving collisions are
1284 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1285 also example files @inputfileref{input/regression,collision-dots.ly},
1286 @inputfileref{input/regression,collision-head-chords.ly},
1287 @inputfileref{input/regression,collision-heads.ly},
1288 @inputfileref{input/regression,collision-mesh.ly}, and
1289 @inputfileref{input/regression,collisions.ly}.
1294 Resolving collisions is a intricate subject, and only a few situations
1295 are handled. When LilyPond cannot cope, the @code{force-hshift}
1296 property of the @internalsref{NoteColumn} object and pitched rests can
1297 be used to override typesetting decisions.
1299 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1300 note, and a downstem half note, the 8th note gets the wrong offset.
1305 Beams are used to group short notes into chunks that are aligned with
1306 the metrum. They are inserted automatically in most cases:
1308 @lilypond[fragment,verbatim, relative=2]
1309 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1312 When these automatic decisions are not good enough, beaming can be
1313 entered explicitly. It is also possible to define beaming patterns
1314 that differ from the defaults.
1318 @internalsref{Beam}.
1321 @cindex Automatic beams
1322 @subsection Manual beams
1323 @cindex beams, manual
1327 In some cases it may be necessary to override the automatic beaming
1328 algorithm. For example, the auto beamer will not put beams over rests
1329 or bar lines. Such beams are specified by manually: the begin and end
1330 point are marked with @code{[} and @code{]}:
1332 @lilypond[fragment,relative,verbatim]
1334 r4 r8[ g' a r8] r8 g[ | a] r8
1338 @cindex @code{stemLeftBeamCount}
1340 Normally, beaming patterns within a beam are determined automatically.
1341 When this mechanism fouls up, the properties
1342 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1343 be used to control the beam subdivision on a stem. If either property
1344 is set, its value will be used only once, and then it is erased.
1346 @lilypond[fragment,relative,verbatim]
1349 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1352 @cindex @code{stemRightBeamCount}
1355 The property @code{subdivideBeams} can be set in order to subdivide
1356 all 16th or shorter beams at beat positions, as defined by the
1357 @code{beatLength} property . This accomplishes the same effect as
1358 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1359 but it take less typing:
1362 @lilypond[relative=1,verbatim,noindent]
1364 \property Voice.subdivideBeams = ##t
1366 \property Score.beatLength = #(ly:make-moment 1 8)
1369 @cindex subdivideBeams
1371 Kneed beams are inserted automatically, when a large gap is detected
1372 between the note heads. This behavior can be tuned through the object
1373 property @code{auto-knee-gap}.
1375 Normally, line breaks are forbidden when beams cross bar lines. This
1376 behavior can be changed by setting @code{allowBeamBreak}.
1378 @cindex @code{allowBeamBreak}
1379 @cindex beams and line breaks
1381 @cindex beams, kneed
1383 @cindex auto-knee-gap
1389 @cindex Frenched staves
1391 Automatically kneed beams cannot be used together with hidden staves.
1396 * Setting automatic beam behavior ::
1400 @no de Beam typography
1401 @sub section Beam typography
1403 One of the strong points of LilyPond is how beams are formatted. Beams
1404 are quantized, meaning that the left and right endpoints beams start
1405 exactly on staff lines. Without quantization, small wedges of white
1406 space appear between the beam and staff line, and this looks untidy.
1408 Beams are also slope-damped: melodies that go up or down should also
1409 have beams that go up or down, but the slope of the beams should be
1410 less than the slope of the notes themselves.
1412 Some beams should be horizontal. These are so-called concave beams.
1414 [TODO: some pictures.]
1418 @node Setting automatic beam behavior
1419 @subsection Setting automatic beam behavior
1421 @cindex @code{autoBeamSettings}
1422 @cindex @code{(end * * * *)}
1423 @cindex @code{(begin * * * *)}
1424 @cindex automatic beams, tuning
1425 @cindex tuning automatic beaming
1427 @c [TODO: use \applycontext]
1429 In normal time signatures, automatic beams can start on any note but can
1430 only end in a few positions within the measure: beams can end on a beat,
1431 or at durations specified by the properties in
1432 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1433 are defined in @file{scm/auto-beam.scm}.
1435 The value of @code{autoBeamSettings} is changed using
1436 @code{\override} and restored with @code{\revert}:
1438 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1439 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1441 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1442 whether the rule applies to begin or end-points. The quantity
1443 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1444 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1445 signature (wildcards, `@code{* *}' may be entered to designate all time
1448 For example, if automatic beams should end on every quarter note, use
1451 \property Voice.autoBeamSettings \override
1452 #'(end * * * *) = #(ly:make-moment 1 4)
1454 Since the duration of a quarter note is 1/4 of a whole note, it is
1455 entered as @code{(ly:make-moment 1 4)}.
1457 The same syntax can be used to specify beam starting points. In this
1458 example, automatic beams can only end on a dotted quarter note:
1460 \property Voice.autoBeamSettings \override
1461 #'(end * * * *) = #(ly:make-moment 3 8)
1463 In 4/4 time signature, this means that automatic beams could end only on
1464 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1465 3/8 has passed within the measure).
1467 Rules can also be restricted to specific time signatures. A rule that
1468 should only be applied in @var{N}/@var{M} time signature is formed by
1469 replacing the second asterisks by @var{N} and @var{M}. For example, a
1470 rule for 6/8 time exclusively looks like
1472 \property Voice.autoBeamSettings \override
1473 #'(begin * * 6 8) = ...
1476 If a rule should be to applied only to certain types of beams, use the
1477 first pair of asterisks. Beams are classified according to the
1478 shortest note they contain. For a beam ending rule that only applies
1479 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1482 If a score ends while an automatic beam has not been ended and is still
1483 accepting notes, this last beam will not be typeset at all.
1485 @cindex automatic beam generation
1487 @cindex @code{Voice.autoBeaming}
1490 For melodies that have lyrics, you may want to switch off
1491 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1496 @cindex @code{\autoBeamOff}
1497 @code{\autoBeamOff},
1498 @cindex @code{\autoBeamOn}
1504 The rules for ending a beam depend on the shortest note in a beam.
1505 So, while it is possible to have different ending rules for eight
1506 beams and sixteenth beams, a beam that contains both eight and
1507 sixteenth notes will use the rules for the sixteenth beam.
1509 In the example below, the autobeamer makes eight beams and sixteenth
1510 end at 3 eights; the third beam can only be corrected by specifying
1513 @lilypond[singleline,fragment,relative,noverbatim,quote]
1514 \property Voice.autoBeamSettings
1515 \override #'(end * * * *) = #(ly:make-moment 3 8)
1516 % rather show case where it goes wrong
1517 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1518 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1520 It is not possible to specify beaming parameters that act differently in
1521 different parts of a measure. This means that it is not possible to use
1522 automatic beaming in irregular meters such as @code{5/8}.
1525 @section Accidentals
1528 This section describes how to change the way that accidentals are
1529 inserted automatically before the running notes.
1533 * Using the predefined accidental variables::
1534 * Customized accidental rules::
1537 @node Using the predefined accidental variables
1538 @subsection Using the predefined accidental variables
1540 The constructs for describing the accidental typesetting rules are
1541 quite hairy, so non-experts should stick to the variables
1542 defined in @file{ly/property-init.ly}.
1543 @cindex @file{property-init.ly}
1545 The variables set properties in the ``@code{Current}'' context (see
1546 @ref{Context properties}). This means that the variables should
1547 normally be added right after the creation of the context in which the
1548 accidental typesetting described by the variable is to take
1549 effect. For example, if you want to use piano-accidentals in a piano
1550 staff then issue @code{\pianoAccidentals} first thing after the
1551 creation of the piano staff:
1554 \notes \relative c'' <<
1555 \new Staff @{ cis4 d e2 @}
1556 \context GrandStaff <<
1558 \new Staff @{ cis4 d e2 @}
1559 \new Staff @{ es2 c @}
1561 \new Staff @{ es2 c @}
1565 @lilypond[singleline]
1567 \notes \relative c'' <<
1568 \new Staff { cis4 d e2 }
1569 \context GrandStaff <<
1571 \new Staff { cis4 d e2 }
1572 \new Staff { es2 c }
1574 \new Staff { es2 c }
1579 minimumVerticalExtent = #'(-4.0 . 4.0)
1587 @item \defaultAccidentals
1588 @cindex @code{\defaultAccidentals}
1589 This is the default typesetting behaviour. It should correspond
1590 to 18th century common practice: Accidentals are
1591 remembered to the end of the measure in which they occur and
1592 only on their own octave.
1594 @item \voiceAccidentals
1595 @cindex @code{\voiceAccidentals}
1597 The normal behaviour is to
1598 remember the accidentals on Staff-level. This variable, however,
1599 typesets accidentals individually for each voice. Apart from that the
1600 rule is similar to @code{\defaultAccidentals}.
1602 This leads to some weird and often unwanted results
1603 because accidentals from one voice do not get cancelled in other
1605 @lilypond[singleline,relative,fragment,verbatim,quote]
1613 Hence you should only use @code{\voiceAccidentals} if the voices
1614 are to be read solely by individual musicians. If the staff is to be
1615 used by one musician (e.g. a conductor) then you use
1616 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1619 @item \modernAccidentals
1620 @cindex @code{\modernAccidentals}
1621 This rule corresponds to the common practice in the 20th
1623 The rule is more complex than @code{\defaultAccidentals}.
1624 You get all the same accidentals, but temporary
1625 accidentals also get cancelled in other octaves. Furthermore,
1626 in the same octave, they also get cancelled in the following measure:
1627 @lilypond[singleline,fragment,verbatim]
1629 cis' c'' cis'2 | c'' c'
1632 @item \modernCautionaries
1633 @cindex @code{\modernCautionaries}
1634 This rule is similar to @code{\modernAccidentals}, but the
1635 ``extra'' accidentals (the ones not typeset by
1636 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1637 They are printed in reduced size or with parentheses:
1638 @lilypond[singleline,fragment,verbatim]
1640 cis' c'' cis'2 | c'' c'
1643 @cindex @code{\modernVoiceAccidentals}
1644 @item \modernVoiceAccidentals
1645 is used for multivoice accidentals to be read both by musicians
1646 playing one voice and musicians playing all voices. Accidentals are
1647 typeset for each voice, but they @emph{are} cancelled across voices in
1648 the same @internalsref{Staff}.
1650 @cindex @code{\modernVoiceCautionaries}
1651 @item \modernVoiceCautionaries
1652 is the same as @code{\modernVoiceAccidentals}, but with the extra
1653 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1654 as cautionaries. Even though all accidentals typeset by
1655 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1656 some of them are typeset as cautionaries.
1658 @item \pianoAccidentals
1659 @cindex @code{\pianoAccidentals}
1660 20th century practice for piano notation. Very similar to
1661 @code{\modernAccidentals} but accidentals also get cancelled
1662 across the staves in the same @internalsref{GrandStaff} or
1663 @internalsref{PianoStaff}.
1665 @item \pianoCautionaries
1666 @cindex @code{\pianoCautionaries}
1667 As @code{\pianoAccidentals} but with the extra accidentals
1668 typeset as cautionaries.
1671 @cindex @code{\noResetKey}
1672 Same as @code{\defaultAccidentals} but with accidentals lasting
1673 ``forever'' and not only until the next measure:
1674 @lilypond[singleline,fragment,verbatim,relative]
1679 @item \forgetAccidentals
1680 @cindex @code{\forgetAccidentals}
1681 This is sort of the opposite of @code{\noResetKey}: Accidentals
1682 are not remembered at all---and hence all accidentals are
1683 typeset relative to the key signature, regardless of what was
1684 before in the music:
1685 @lilypond[singleline,fragment,verbatim,relative]
1687 \key d\major c4 c cis cis d d dis dis
1691 @node Customized accidental rules
1692 @subsection Customized accidental rules
1694 For determining when to print an accidental, several different rules
1695 are tried. The rule that gives the highest number of accidentals is
1696 used. Each rule consists of
1699 In which context is the rule applied. For example, if
1700 @var{context} is @internalsref{Score} then all staves share
1701 accidentals, and if @var{context} is @internalsref{Staff} then all
1702 voices in the same staff share accidentals, but staves do not.
1704 Whether the accidental changes all octaves or only the current
1707 Over how many barlines the accidental lasts.
1708 If @var{lazyness} is @code{-1} then the accidental is forget
1709 immediately, and if @var{lazyness} is @code{#t} then the accidental
1712 @c [TODO: should use +infinity for this case?]
1718 @cindex @code{\defaultAccidentals}
1719 @code{\defaultAccidentals},
1720 @cindex @code{\voiceAccidentals}
1721 @code{\voiceAccidentals},
1722 @cindex @code{\modernAccidentals}
1723 @code{\modernAccidentals},
1724 @cindex @code{\modernCautionaries}
1725 @code{\modernCautionaries},
1726 @cindex @code{\modernVoiceAccidentals}
1727 @code{\modernVoiceAccidentals},
1728 @cindex @code{\modernVoiceCautionaries}
1729 @code{\modernVoiceCautionaries},
1730 @cindex @code{\pianoAccidentals}
1731 @code{\pianoAccidentals},
1732 @cindex @code{\pianoCautionaries}
1733 @code{\pianoCautionaries},
1734 @cindex @code{\noResetKey}
1736 @cindex @code{\forgetAccidentals}
1737 @code{\forgetAccidentals}.
1741 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1742 @internalsref{AccidentalPlacement}.
1747 Currently the simultaneous notes are considered to be entered in
1748 sequential mode. This means that in a chord the accidentals are
1749 typeset as if the notes in the chord happened once at a time - in the
1750 order in which they appear in the input file.
1752 This is only a problem when there are simultaneous notes whose
1753 accidentals depend on each other. The problem only occurs when using
1754 non-default accidentals. In the default scheme, accidentals only
1755 depend on other accidentals with the same pitch on the same staff, so
1756 no conflicts possible.
1758 This example shows two examples of the same music giving different
1759 accidentals depending on the order in which the notes occur in the
1762 @lilypond[singleline,fragment,verbatim]
1763 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1764 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1765 | <cis' c''> r | <c'' cis'> r |
1768 This problem can be solved by manually inserting @code{!} and @code{?}
1769 for the problematic notes.
1771 @node Expressive marks
1772 @section Expressive marks
1775 @c todo: should change ordering
1776 @c where to put text spanners, metronome marks,
1785 * Analysis brackets::
1787 * Fingering instructions::
1798 A slur indicates that notes are to be played bound or @emph{legato}.
1802 They are entered using parentheses:
1803 @lilypond[relative 1,fragment,verbatim,center]
1804 f( g)( a) a8 b( a4 g2 f4)
1809 @c TODO: should explain that ^( and _( set directions
1810 @c should set attachments with ^ and _ ?
1812 Slurs avoid crossing stems, and are generally attached to note heads.
1813 However, in some situations with beams, slurs may be attached to stem
1814 ends. If you want to override this layout you can do this through the
1815 object property @code{attachment} of @internalsref{Slur} in
1816 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1817 the attachment type of the left and right end points:
1819 @lilypond[fragment,relative,verbatim]
1821 \property Voice.Stem \set #'length = #5.5
1823 \property Voice.Slur \set #'attachment = #'(stem . stem)
1827 If a slur would strike through a stem or beam, the slur will be moved
1828 away upward or downward. If this happens, attaching the slur to the
1829 stems might look better:
1831 @lilypond[fragment,relative,verbatim]
1834 \property Voice.Slur \set #'attachment = #'(stem . stem)
1841 @cindex @code{\slurUp}
1843 @cindex @code{\slurDown}
1845 @cindex @code{\slurBoth}
1847 @cindex @code{\slurDotted}
1849 @cindex @code{\slurSolid}
1854 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1859 Producing nice slurs is a difficult problem, and LilyPond currently
1860 uses a simple, empiric method to produce slurs. In some cases, its
1864 @cindex Adjusting slurs
1866 @node Phrasing slurs
1867 @subsection Phrasing slurs
1869 @cindex phrasing slurs
1870 @cindex phrasing marks
1872 A phrasing slur (or phrasing mark) connects chords and is used to
1873 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1876 @lilypond[fragment,verbatim,center,relative]
1877 \time 6/4 c'\( d( e) f( e) d\)
1880 Typographically, the phrasing slur behaves almost exactly like a
1881 normal slur. However, they are treated as different objects. A
1882 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1883 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1884 @code{\phrasingSlurBoth}.
1886 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1887 will only affect normal slurs and not phrasing slurs.
1891 @cindex @code{\phrasingSlurUp}
1892 @code{\phrasingSlurUp},
1893 @cindex @code{\phrasingSlurDown}
1894 @code{\phrasingSlurDown},
1895 @cindex @code{\phrasingSlurBoth}
1896 @code{\phrasingSlurBoth},
1900 See also @internalsref{PhrasingSlur}, and
1901 @internalsref{PhrasingSlurEvent}.
1905 Phrasing slurs have the same limitations in their formatting as normal
1906 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1909 @subsection Breath marks
1911 Breath marks are entered using @code{\breathe}:
1914 @lilypond[fragment,relative,verbatim]
1918 The glyph of the breath mark can be tweaked by overriding the
1919 @code{text} property of the @code{BreathingSign} layout object with
1920 any markup text. For example,
1921 @lilypond[fragment,verbatim,relative]
1923 \property Voice.BreathingSign \override #'text
1924 = #(make-musicglyph-markup "scripts-rvarcomma")
1931 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1932 @inputfileref{input/regression,breathing-sign.ly}.
1935 @node Metronome marks
1936 @subsection Metronome marks
1939 @cindex beats per minute
1940 @cindex metronome marking
1942 Metronome settings can be entered as follows:
1944 \tempo @var{duration} = @var{perminute}
1947 In the MIDI output, they are interpreted as a tempo change, and in the
1948 paper output, a metronome marking is printed:
1949 @cindex @code{\tempo}
1950 @lilypond[fragment,verbatim]
1956 @internalsref{MetronomeChangeEvent}.
1961 @subsection Text spanners
1962 @cindex Text spanners
1964 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1965 are written as texts, and extended over many measures with dotted
1966 lines. You can create such texts using text spanners: attach
1967 @code{\startTextSpan} and @code{\stopTextSpan} to the
1968 start and ending note of the spanner.
1970 The string to be printed, as well as the style, is set through object
1973 @lilypond[fragment,relative,verbatim]
1975 \property Voice.TextSpanner \set #'direction = #-1
1976 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1977 c2\startTextSpan b c\stopTextSpan a }
1983 @internalsref{TextSpanEvent},
1984 @internalsref{TextSpanner}, and
1985 @inputfileref{input/regression,text-spanner.ly}.
1988 @node Analysis brackets
1989 @subsection Analysis brackets
1991 @cindex phrasing brackets
1992 @cindex musicological analysis
1993 @cindex note grouping bracket
1995 Brackets are used in musical analysis to indicate structure in musical
1996 pieces. LilyPond supports a simple form of nested horizontal brackets.
1997 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1998 @internalsref{Staff} context. A bracket is started with
1999 @code{\startGroup} and closed with @code{\stopGroup}:
2001 @lilypond[singleline,verbatim]
2002 \score { \notes \relative c'' {
2003 c4\startGroup\startGroup
2006 c4\stopGroup\stopGroup
2008 \paper { \translator {
2009 \StaffContext \consists "Horizontal_bracket_engraver"
2015 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
2016 @inputfileref{input/regression,note-group-bracket.ly}.
2020 @subsection Articulations
2021 @cindex Articulations
2023 @cindex articulations
2027 A variety of symbols can appear above and below notes to indicate
2028 different characteristics of the performance. They are added to a note
2029 by adding a dash and the character signifying the
2030 articulation. They are demonstrated here:
2032 @lilypondfile[notexidoc]{script-abbreviations.ly}
2034 The meanings of these shorthands can be changed: see
2035 @file{ly/script-init.ly} for examples.
2038 The script is automatically placed, but if you need to force
2039 directions, you can use @code{_} to force them down, or @code{^} to
2041 @lilypond[fragment, verbatim]
2045 Other symbols can be added using the syntax
2046 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2047 can be forced up or down using @code{^} and @code{_},
2050 @lilypond[verbatim,fragment,relative 2]
2051 c\fermata c^\fermata c_\fermata
2058 @cindex staccatissimo
2067 @cindex organ pedal marks
2076 @cindex prallmordent
2080 @cindex thumb marking
2085 @lilypondfile[notexidoc]{script-chart.ly}
2090 @cindex @code{\scriptUp}
2092 @cindex @code{\scriptDown}
2094 @cindex @code{\scriptBoth}
2099 @internalsref{ScriptEvent}, and @internalsref{Script}.
2103 These note ornaments appear in the printed output but have no
2104 effect on the MIDI rendering of the music.
2107 @node Fingering instructions
2108 @subsection Fingering instructions
2112 Fingering instructions can be entered using
2114 @var{note}-@var{digit}
2116 For finger changes, use markup texts:
2118 @lilypond[verbatim, singleline, fragment]
2119 c'4-1 c'4-2 c'4-3 c'4-4
2120 c'^\markup { \fontsize #-3 \number "2-3" }
2123 @cindex finger change
2128 You can use the thumb-script to indicate that a note should be
2129 played with your thumb (used in cello music):
2131 @lilypond[verbatim, singleline, fragment]
2132 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2133 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2136 Fingerings for chords can also be added to individual notes
2137 of the chord by adding them after the pitches:
2138 @lilypond[verbatim,singleline,fragment,relative=1]
2139 < c-1 e-2 g-3 b-5 > 4
2142 Setting @code{fingeringOrientations} will put fingerings next
2145 @lilypond[verbatim,singleline,fragment,relative=1]
2146 \property Voice.fingeringOrientations = #'(left down)
2147 <c-1 es-2 g-4 bes-5 > 4
2148 \property Voice.fingeringOrientations = #'(up right down)
2149 <c-1 es-2 g-4 bes-5 > 4
2154 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2158 @subsection Text scripts
2159 @cindex Text scripts
2161 It is possible to place arbitrary strings of text or markup text (see
2162 @ref{Text markup}) above or below notes by using a string:
2163 @code{c^"text"}. By default, these indications do not influence the
2164 note spacing, but by using the command @code{\fatText}, the widths
2165 will be taken into account:
2167 @lilypond[fragment,singleline,verbatim] \relative c' {
2168 c4^"longtext" \fatText c4_"longlongtext" c4 }
2171 It is possible to use @TeX{} commands in the strings, but this should
2172 be avoided because the exact dimensions of the string can then no
2178 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2184 @subsection Grace notes
2187 @c should have blurb about accaciatura / appogiatura
2189 @cindex @code{\grace}
2193 Grace notes are ornaments that are written out. The most common ones
2194 are acciaccatura, which should be played as very short. It is denoted
2195 by a slurred small note with a slashed stem. The appoggiatura is a
2196 grace note that takes a fixed fraction of the main note, is and
2197 denoted as a slurred note in small print without a slash.
2198 They are entered with the commands @code{\acciaccatura} and
2199 @code{\appoggiatura}, as demonstrated in the following example:
2202 @cindex appoggiatura
2203 @cindex acciaccatura
2205 @lilypond[relative=2,verbatim,fragment]
2206 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2207 \acciaccatura { g16[ f] } e4
2210 Both are special forms of the @code{\grace} command. By prefixing this
2211 keyword to a music expression, a new one is formed, which will be
2212 printed in a smaller font and takes up no logical time in a measure.
2213 @lilypond[relative=2,verbatim,fragment]
2215 \grace { c16[ d16] } c2 c4
2219 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2220 @code{\grace} command does not start a slur.
2222 Internally, timing for grace notes is done using a second, `grace'
2223 time. Every point in time consists of two rational numbers: one
2224 denotes the logical time, one denotes the grace timing. The above
2225 example is shown here with timing tuples:
2227 @lilypond[singleline]
2230 c4 \grace c16 c4 \grace {
2233 \new Lyrics \lyrics {
2236 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2237 \markup { (\fraction 1 4 , 0 ) } 4
2239 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2240 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2242 \markup { ( \fraction 2 4 , 0 ) }
2247 The placement of grace notes is synchronized between different staves.
2248 In the following example, there are two sixteenth graces notes for
2249 every eighth grace note:
2251 @lilypond[relative=2,verbatim,fragment]
2252 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2253 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2258 If you want to end a note with a grace, then the standard trick
2259 is to put the grace notes after a ``space note'', e.g.
2260 @lilypond[fragment,verbatim, relative=2]
2263 { s2 \grace { c16[ d] } } >>
2269 By adjusting the duration of the skip note (here it is a half-note),
2270 the space between the main-note and the grace is adjusted.
2273 A @code{\grace} section will introduce special typesetting settings,
2274 for example, to produce smaller type, and set directions. Hence, when
2275 introducing layout tweaks, they should be inside the grace section,
2277 @lilypond[fragment,verbatim,relative 1]
2280 \property Voice.Stem \override #'direction = #-1
2282 \property Voice.Stem \revert #'direction
2289 The overrides should also be reverted inside the grace section.
2291 If the layout of grace sections must be changed throughout the music,
2292 then this can be accomplished through the function
2293 @code{add-grace-property}. The following example
2294 undefines the Stem direction grace section, so stems do not always
2299 #(add-grace-property "Voice" Stem direction '())
2305 Another option is to change the variables @code{startGraceMusic},
2306 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2307 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2308 @code{stopAppoggiaturaMstuic}. More information is in the file
2309 @file{ly/grace-init.ly}
2314 @internalsref{GraceMusic}.
2318 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2320 A score that starts with an @code{\grace} section needs an explicit
2321 @code{\context Voice} declaration, otherwise the main note and grace
2322 note end up on different staves.
2324 Grace note synchronization can also lead to surprises. Staff notation,
2325 such as key signatures, barlines, etc. are also synchronized. Take
2326 care when you mix staves with grace notes and staves without, for example,
2328 @lilypond[relative=2,verbatim,fragment]
2329 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2330 \new Staff { c4 \bar "|:" d4 } >>
2333 Grace sections should only be used within sequential music
2334 expressions. Nesting or juxtaposing grace sections is not supported,
2335 and might produce crashes or other errors.
2337 Overriding settings cannot be done in separate styles for appoggiatura
2342 @subsection Glissando
2345 @cindex @code{\glissando}
2347 A glissando is a smooth change in pitch. It is denoted by a line or a
2348 wavy line between two notes.
2352 A glissando line can be requested by attaching a @code{\glissando} to
2355 @lilypond[fragment,relative,verbatim]
2361 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2366 Adding additional texts (such as @emph{gliss.}) is not supported.
2370 @subsection Dynamics
2383 @cindex @code{\ffff}
2393 Absolute dynamic marks are specified using an variable after a
2394 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2395 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2396 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2397 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2399 @lilypond[verbatim,singleline,fragment,relative]
2400 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2406 @cindex @code{\decr}
2407 @cindex @code{\rced}
2414 A crescendo mark is started with @code{\<} and terminated with
2415 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2416 with @code{\!}. Because these marks are bound to notes, if you must
2417 use spacer notes if multiple marks during one note are needed:
2419 @lilypond[fragment,verbatim,center,quote]
2420 c''\< c''\! d''\decr e''\rced
2421 << f''1 { s4 s4\< s4\! \> s4\! } >>
2423 This may give rise to very short hairpins. Use @code{minimum-length}
2424 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2428 \property Staff.Hairpin \override #'minimum-length = #5
2431 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2432 is an example how to do it:
2434 @lilypond[fragment,relative=2,verbatim]
2435 c4 \cresc c4 c c c \endcresc c4
2441 You can also supply your own texts:
2442 @lilypond[fragment,relative,verbatim]
2444 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2445 \property Voice.crescendoSpanner = #'dashed-line
2455 @cindex @code{\dynamicUp}
2457 @cindex @code{\dynamicDown}
2458 @code{\dynamicDown},
2459 @cindex @code{\dynamicBoth}
2460 @code{\dynamicBoth}.
2462 @cindex direction, of dynamics
2466 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2467 @internalsref{AbsoluteDynamicEvent}.
2469 Dynamics are objects of @internalsref{DynamicText} and
2470 @internalsref{Hairpin}. Vertical positioning of these symbols is
2471 handled by the @internalsref{DynamicLineSpanner} object.
2473 If you want to adjust padding or vertical direction of the dynamics, you
2474 must set properties for the @internalsref{DynamicLineSpanner} object.
2482 @cindex @code{\repeat}
2485 Repetition is a central concept in music, and multiple notations exist
2486 for repetitions. In LilyPond, most of these notations can be captured
2487 in a uniform syntax. One of the advantages is that they can be
2488 rendered in MIDI accurately.
2490 The following types of repetition are supported:
2494 Repeated music is fully written (played) out. Useful for MIDI
2495 output, and entering repetitive music.
2498 This is the normal notation: Repeats are not written out, but
2499 alternative endings (voltas) are printed, left to right.
2503 Alternative endings are written stacked. This has limited use but may be
2504 used to typeset two lines of lyrics in songs with repeats, see
2505 @inputfileref{input,star-spangled-banner.ly}.
2512 Make beat or measure repeats. These look like percent signs.
2518 * Repeats and MIDI::
2519 * Manual repeat commands::
2521 * Tremolo subdivisions::
2526 @subsection Repeat syntax
2530 LilyPond has one syntactic construct for specifying different types of
2531 repeats. The syntax is
2534 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2537 If you have alternative endings, you may add
2538 @cindex @code{\alternative}
2540 \alternative @code{@{} @var{alternative1}
2542 @var{alternative3} @dots{} @code{@}}
2544 where each @var{alternative} is a music expression. If you do not
2545 give enough alternatives for all of the repeats, then the first
2546 alternative is assumed to be played more than once.
2548 Normal notation repeats are used like this:
2549 @lilypond[fragment,verbatim,relative 1]
2551 \repeat volta 2 { c4 d e f }
2552 \repeat volta 2 { f e d c }
2555 With alternative endings:
2556 @lilypond[fragment,verbatim,relative 1]
2558 \repeat volta 2 {c4 d e f}
2559 \alternative { {d2 d} {f f,} }
2563 @lilypond[fragment,verbatim,relative 1]
2566 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2567 \alternative { { g4 g g } { a | a a a a | b2. } }
2573 If you do a nested repeat like
2582 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2583 belongs. This ambiguity is resolved by always having the
2584 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2585 it is advisable to use braces in such situations.
2588 @node Repeats and MIDI
2589 @subsection Repeats and MIDI
2591 @cindex expanding repeats
2593 For instructions on how to unfold repeats for MIDI output, see the
2594 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2599 Timing information is not remembered at the start of an alternative,
2600 so after a repeat timing information must be reset by hand, for
2601 example by setting @code{Score.measurePosition} or entering
2602 @code{\partial}. Similarly, slurs or ties are also not repeated.
2605 @node Manual repeat commands
2606 @subsection Manual repeat commands
2608 @cindex @code{repeatCommands}
2610 The property @code{repeatCommands} can be used to control the layout of
2611 repeats. Its value is a Scheme list of repeat commands, where each repeat
2615 @item the symbol @code{start-repeat},
2616 which prints a @code{|:} bar line,
2617 @item the symbol @code{end-repeat},
2618 which prints a @code{:|} bar line,
2619 @item the list @code{(volta @var{text})},
2620 which prints a volta bracket saying @var{text}: The text can be specified as
2621 a text string or as a markup text, see @ref{Text markup}. Do not
2622 forget to change the font, as the default number font does not contain
2623 alphabetic characters. Or,
2624 @item the list @code{(volta #f)}, which
2625 stops a running volta bracket:
2628 @lilypond[verbatim, fragment,relative 2]
2630 \property Score.repeatCommands = #'((volta "93") end-repeat)
2632 \property Score.repeatCommands = #'((volta #f))
2639 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2640 @internalsref{VoltaRepeatedMusic},
2641 @internalsref{UnfoldedRepeatedMusic}, and
2642 @internalsref{FoldedRepeatedMusic}.
2644 @node Tremolo repeats
2645 @subsection Tremolo repeats
2646 @cindex tremolo beams
2648 To place tremolo marks between notes, use @code{\repeat} with tremolo
2650 @lilypond[verbatim,center,singleline]
2652 \context Voice \notes\relative c' {
2653 \repeat "tremolo" 8 { c16 d16 }
2654 \repeat "tremolo" 4 { c16 d16 }
2655 \repeat "tremolo" 2 { c16 d16 }
2656 \repeat "tremolo" 4 c16
2663 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2664 are @internalsref{StemTremolo}s. The music expression is
2665 @internalsref{TremoloEvent}.
2670 The single stem tremolo must be entered without @code{@{} and
2673 @node Tremolo subdivisions
2674 @subsection Tremolo subdivisions
2675 @cindex tremolo marks
2676 @cindex @code{tremoloFlags}
2678 Tremolo marks can be printed on a single note by adding
2679 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2680 A @var{length} value of 8 gives one line across the note stem. If the
2681 length is omitted, then then the last value (stored in
2682 @code{Voice.tremoloFlags}) is used:
2684 @lilypond[verbatim,fragment,center]
2685 c'2:8 c':32 | c': c': |
2688 @c [TODO : stok is te kort bij 32en]
2692 Tremolos in this style do not carry over into the MIDI output.
2695 @node Measure repeats
2696 @subsection Measure repeats
2698 @cindex percent repeats
2699 @cindex measure repeats
2701 In the @code{percent} style, a note pattern can be repeated. It is
2702 printed once, and then the pattern is replaced with a special sign.
2703 Patterns of a one and two measures are replaced by percent-like signs,
2704 patterns that divide the measure length are replaced by slashes:
2706 @lilypond[verbatim,singleline]
2707 \context Voice { \repeat "percent" 4 { c'4 }
2708 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2714 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2715 @internalsref{PercentRepeatedMusic}, and
2716 @internalsref{DoublePercentRepeat}.
2720 @node Rhythmic music
2721 @section Rhythmic music
2723 Sometimes you might want to show only the rhythm of a melody. This
2724 can be done with the rhythmic staff. All pitches of notes on such a
2725 staff are squashed, and the staff itself has a single line:
2727 @lilypond[fragment,relative,verbatim]
2728 \context RhythmicStaff {
2730 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2735 * Percussion staves::
2736 * Percussion MIDI output::
2739 @node Percussion staves
2740 @subsection Percussion staves
2744 A percussion part for more than one instrument typically uses a
2745 multiline staff where each position in the staff refers to one piece
2750 Percussion staves are typeset with help of a set of Scheme
2751 functions. The system is based on the general MIDI drum-pitches.
2752 Include @file{drumpitch-init.ly} to use drum pitches. This file
2753 defines the pitches from the Scheme variable @code{drum-pitch-names},
2754 the definition of which can be read in @file{scm/drums.scm}. Each
2755 piece of percussion has a full name and an abbreviated name, and either
2756 the full name or the abbreviation may be used in input files.
2758 To typeset the music on a staff apply the function @code{drums->paper}
2759 to the percussion music. This function takes a list of percussion
2760 instrument names, notehead scripts and staff positions (that is:
2761 pitches relative to the C-clef) and transforms the input
2762 music by moving the pitch, changing the notehead and (optionally)
2765 @lilypond[singleline,verbatim,quote]
2766 \include "drumpitch-init.ly"
2767 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2768 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2770 \apply #(drums->paper 'drums) \context Staff <<
2772 \new Voice { \voiceOne \up }
2773 \new Voice { \voiceTwo \down }
2778 In the above example the music was transformed using the list @code{'drums}.
2779 The following lists are defined in @file{scm/drums.scm}:
2782 to typeset a typical drum kit on a five-line staff:
2785 \include "drumpitch-init.ly"
2786 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2787 bd sn ss tomh tommh tomml toml tomfh tomfl }
2788 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2789 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2792 \apply #(drums->paper 'drums) \context Staff <<
2796 \context Lyrics \nam
2799 linewidth = 100.0\mm
2802 \remove Bar_engraver
2803 \remove Time_signature_engraver
2804 minimumVerticalExtent = #'(-4.0 . 5.0)
2808 \remove Stem_engraver
2814 The drum scheme supports six different toms. When there fewer toms, simply
2815 select the toms that produce the desired result, i.e. to get toms on
2816 the three middle lines you use @code{tommh}, @code{tomml} and
2819 Because general MIDI does not contain rimshots the sidestick is used
2820 for this purpose instead.
2822 to typeset timbales on a two line staff:
2824 @lilypond[singleline]
2825 \include "drumpitch-init.ly"
2826 nam = \lyrics { timh ssh timl ssl cb }
2827 mus = \notes { timh ssh timl ssl cb s16 }
2830 \apply #(drums->paper 'timbales) \context Staff <<
2834 \context Lyrics \nam
2839 \remove Bar_engraver
2840 \remove Time_signature_engraver
2841 StaffSymbol \override #'line-count = #2
2842 StaffSymbol \override #'staff-space = #2
2843 minimumVerticalExtent = #'(-3.0 . 4.0)
2847 \remove Stem_engraver
2854 to typeset congas on a two line staff:
2856 @lilypond[singleline]
2857 \include "drumpitch-init.ly"
2858 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2859 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2862 \apply #(drums->paper 'congas) \context Staff <<
2866 \context Lyrics \nam
2871 \remove Bar_engraver
2872 \remove Time_signature_engraver
2873 StaffSymbol \override #'line-count = #2
2874 StaffSymbol \override #'staff-space = #2
2875 minimumVerticalExtent = #'(-3.0 . 4.0)
2879 \remove Stem_engraver
2885 to typeset bongos on a two line staff:
2887 @lilypond[singleline]
2888 \include "drumpitch-init.ly"
2889 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2890 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2893 \apply #(drums->paper 'bongos) \context Staff <<
2897 \context Lyrics \nam
2902 \remove Bar_engraver
2903 \remove Time_signature_engraver
2904 StaffSymbol \override #'line-count = #2
2905 StaffSymbol \override #'staff-space = #2
2906 minimumVerticalExtent = #'(-3.0 . 4.0)
2910 \remove Stem_engraver
2916 to typeset all kinds of simple percussion on one line staves:
2917 @lilypond[singleline]
2918 \include "drumpitch-init.ly"
2919 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2920 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2923 \apply #(drums->paper 'percussion) \context Staff <<
2927 \context Lyrics \nam
2932 \remove Bar_engraver
2933 \remove Time_signature_engraver
2934 StaffSymbol \override #'line-count = #1
2935 minimumVerticalExtent = #'(-2.0 . 3.0)
2939 \remove Stem_engraver
2946 If you do not like any of the predefined lists you can define your own
2947 list at the top of your file:
2949 @lilypond[singleline, verbatim]
2950 #(set-drum-kit 'mydrums `(
2951 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2952 (snare default #f ,(ly:make-pitch 0 1 0))
2953 (hihat cross #f ,(ly:make-pitch 0 5 0))
2954 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2955 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2957 \include "drumpitch-init.ly"
2958 up = \notes { hh8 hh hh hh hhp4 hhp }
2959 down = \notes { bd4 sn bd toml8 toml }
2961 \apply #(drums->paper 'mydrums) \context Staff <<
2963 \new Voice { \voiceOne \up }
2964 \new Voice { \voiceTwo \down }
2969 To use a modified existing list, one can prepend modifications to the
2973 #(set-drum-kit 'mydrums (append `(
2974 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2975 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2976 ) (get-drum-kit 'drums)))
2979 You can easily combine percussion notation with pitched notation.
2980 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2981 names, so you will have to reinclude @file{nederlands.ly} after the
2982 drum-pattern-definitions to enter normal notes:
2984 @lilypond[singleline,verbatim]
2985 \include "drumpitch-init.ly"
2986 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2987 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2988 \include "nederlands.ly"
2989 bass = \notes \transpose c c,, { a4. e8 r e g e }
2992 \apply #(drums->paper 'drums) \new Staff <<
2994 \new Voice { \voiceOne \up }
2995 \new Voice { \voiceTwo \down }
2997 \new Staff { \clef "F_8" \bass }
3002 @node Percussion MIDI output
3003 @subsection Percussion MIDI output
3005 In order to produce correct MIDI output you need to produce two score
3006 blocks---one for the paper and one for the MIDI output. To use the
3007 percussion channel you set the property @code{instrument} to
3008 @code{'drums}. Because the drum-pitches themselves are similar to the
3009 general MIDI pitches all you have to do is to insert the voices with
3010 none of the scheme functions to get the correct MIDI output:
3014 \apply #(drums->paper 'mydrums) \context Staff <<
3023 \property Staff.instrument = #'drums
3032 This scheme is a temporary implementation.
3036 @section Piano music
3038 Piano staves are two normal staves coupled with a brace. The staves
3039 are largely independent, but sometimes voices can cross between the
3040 two staves. The same notation is also used for harps and other key
3041 instruments. The @internalsref{PianoStaff} is especially built to
3042 handle this cross-staffing behavior. In this section we discuss the
3043 @internalsref{PianoStaff} and some other pianistic peculiarities.
3047 * Automatic staff changes::
3048 * Manual staff switches::
3051 * Staff switch lines::
3056 There is no support for putting chords across staves. You can get
3057 this result by increasing the length of the stem in the lower stave so
3058 it reaches the stem in the upper stave, or vice versa. An example is
3059 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3061 Dynamics are not centered, but kludges do exist. See
3062 @inputfileref{input/template,piano-dynamics.ly}.
3064 @cindex cross staff stem
3065 @cindex stem, cross staff
3068 @c fixme: should have hyperlinks as well.
3074 @node Automatic staff changes
3075 @subsection Automatic staff changes
3076 @cindex Automatic staff changes
3078 Voices can switch automatically between the top and the bottom
3079 staff. The syntax for this is
3081 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3083 The two staffs of the piano staff must be named @code{up} and
3086 The autochanger switches on basis of pitch (central C is the turning
3087 point), and it looks ahead skipping over rests to switch in
3088 advance. Here is a practical example:
3090 @lilypond[verbatim,singleline,quote]
3091 \score { \notes \context PianoStaff <<
3092 \context Staff = "up" {
3093 \autochange Staff \context Voice = VA << \relative c' {
3094 g4 a b c d r4 a g } >> }
3095 \context Staff = "down" {
3102 In this example, spacer rests are used to prevent the bottom staff from
3103 terminating too soon.
3108 @internalsref{AutoChangeMusic}.
3112 The staff switches often do not end up in optimal places. For high
3113 quality output, staff switches should be specified manually.
3117 @node Manual staff switches
3118 @subsection Manual staff switches
3120 @cindex manual staff switches
3121 @cindex staff switch, manual
3123 Voices can be switched between staves manually, using the following command:
3125 \translator Staff = @var{staffname} @var{music}
3129 The string @var{staffname} is the name of the staff. It switches the
3130 current voice from its current staff to the Staff called
3131 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3139 Pianos have pedals that alter the way sound are produced. Generally, a
3140 piano has three pedals, sustain, una corda, and sostenuto.
3144 Piano pedal instruction can be expressed by attaching
3145 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3146 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3149 @lilypond[fragment,verbatim]
3150 c'4\sustainDown c'4\sustainUp
3153 What is printed can be modified by setting @code{pedal@var{X}Strings},
3154 where @var{X} is one of the pedal types: @code{Sustain},
3155 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3156 documentation of @internalsref{SustainPedal} for more information.
3158 Pedals can also be indicated by a sequence of brackets, by setting the
3159 @code{pedalSustainStyle} property to @code{bracket} objects:
3161 @lilypond[fragment,verbatim]
3162 \property Staff.pedalSustainStyle = #'bracket
3163 c''4\sustainDown d''4 e''4
3164 a'4\sustainUp\sustainDown
3165 f'4 g'4 a'4\sustainUp
3168 A third style of pedal notation is a mixture of text and brackets,
3169 obtained by setting @code{pedal-type} to @code{mixed}:
3171 @lilypond[fragment,verbatim]
3172 \property Staff.pedalSustainStyle = #'mixed
3173 c''4\sustainDown d''4 e''4
3174 c'4\sustainUp\sustainDown
3175 f'4 g'4 a'4\sustainUp
3178 The default `*Ped' style for sustain and damper pedals corresponds to
3179 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3180 for a sostenuto pedal:
3182 @lilypond[fragment,verbatim]
3183 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3186 For fine-tuning of the appearance of a pedal bracket, the properties
3187 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3188 @code{PianoPedalBracket} objects (see
3189 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3190 bracket may be extended to the end of the note head:
3192 @lilypond[fragment,verbatim]
3193 \property Staff.PianoPedalBracket \override
3194 #'shorten-pair = #'(0 . -1.0)
3195 c''4\sostenutoDown d''4 e''4 c'4
3196 f'4 g'4 a'4\sostenutoUp
3200 @subsection Arpeggio
3203 @cindex broken arpeggio
3204 @cindex @code{\arpeggio}
3206 You can specify an arpeggio sign on a chord by attaching an
3207 @code{\arpeggio} to a chord:
3210 @lilypond[fragment,relative,verbatim]
3214 When an arpeggio crosses staves, you attach an arpeggio to the chords
3215 in both staves, and set
3216 @internalsref{PianoStaff}.@code{connectArpeggios}:
3218 @lilypond[fragment,relative,verbatim]
3219 \context PianoStaff <<
3220 \property PianoStaff.connectArpeggios = ##t
3221 \new Staff { <c' e g c>\arpeggio }
3222 \new Staff { \clef bass <c,, e g>\arpeggio }
3226 The direction of the arpeggio is sometimes denoted by adding an
3227 arrowhead to the wiggly line. This can be typeset by setting
3228 @code{arpeggio-direction}:
3230 @lilypond[fragment,relative,verbatim]
3232 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3234 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3239 A square bracket on the left indicates that the player should not
3240 arpeggiate the chord. To draw these brackets, set the
3241 @code{molecule-callback} property of @code{Arpeggio} or
3242 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3243 @code{\arpeggio} statements within the chords as before:
3245 @lilypond[fragment,relative,verbatim]
3246 \property PianoStaff.Arpeggio \override
3247 #'molecule-callback = \arpeggioBracket
3253 @cindex @code{\arpeggioBracket}
3254 @code{\arpeggioBracket},
3255 @cindex @code{\arpeggio}
3260 @internalsref{ArpeggioEvent} music expressions lead to
3261 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3262 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3266 It is not possible to mix connected arpeggios and unconnected
3267 arpeggios in one @internalsref{PianoStaff} at the same time.
3269 @node Staff switch lines
3270 @subsection Staff switch lines
3273 @cindex follow voice
3274 @cindex staff switching
3277 @cindex @code{followVoice}
3279 Whenever a voice switches to another staff a line connecting the notes
3280 can be printed automatically. This is enabled if the property
3281 @code{PianoStaff.followVoice} is set to true:
3283 @lilypond[fragment,relative,verbatim]
3284 \context PianoStaff <<
3285 \property PianoStaff.followVoice = ##t
3286 \context Staff \context Voice {
3288 \translator Staff=two
3291 \context Staff=two { \clef bass \skip 1*2 }
3295 The associated object is @internalsref{VoiceFollower}.
3299 @cindex @code{\showStaffSwitch}
3300 @code{\showStaffSwitch},
3301 @cindex @code{\hideStaffSwitch}
3302 @code{\hideStaffSwitch}.
3306 @section Vocal music
3308 This section discusses how to enter and print lyrics.
3312 * The Lyrics context::
3317 @node Entering lyrics
3318 @subsection Entering lyrics
3322 @cindex @code{\lyrics}
3325 Lyrics are entered in a special input mode. This mode is is introduced
3326 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3327 punctuation and accents without any hassle. Syllables are entered like
3328 notes, but with pitches replaced by text. For example,
3330 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3333 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3334 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3335 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3336 any 8-bit character with ASCII code over 127, or a two-character
3337 combination of a backslash followed by one of @code{`}, @code{'},
3338 @code{"}, or @code{^}.
3340 Subsequent characters of a word can be any character that is not a digit
3341 and not white space. One important consequence of this is that a word
3342 can end with @code{@}}. The following example is usually a bug. The
3343 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3345 \lyrics @{ twinkle@}
3348 @cindex @code{\property}, in @code{\lyrics}
3349 Similarly, a period following a alphabetic sequence, is included in the
3350 resulting string. As a consequence, spaces must be inserted around
3351 @code{\property} commands:
3353 \property Lyrics . LyricText \set #'font-shape = #'italic
3357 @cindex spaces, in lyrics
3358 @cindex quotes, in lyrics
3360 Any @code{_} character which appears in an unquoted word is converted
3361 to a space. This provides a mechanism for introducing spaces into words
3362 without using quotes. Quoted words can also be used in Lyrics mode to
3363 specify words that cannot be written with the above rules:
3366 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3370 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3375 These will be attached to the end of the first syllable.
3377 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3378 as a separate word between syllables. The hyphen will have variable
3379 length depending on the space between the syllables and it will be
3380 centered between the syllables.
3385 When a lyric is sung over many notes (this is called a melisma), this is
3386 indicated with a horizontal line centered between a syllable and the
3387 next one. Such a line is called an extender line, and it is entered as
3392 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3393 @internalsref{ExtenderEvent}.
3397 The definition of lyrics mode is too complex.
3399 @node The Lyrics context
3400 @subsection The Lyrics context
3402 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3404 \context Lyrics \lyrics @dots{}
3407 @cindex automatic syllable durations
3408 @cindex @code{\addlyrics}
3409 @cindex lyrics and melodies
3411 This will place the lyrics according to the durations that were
3412 entered. The lyrics can also be aligned under a given melody
3413 automatically. In this case, it is no longer necessary to enter the
3414 correct duration for each syllable. This is achieved by combining the
3415 melody and the lyrics with the @code{\addlyrics} expression:
3419 \context Lyrics @dots{}
3422 @cindex staff order, with @code{\addlyrics}
3424 Normally, this will put the lyrics below the staff. For different or
3425 more complex orderings, the best way is to setup the hierarchy of
3426 staves and lyrics first, e.g.
3428 \context ChoirStaff \notes <<
3429 \context Lyrics = sopr @{ s1 @}
3430 \context Staff = soprStaff @{ s1 @}
3431 \context Lyrics = tenor @{ s1 @}
3432 \context Staff = tenorStaff @{ s1 @}
3435 and then combine the appropriate melodies and lyric lines:
3438 \context Staff = soprStaff @emph{the music}
3439 \context Lyrics = sopr @emph{the lyrics}
3442 putting both together, you would get
3444 \context ChoirStaff \notes <<
3445 \context Lyrics = @dots{}
3446 \context Staff = @dots{}
3452 @cindex choral score
3454 A complete example of a SATB score setup is in the file
3455 @inputfileref{input/template,satb.ly}.
3459 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3460 @inputfileref{input/template,satb.ly}.
3464 @code{\addlyrics} is not automatic enough: melismata are not detected
3465 automatically, and melismata are not stopped when they hit a rest. A
3466 melisma on the last note in a melody is not printed.
3470 @subsection More stanzas
3473 @cindex phrasing, in lyrics
3475 When multiple stanzas are printed underneath each other, the vertical
3476 groups of syllables should be aligned around punctuation. This can be
3477 done automatically when corresponding lyric lines and melodies are
3480 To this end, give the @internalsref{Voice} context an identity:
3482 \context Voice = duet @{
3487 Then set the @internalsref{LyricsVoice} contexts to names starting with
3488 that identity followed by a dash. In the preceding example, the
3489 @internalsref{Voice} identity is @code{duet}, so the identities of the
3490 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3492 \context LyricsVoice = "duet-1" @{
3493 Hi, my name is bert. @}
3494 \context LyricsVoice = "duet-2" @{
3495 Ooooo, ch\'e -- ri, je t'aime. @}
3497 The convention for naming @internalsref{LyricsVoice} and
3498 @internalsref{Voice} must also be used to get melismata correct in
3499 conjunction with rests.
3501 The complete example is shown here:
3502 @lilypond[singleline,verbatim]
3505 \notes \relative c'' \context Voice = duet { \time 3/4
3507 \lyrics \context Lyrics <<
3508 \context LyricsVoice = "duet-1" {
3509 \property LyricsVoice . stanza = "Bert"
3510 Hi, my name is bert. }
3511 \context LyricsVoice = "duet-2" {
3512 \property LyricsVoice . stanza = "Ernie"
3513 Ooooo, ch\'e -- ri, je t'aime. }
3518 Stanza numbers, or the names of the singers can be added by setting
3519 @code{LyricsVoice.Stanza} (for the first system) and
3520 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3521 surrounded with spaces in @code{\lyrics} mode:
3524 \property LyricsVoice . stanza = "Bert"
3526 \property LyricsVoice . stanza = "Ernie"
3529 To make empty spaces in lyrics, use @code{\skip}.
3537 Input for lyrics introduces a syntactical ambiguity:
3544 is interpreted as assigning a string identifier @code{\foo} such that
3545 it contains @code{"bar"}. However, it could also be interpreted as
3546 making or a music identifier @code{\foo} containing the syllable
3547 `bar'. The force the latter interpretation, use
3557 The term @emph{ambitus} denotes a range of pitches for a given voice in
3558 a part of music. It also may denote the pitch range that a musical
3559 instrument is capable of playing. Most musical instruments have their
3560 ambitus standardized (or at least there is agreement upon the minimal
3561 ambitus of a particular type of instrument), such that a composer or
3562 arranger of a piece of music can easily meet the ambitus constraints of
3563 the targeted instrument. However, the ambitus of the human voice
3564 depends on individual physiological state, including education and
3565 training of the voice. Therefore, a singer potentially has to check for
3566 each piece of music if the ambitus of that piece meets his individual
3567 capabilities. This is why the ambitus of a piece may be of particular
3568 value to vocal performers.
3570 The ambitus is typically notated on a per-voice basis at the very
3571 beginning of a piece, e.g. nearby the initial clef or time signature of
3572 each staff. The range is graphically specified by two noteheads, that
3573 represent the minimum and maximum pitch. Some publishers use a textual
3574 notation: they put the range in words in front of the corresponding
3575 staff. LilyPond only supports the graphical ambitus notation.
3577 To apply, add the @internalsref{Ambitus_engraver} to the
3578 @internalsref{Voice} context, i.e.
3584 \consists Ambitus_engraver
3589 This results in the following output:
3590 @lilypond[singleline]
3591 upper = \notes \relative c {
3594 as'' c e2 bes f cis d4 e f2 g
3596 lower = \notes \relative c {
3599 e'4 b g a c es fis a cis b a g f e d2
3602 \context ChoirStaff {
3604 \new Staff { \upper }
3605 \new Staff { \lower }
3611 \consists Ambitus_engraver
3617 If you have multiple voices in a single staff, and you want a single
3618 ambitus per staff rather than per each voice, then add the
3619 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3620 rather than to the @internalsref{Voice} context.
3622 It is possible to tune individual ambiti for multiple voices on a
3623 single staff, for example by erasing or shifting them horizontally. An
3624 example is in @inputfileref{input/test,ambitus-mixed.ly}
3628 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
3629 @inputfileref{input/test,ambitus-mixed.ly}.
3633 There is no collision handling in the case of multiple per-voice
3639 Tablature notation is used for notating music for plucked string
3640 instruments. It notates pitches not by using note heads, but by
3641 indicating on which string and fret a note must be played. LilyPond
3642 offers limited support for tablature.
3645 * Tablatures basic::
3646 * Non-guitar tablatures::
3649 @node Tablatures basic
3650 @subsection Tablatures basic
3651 @cindex Tablatures basic
3653 The string number associated to a note is given as a backslash
3654 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3655 string. By default, string 1 is the highest one, and the tuning
3656 defaults to the standard guitar tuning (with 6 strings). The notes
3657 are printed as tablature, by using @internalsref{TabStaff} and
3658 @internalsref{TabVoice} contexts:
3660 @lilypond[fragment,verbatim]
3661 \notes \context TabStaff {
3667 When no string is specified, the first string that does not give a
3668 fret number less than @code{minimumFret} is selected. The default
3669 value for @code{minimumFret} is 0:
3673 e8 fis gis a b cis' dis' e'
3674 \property TabStaff.minimumFret = #8
3675 e8 fis gis a b cis' dis' e'
3680 e8 fis gis a b cis' dis' e'
3681 \property TabStaff.minimumFret = #8
3682 e8 fis gis a b cis' dis' e'
3685 \context StaffGroup <<
3686 \context Staff { \clef "G_8" \frag }
3687 \context TabStaff { \frag }
3694 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3695 @internalsref{StringNumberEvent}.
3699 Chords are not handled in a special way, and hence the automatic
3700 string selector may easily select the same string to two notes in a
3704 @node Non-guitar tablatures
3705 @subsection Non-guitar tablatures
3706 @cindex Non-guitar tablatures
3708 You can change the number of strings, by setting the number of lines
3709 in the @internalsref{TabStaff} (the @code{line-count} property of
3710 @internalsref{TabStaff} can only be changed using
3711 @code{\outputproperty}, for more information, see @ref{Tuning
3714 You can change the tuning of the strings. A string tuning is given as
3715 a Scheme list with one integer number for each string, the number
3716 being the pitch (measured in semitones relative to central C) of an
3717 open string. The numbers specified for @code{stringTuning} are the
3718 numbers of semitones to subtract or add, starting the specified pitch
3719 by default middle C, in string order. Thus, the notes are e, a, d, and
3722 @lilypond[fragment,verbatim]
3723 \context TabStaff <<
3725 \outputproperty #(make-type-checker 'staff-symbol-interface)
3727 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3730 a,4 c' a e' e c' a e'
3735 It is possible to change the Scheme function to format the tablature
3736 note text. The default is @code{fret-number-tablature-format}, which
3737 uses the fret number. For instruments that do not use this notation,
3738 you can create a special tablature formatting function. This function
3739 takes three argument: string number, string tuning and note pitch.
3743 No guitar special effects have been implemented.
3748 @section Chord names
3751 LilyPond has support for both printing chord names. Chords may be
3752 entered in musical chord notation, i.e. @code{< .. >}, but they can
3753 also be entered by name. Internally, the chords are represented as a
3754 set of pitches, so they can be transposed:
3757 @lilypond[verbatim,singleline]
3758 twoWays = \notes \transpose c c' {
3768 << \context ChordNames \twoWays
3769 \context Voice \twoWays >> }
3772 This example also shows that the chord printing routines do not try to
3773 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3779 * Printing chord names::
3784 @subsection Chords mode
3787 Chord mode is a mode where you can input sets of pitches using common
3788 names. It is introduced by the keyword @code{\chords}.
3789 In chords mode, a chord is entered by the root, which is entered
3790 like a common pitch:
3791 @lilypond[fragment,verbatim,quote, relative=1]
3792 \chords { es4. d8 c2 }
3797 Other chords may be entered by suffixing a colon, and introducing a
3798 modifier, and optionally, a number:
3800 @lilypond[fragment,verbatim,quote]
3801 \chords { e1:m e1:7 e1:m7 }
3803 The first number following the root is taken to be the `type' of the
3804 chord, thirds are added to the root until it reaches the specified
3806 @lilypond[fragment,verbatim]
3807 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3810 @cindex root of chord
3811 @cindex additions, in chords
3812 @cindex removals, in chords
3814 More complex chords may also be constructed adding separate steps
3815 to a chord. Additions are added after the number following
3816 the colon, and are separated by dots:
3818 @lilypond[verbatim,fragment,quote]
3819 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3821 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3823 @lilypond[verbatim,fragment,quote]
3824 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3826 Removals are specified similarly, and are introduced by a caret. They
3827 must come after the additions:
3828 @lilypond[verbatim,fragment]
3829 \chords { c^3 c:7^5 c:9^3.5 }
3832 Modifiers can be used to change pitches. The following modifiers are
3836 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3838 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3841 is the augmented chord. This modifier raises the 5th step.
3843 is the major 7th chord. This modifier raises the 7th step if present.
3845 is the suspended 4th or 2nd. This modifier removes the 3rd
3846 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3849 Modifiers can be mixed with additions:
3850 @lilypond[verbatim,fragment]
3851 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3854 @cindex modifiers, in chords.
3861 Since an unaltered 11 does not sound good when combined with an
3862 unaltered 13, the 11 is removed in this case (unless it is added
3865 @lilypond[fragment,verbatim]
3866 \chords { c:13 c:13.11 c:m13 }
3871 An inversion (putting one pitch of the chord on the bottom), as well
3872 as bass notes, can be specified by appending
3873 @code{/}@var{pitch} to the chord:
3874 @lilypond[fragment,verbatim,center]
3875 \chords { c1 c/g c/f }
3879 A bass note can be added instead of transposed out of the chord,
3880 by using @code{/+}@var{pitch}.
3882 @lilypond[fragment,verbatim,center]
3883 \chords { c1 c/+g c/+f }
3886 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3887 of the commands continue to work, for example, @code{r} and
3888 @code{\skip} can be used to insert rests and spaces, and
3889 @code{\property} may be used to change various settings.
3895 Each step can only be present in a chord once. The following
3896 simply produces the augmented chord, since @code{5+} is interpreted
3899 @lilypond[verbatim,fragment]
3900 \chords { c:5.5-.5+ }
3904 @node Printing chord names
3905 @subsection Printing chord names
3907 @cindex printing chord names
3911 For displaying printed chord names, use the @internalsref{ChordNames} context.
3912 The chords may be entered either using the notation
3913 described above, or directly using @code{<} and @code{>}:
3915 @lilypond[verbatim,singleline]
3917 \chords {a1 b c} <d' f' a'> <e' g' b'>
3921 \context ChordNames \scheme
3922 \context Staff \scheme
3927 You can make the chord changes stand out by setting
3928 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3929 display chord names when there is a change in the chords scheme and at
3930 the start of a new line:
3932 @lilypond[verbatim, linewidth=9cm]
3934 c1:m c:m \break c:m c:m d
3938 \context ChordNames {
3939 \property ChordNames.chordChanges = ##t
3941 \context Staff \transpose c c' \scheme
3946 The default chord name layout is a system for Jazz music, proposed by
3947 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3948 following properties:
3951 @cindex chordNameExceptions
3952 @item chordNameExceptions
3953 This is a list that contains the chords that have special formatting.
3955 @inputfileref{input/regression,chord-name-exceptions.ly}.
3956 @cindex exceptions, chord names.
3959 @cindex majorSevenSymbol
3960 @item majorSevenSymbol
3961 This property contains the markup object used for the 7th step, when
3962 it is major. Predefined options are @code{whiteTriangleMarkup} and
3963 @code{blackTriangleMarkup}. See
3964 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3966 @cindex chordNameSeparator
3967 @item chordNameSeparator
3968 Different parts of a chord name are normally separated by a
3969 slash. By setting @code{chordNameSeparator}, you can specify other
3971 @lilypond[fragment,verbatim]
3972 \context ChordNames \chords {
3974 \property ChordNames.chordNameSeparator
3975 = \markup { \typewriter "|" }
3979 @cindex chordRootNamer
3980 @item chordRootNamer
3981 The root of a chord is usually printed as a letter with an optional
3982 alteration. The transformation from pitch to letter is done by this
3983 function. Special note names (for example, the German ``H'' for a
3984 B-chord) can be produced by storing a new function in this property.
3986 The pre-defined variables @code{\germanChords},
3987 @code{\semiGermanChords} set these variables.
3990 @cindex chordNoteNamer
3991 @item chordNoteNamer
3992 The default is to print single pitch, e.g. the bass note, using the
3993 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3994 to a specialized function to change this behavior. For example, the
3995 base can be printed in lower case.
4000 There are also two other chord name schemes implemented: an alternate
4001 Jazz chord notation, and a systematic scheme called Banter chords. The
4002 alternate jazz notation is also shown on the chart in @ref{Chord name
4003 chart}. Turning on these styles is described in the input file
4004 @inputfileref{input/test,chord-names-jazz.ly}.
4008 @cindex chords, jazz
4013 @cindex @code{\germanChords}
4014 @code{\germanChords},
4015 @cindex @code{\semiGermanChords}
4016 @code{\semiGermanChords}.
4023 @inputfileref{input/regression,chord-name-major7.ly},
4024 @inputfileref{input/regression,chord-name-exceptions.ly},
4025 @inputfileref{input/test,chord-names-jazz.ly},
4026 @inputfileref{input/test,chord-names-german.ly},
4027 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4032 Chord names are determined solely from the list of pitches. Chord
4033 inversions are not identified, and neither are added bass notes. This
4034 may result in strange chord names when chords are entered with the
4035 @code{< .. >} syntax.
4040 @node Orchestral music
4041 @section Orchestral music
4043 @cindex Writing parts
4045 Orchestral music involves some special notation, both in the full
4046 score and the individual parts. This section explains how to tackle
4047 some common problems in orchestral music.
4052 * Multiple staff contexts::
4055 * Instrument names::
4057 * Multi measure rests::
4058 * Automatic part combining::
4060 * Different editions from one source::
4061 * Sound output for transposing instruments::
4064 @node Multiple staff contexts
4065 @subsection Multiple staff contexts
4067 Polyphonic scores consist of many staves. These staves can be
4068 constructed in three different ways:
4070 @item The group is started with a brace at the left. This is done with the
4071 @internalsref{GrandStaff} context.
4072 @item The group is started with a bracket. This is done with the
4073 @internalsref{StaffGroup} context
4074 @item The group is started with a vertical line. This is the default
4078 @cindex Staff, multiple
4079 @cindex bracket, vertical
4080 @cindex brace, vertical
4087 @node Rehearsal marks
4088 @subsection Rehearsal marks
4089 @cindex Rehearsal marks
4091 @cindex @code{\mark}
4093 To print a rehearsal mark, use the @code{\mark} command:
4094 @lilypond[fragment,verbatim]
4104 The mark is incremented automatically if you use @code{\mark
4105 \default}. The value to use is stored in the property
4106 @code{rehearsalMark} is used and automatically incremented.
4108 The @code{\mark} command can also be used to put signs like coda,
4109 segno and fermatas on a barline. Use @code{\markup} to
4110 to access the appropriate symbol:
4112 @lilypond[fragment,verbatim,relative=1]
4113 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4117 In this case, during line breaks,
4118 marks must also be printed at the end of the line, and not at the
4119 beginning. Use the following to force that behavior:
4121 \property Score.RehearsalMark \override
4122 #'break-visibility = #begin-of-line-invisible
4125 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4131 @cindex barlines, putting symbols on
4135 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4136 @inputfileref{input/test,boxed-molecule.ly}.
4140 @subsection Bar numbers
4144 @cindex measure numbers
4145 @cindex currentBarNumber
4147 Bar numbers are printed by default at the start of the line. The
4148 number itself is stored in the
4149 @code{currentBarNumber} property,
4150 which is normally updated automatically for every measure.
4152 Bar numbers can be typeset at regular intervals instead of at the
4153 beginning of each line. This is illustrated in the following example,
4154 whose source is available as
4155 @inputfileref{input/test,bar-number-regular-interval.ly}:
4157 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4162 @internalsref{BarNumber},
4163 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4164 @inputfileref{input/test,bar-number-regular-interval.ly}.
4168 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4169 there is one at the top. To solve this, the
4170 @code{padding} property of @internalsref{BarNumber} can be
4171 used to position the number correctly.
4173 @node Instrument names
4174 @subsection Instrument names
4176 In an orchestral score, instrument names are printed left side of the
4179 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4180 and @internalsref{Staff}.@code{instr}. This will print a string before
4181 the start of the staff. For the first start, @code{instrument} is
4182 used, for the next ones @code{instr} is used:
4185 @lilypond[verbatim,singleline]
4186 \property Staff.instrument = "ploink " { c''4 }
4190 You can also use markup texts to construct more complicated instrument
4194 @lilypond[fragment,verbatim,singleline]
4196 \property Staff.instrument = \markup {
4197 \column < "Clarinetti"
4199 \smaller \musicglyph #"accidentals--1"
4210 @internalsref{InstrumentName}.
4214 When you put a name on a grand staff or piano staff the width of the
4215 brace is not taken into account. You must add extra spaces to the end of
4216 the name to avoid a collision.
4219 @subsection Transpose
4221 @cindex transposition of pitches
4222 @cindex @code{\transpose}
4224 A music expression can be transposed with @code{\transpose}. The syntax
4227 \transpose @var{from} @var{to} @var{musicexpr}
4230 This means that @var{musicexpr} is transposed by the interval
4231 between @var{from} and @var{to}.
4233 @code{\transpose} distinguishes between enharmonic pitches: both
4234 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4235 half a tone. The first version will print sharps and the second
4236 version will print flats:
4238 @lilypond[singleline, verbatim]
4239 mus =\notes { \key d \major cis d fis g }
4240 \score { \notes \context Staff {
4243 \transpose c g' \mus
4244 \transpose c f' \mus
4250 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4254 If you want to use both @code{\transpose} and @code{\relative}, then
4255 you must put @code{\transpose} outside of @code{\relative}, since
4256 @code{\relative} will have no effect music that appears inside a
4262 @node Multi measure rests
4263 @subsection Multi measure rests
4264 @cindex multi measure rests
4265 @cindex Rests, multi measure
4269 Multi measure rests are entered using `@code{R}'. It is specifically
4270 meant for full bar rests and for entering parts: the rest can expand
4271 to fill a score with rests, or it can be printed as a single
4272 multimeasure rest. This expansion is controlled by the property
4273 @code{Score.skipBars}. If this is set to true, empty measures will not
4274 be expanded, and the appropriate number is added automatically:
4276 @lilypond[fragment,verbatim]
4277 \time 4/4 r1 | R1 | R1*2
4278 \property Score.skipBars = ##t R1*17 R1*4
4281 The @code{1} in @code{R1} is similar to the duration notation used for
4282 notes. Hence, for time signatures other than 4/4, you must enter other
4283 durations. This can be done with augmentation dots or fractions:
4285 @lilypond[fragment,verbatim]
4286 \property Score.skipBars = ##t
4294 An @code{R} spanning a single measure is printed as either a whole rest
4295 or a breve, centered in the measure regardless of the time signature.
4297 @cindex text on multi-measure rest
4298 @cindex script on multi-measure rest
4299 @cindex fermata on multi-measure rest
4301 Texts can be added to multi-measure rests by using the
4302 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4303 replaced. If you need both texts and the number, you must add the
4304 number by hand. A variable (@code{\fermataMarkup}) is provided for
4308 @lilypond[verbatim,fragment]
4310 R2._\markup { "Ad lib" }
4315 @cindex whole rests for a full measure
4319 @internalsref{MultiMeasureRestEvent},
4320 @internalsref{MultiMeasureTextEvent},
4321 @internalsref{MultiMeasureRestMusicGroup}, and
4322 @internalsref{MultiMeasureRest}.
4324 The layout object @internalsref{MultiMeasureRestNumber} is for the
4325 default number, and @internalsref{MultiMeasureRestText} for user
4330 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4331 over multi-measure rests.
4333 @cindex condensing rests
4335 There is no way to automatically condense multiple rests into a single
4336 multimeasure rest. Multi measure rests do not take part in rest
4339 Be careful when entering multimeasure rests followed by whole
4340 notes. The following will enter two notes lasting four measures each:
4344 When @code{skipBars} is set, then the result will look OK, but the
4345 bar numbering will be off.
4347 @node Automatic part combining
4348 @subsection Automatic part combining
4349 @cindex automatic part combining
4350 @cindex part combiner
4353 Automatic part combining is used to merge two parts of music onto a
4354 staff. It is aimed at typesetting orchestral scores. When the two
4355 parts are identical for a period of time, only one is shown. In
4356 places where the two parts differ, they are typeset as separate
4357 voices, and stem directions are set automatically. Also, solo and
4358 @emph{a due} parts are identified and can be marked.
4362 The syntax for part combining is
4365 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4367 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4368 combined into one context of type @var{context}. The music expressions
4369 must be interpreted by contexts whose names should start with @code{one}
4372 The following example demonstrates the basic functionality of the part
4373 combiner: putting parts on one staff, and setting stem directions and
4376 @lilypond[verbatim,singleline,fragment]
4378 \context Voice=one \partcombine Voice
4379 \context Thread=one \relative c'' {
4382 \context Thread=two \relative c'' {
4388 The first @code{g} appears only once, although it was
4389 specified twice (once in each part). Stem, slur and tie directions are
4390 set automatically, depending whether there is a solo or unisono. The
4391 first part (with context called @code{one}) always gets up stems, and
4392 `solo', while the second (called @code{two}) always gets down stems and
4395 If you just want the merging parts, and not the textual markings, you
4396 may set the property @var{soloADue} to false:
4398 @lilypond[verbatim,singleline,fragment]
4400 \property Staff.soloADue = ##f
4401 \context Voice=one \partcombine Voice
4402 \context Thread=one \relative c'' {
4405 \context Thread=two \relative c'' {
4413 @internalsref{PartCombineMusic},
4414 @internalsref{Thread_devnull_engraver}, and
4415 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4419 The syntax for naming contexts in inconsistent with the syntax for
4422 In @code{soloADue} mode, when the two voices play the same notes on and
4423 off, the part combiner may typeset @code{a2} more than once in a
4426 @lilypond[fragment,singleline]
4428 \context Voice=one \partcombine Voice
4429 \context Thread=one \relative c'' {
4432 \context Thread=two \relative c'' {
4438 The part combiner is rather buggy, and it will be replaced by a better
4439 mechanism in the near future.
4441 @cindex @code{Thread_devnull_engraver}
4442 @cindex @code{Voice_engraver}
4443 @cindex @code{A2_engraver}
4446 @subsection Hiding staves
4448 @cindex Frenched scores
4449 @cindex Hiding staves
4451 In orchestral scores, staff lines that only have rests are usually
4452 removed. This saves some space. This style is called `French Score'.
4453 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4454 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4455 switched on by default. When these line of these contexts turn out
4456 empty after the line-breaking process, they are removed.
4458 For normal staves, a specialized @internalsref{Staff} context is
4459 available, which does the same: staves containing nothing (or only
4460 multi measure rests) are removed. The context definition is stored in
4461 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4462 in this example disappears in the second line:
4467 \notes \relative c' <<
4468 \new Staff { e4 f g a \break c1 }
4469 \new Staff { c4 d e f \break R1 }
4473 \translator { \RemoveEmptyStaffContext }
4478 The first page shows all staffs in full. If they should be removed
4479 from the first page too, set @code{remove-first} to false
4480 in @internalsref{RemoveEmptyVerticalGroup}.
4482 @node Different editions from one source
4483 @subsection Different editions from one source
4485 The @code{\tag} command marks music expressions with a name. These
4486 tagged expressions can be filtered out later. With this mechanism it
4487 is possible to make different versions of the same music source.
4489 In the following example, we see two versions of a piece of music, one
4490 for the full score, and one with cue notes for the instrumental part:
4498 \property Voice.fontSize = #-1
4506 The same can be applied to articulations, texts, etc.: they are
4509 -\tag #@var{your-tag}
4511 to an articulation, for example,
4516 This defines a note with a conditional fingering indication.
4518 By applying the @code{remove-tag} function, tagged expressions can be
4519 filtered. For example,
4523 \apply #(remove-tag 'score) @var{the music}
4524 \apply #(remove-tag 'part) @var{the music}
4529 @lilypondfile[notexidoc]{tag-filter.ly}
4531 The argument of the @code{\tag} command should be a symbol, or a list
4532 of symbols, for example,
4534 \tag #'(original-part transposed-part) @dots{}
4539 @inputfileref{input/regression,tag-filter.ly}
4542 @node Sound output for transposing instruments
4543 @subsection Sound output for transposing instruments
4545 When you want to make a MIDI file from a score containing transposed
4546 and untransposed instruments, you have to instruct LilyPond the pitch
4547 offset (in semitones) for the transposed instruments. This is done
4548 using the @code{transposing} property. It does not affect printed
4551 @cindex @code{transposing}
4554 \property Staff.instrument = #"Cl. in B-flat"
4555 \property Staff.transposing = #-2
4559 @node Ancient notation
4560 @section Ancient notation
4562 @cindex Vaticana, Editio
4563 @cindex Medicaea, Editio
4568 @c [TODO: write more comprehensive introduction on ancient notation]
4570 Support for ancient notation is still under heavy development.
4571 Regardless of all of the current limitations (see the bugs section
4572 below for details), it includes features for mensural
4573 notation and Gregorian Chant notation. There is also limited support
4574 for figured bass notation.
4576 Many graphical objects provide a @code{style} property, see
4577 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4578 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4579 signatures}. By manipulating such a grob property, the typographical
4580 appearance of the affected graphical objects can be accomodated for a
4581 specific notation flavour without need for introducing any new
4585 Other aspects of ancient notation can not that easily be expressed as
4586 in terms of just changing a style property of a graphical object.
4587 Therefore, some notational concepts are introduced specifically for
4588 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4589 @ref{Ligatures}, and @ref{Figured bass}.
4593 * Ancient note heads::
4594 * Ancient accidentals::
4598 * Ancient time signatures::
4603 * Vaticana style contexts::
4606 If this all is way too much of documentation for you, and you just
4607 want to dive into typesetting without worrying too much about the
4608 details on how to customize a context, then you may have a look at the
4609 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4610 set up predefined style-specific voice and staff contexts, and
4611 directly go ahead with the note entry.
4615 Ligatures need special spacing that has not yet been implemented. As
4616 a result, there is too much space between ligatures most of the time,
4617 and line breaking often is unsatisfactory. Also, lyrics do not
4618 correctly align with ligatures.
4620 Accidentals must not be printed within a ligature, but instead need to
4621 be collected and printed in front of it.
4623 Augmentum dots within ligatures are not handled correctly.
4626 @node Ancient note heads
4627 @subsection Ancient note heads
4633 For ancient notation, a note head style other than the @code{default}
4634 style may be chosen. This is accomplished by setting the @code{style}
4635 property of the NoteHead object to the desired value (@code{baroque},
4636 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4637 differs from the @code{default} style only in using a square shape for
4638 @code{\breve} note heads. The @code{neo_mensural} style differs from
4639 the @code{baroque} style in that it uses rhomboidal heads for whole
4640 notes and all smaller durations. Stems are centered on the note
4641 heads. This style is in particular useful when transcribing mensural
4642 music, e.g. for the incipit. The @code{mensural} style finally
4643 produces note heads that mimick the look of note heads in historic
4644 printings of the 16th century.
4646 The following example demonstrates the @code{neo_mensural} style:
4648 @lilypond[fragment,singleline,verbatim]
4649 \property Voice.NoteHead \set #'style = #'neo_mensural
4650 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4653 When typesetting a piece in Gregorian Chant notation, a Gregorian
4654 ligature engraver will automatically select the proper note heads,
4655 such there is no need to explicitly set the note head style. Still,
4656 the note head style can be set e.g. to @code{vaticana_punctum} to
4657 produce punctum neumes. Similarly, a mensural ligature engraver is
4658 used to automatically assemble mensural ligatures. See
4659 @ref{Ligatures} for how ligature engravers work.
4663 @inputfileref{input/regression,note-head-style.ly} gives an overview
4664 over all available note head styles.
4666 @ref{Percussion staves} use note head styles of their own that are
4667 frequently used in contemporary music notation.
4669 @node Ancient accidentals
4670 @subsection Ancient accidentals
4676 Use the @code{style} property of grob @internalsref{Accidental} to
4677 select ancient accidentals. Supported styles are
4678 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4680 @lilypond[singleline,26pt]
4688 { " " \musicglyph #"accidentals-vaticana-1"
4689 " " \musicglyph #"accidentals-vaticana0" }
4693 { " " \musicglyph #"accidentals-medicaea-1" }
4697 { " " \musicglyph #"accidentals-hufnagel-1" }
4701 { " " \musicglyph #"accidentals-mensural-1"
4702 " " \musicglyph #"accidentals-mensural1" }
4711 \remove "Bar_number_engraver"
4715 \remove "Clef_engraver"
4716 \remove "Key_engraver"
4717 \remove "Time_signature_engraver"
4718 \remove "Staff_symbol_engraver"
4719 minimumVerticalExtent = ##f
4725 As shown, not all accidentals are supported by each style. When
4726 trying to access an unsupported accidental, LilyPond will switch to a
4727 different style, as demonstrated in
4728 @inputfileref{input/test,ancient-accidentals.ly}.
4730 Similarly to local accidentals, the style of the key signature can be
4731 controlled by the @code{style} property of the
4732 @internalsref{KeySignature} grob.
4736 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4737 a general introduction into the use of accidentals. @ref{Key
4738 signature} gives a general introduction into the use of key
4743 @subsection Ancient rests
4749 Use the @code{style} property of grob @internalsref{Rest} to select
4750 ancient accidentals. Supported styles are @code{classical},
4751 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4752 from the @code{default} style only in that the quarter rest looks like
4753 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4754 well for e.g. the incipit of a transcribed mensural piece of music.
4755 The @code{mensural} style finally mimicks the appearance of rests as
4756 in historic prints of the 16th century.
4758 The following example demonstrates the @code{neo_mensural} style:
4760 @lilypond[fragment,singleline,verbatim]
4761 \property Voice.Rest \set #'style = #'neo_mensural
4762 r\longa r\breve r1 r2 r4 r8 r16
4765 There are no 32th and 64th rests specifically for the mensural or
4766 neo-mensural style. Instead, the rests from the default style will be
4767 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4770 There are no rests in Gregorian Chant notation; instead, it uses
4775 @ref{Rests} gives a general introduction into the use of rests.
4779 @subsection Ancient clefs
4785 LilyPond supports a variety of clefs, many of them ancient.
4787 The following table shows all ancient clefs that are supported via the
4788 @code{\clef} command. Some of the clefs use the same glyph, but
4789 differ only with respect to the line they are printed on. In such
4790 cases, a trailing number in the name is used to enumerate these clefs.
4791 Still, you can manually force a clef glyph to be typeset on an
4792 arbitrary line, as described in @ref{Clef}. The note printed to the
4793 right side of each clef in the example column denotes the @code{c'}
4794 with respect to that clef.
4796 @multitable @columnfractions .3 .3 .3 .1
4800 @b{Description} @tab
4801 @b{Supported Clefs} @tab
4805 @code{clefs-neo_mensural_c} @tab
4806 modern style mensural C clef @tab
4807 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4808 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4809 @lilypond[relative 0, notime]
4810 \property Staff.TimeSignature \set #'transparent = ##t
4811 \clef "neo_mensural_c2" c
4815 @code{clefs-petrucci_c1}
4816 @code{clefs-petrucci_c2}
4817 @code{clefs-petrucci_c3}
4818 @code{clefs-petrucci_c4}
4819 @code{clefs-petrucci_c5}
4822 petrucci style mensural C clefs, for use on different stafflines
4823 (the examples shows the 2nd staffline C clef).
4833 @lilypond[relative 0, notime]
4834 \property Staff.TimeSignature \set #'transparent = ##t
4835 \clef "petrucci_c2" c
4839 @code{clefs-petrucci_f} @tab
4840 petrucci style mensural F clef @tab
4841 @code{petrucci_f} @tab
4842 @lilypond[relative 0, notime]
4843 \property Staff.TimeSignature \set #'transparent = ##t
4844 \clef "petrucci_f" c
4848 @code{clefs-petrucci_g} @tab
4849 petrucci style mensural G clef @tab
4850 @code{petrucci_g} @tab
4851 @lilypond[relative 0, notime]
4852 \property Staff.TimeSignature \set #'transparent = ##t
4853 \clef "petrucci_g" c
4857 @code{clefs-mensural_c} @tab
4858 historic style mensural C clef @tab
4859 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4860 @code{mensural_c4} @tab
4861 @lilypond[relative 0, notime]
4862 \property Staff.TimeSignature \set #'transparent = ##t
4863 \clef "mensural_c2" c
4867 @code{clefs-mensural_f} @tab
4868 historic style mensural F clef @tab
4869 @code{mensural_f} @tab
4870 @lilypond[relative 0, notime]
4871 \property Staff.TimeSignature \set #'transparent = ##t
4872 \clef "mensural_f" c
4876 @code{clefs-mensural_g} @tab
4877 historic style mensural G clef @tab
4878 @code{mensural_g} @tab
4879 @lilypond[relative 0, notime]
4880 \property Staff.TimeSignature \set #'transparent = ##t
4881 \clef "mensural_g" c
4885 @code{clefs-vaticana_do} @tab
4886 Editio Vaticana style do clef @tab
4887 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4888 @lilypond[relative 0, notime]
4890 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4891 \property Staff.TimeSignature \set #'transparent = ##t
4892 \clef "vaticana_do2" c
4896 @code{clefs-vaticana_fa} @tab
4897 Editio Vaticana style fa clef @tab
4898 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4899 @lilypond[relative 0, notime]
4901 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4902 \property Staff.TimeSignature \set #'transparent = ##t
4903 \clef "vaticana_fa2" c
4907 @code{clefs-medicaea_do} @tab
4908 Editio Medicaea style do clef @tab
4909 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4910 @lilypond[relative 0, notime]
4912 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4913 \property Staff.TimeSignature \set #'transparent = ##t
4914 \clef "medicaea_do2" c
4918 @code{clefs-medicaea_fa} @tab
4919 Editio Medicaea style fa clef @tab
4920 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4921 @lilypond[relative 0, notime]
4923 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4924 \property Staff.TimeSignature \set #'transparent = ##t
4925 \clef "medicaea_fa2" c
4929 @code{clefs-hufnagel_do} @tab
4930 historic style hufnagel do clef @tab
4931 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4932 @lilypond[relative 0, notime]
4934 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4935 \property Staff.TimeSignature \set #'transparent = ##t
4936 \clef "hufnagel_do2" c
4940 @code{clefs-hufnagel_fa} @tab
4941 historic style hufnagel fa clef @tab
4942 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4943 @lilypond[relative 0, notime]
4945 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4946 \property Staff.TimeSignature \set #'transparent = ##t
4947 \clef "hufnagel_fa2" c
4951 @code{clefs-hufnagel_do_fa} @tab
4952 historic style hufnagel combined do/fa clef @tab
4953 @code{hufnagel_do_fa} @tab
4954 @lilypond[relative 0, notime]
4955 \property Staff.TimeSignature \set #'transparent = ##t
4956 \clef "hufnagel_do_fa" c
4961 @c --- This should go somewhere else: ---
4962 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4965 @c @code{percussion}
4967 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4969 @c @item modern style tab clef (glyph: @code{clefs-tab})
4974 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4976 @emph{Modern style} means ``as is typeset in contemporary editions of
4977 transcribed mensural music''.
4979 @emph{Petrucci style} means ``inspired by printings published by the
4980 famous engraver Petrucci (1466-1539)''.
4982 @emph{Historic style} means ``as was typeset or written in historic
4983 editions (other than those of Petrucci)''.
4985 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4987 Petrucci used C clefs with differently balanced left-side vertical
4988 beams, depending on which staffline it is printed.
4992 For modern clefs, see @ref{Clef}. For the percussion clef, see
4993 @ref{Percussion staves}. For the @code{TAB} clef, see
4998 @subsection Ancient flags
5004 Use the @code{flag-style} property of grob @internalsref{Stem} to
5005 select ancient flags. Besides the @code{default} flag style,
5006 only @code{mensural} style is supported:
5008 @lilypond[fragment,singleline,verbatim]
5009 \property Voice.Stem \set #'flag-style = #'mensural
5010 \property Voice.Stem \set #'thickness = #1.0
5011 \property Voice.NoteHead \set #'style = #'mensural
5013 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5014 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5017 Note that the innermost flare of each mensural flag always is
5018 vertically aligned with a staff line. If you do not like this
5019 behaviour, you can set the @code{adjust-if-on-staffline} property of
5020 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5021 of the end of each flare is different between notes on staff lines and
5022 notes between staff lines:
5024 @lilypond[fragment,singleline]
5025 \property Voice.Stem \set #'flag-style = #'mensural
5026 \property Voice.Stem \set #'thickness = #1.0
5027 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5028 \property Voice.NoteHead \set #'style = #'mensural
5030 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5031 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5034 There is no particular flag style for neo-mensural notation. Hence,
5035 when typesetting e.g. the incipit of a transcibed piece of mensural
5036 music, the default flag style should be used. There are no flags in
5037 Gregorian Chant notation.
5040 @node Ancient time signatures
5041 @subsection Ancient time signatures
5043 @cindex time signatures
5047 There is limited support for mensural time signatures. The
5048 glyphs are hard-wired to particular time fractions. In other words,
5049 to get a particular mensural signature glyph with the @code{\time n/m}
5050 command, @code{n} and @code{m} have to be chosen according to the
5056 \property Score.timing = ##f
5057 \property Score.barAlways = ##t
5058 s_\markup { "$\\backslash$time 4/4" }
5059 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5061 s_\markup { "$\\backslash$time 2/2" }
5062 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5064 s_\markup { "$\\backslash$time 6/4" }
5065 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5067 s_\markup { "$\\backslash$time 6/8" }
5068 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5070 s_\markup { "$\\backslash$time 3/2" }
5071 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5073 s_\markup { "$\\backslash$time 3/4" }
5074 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5076 s_\markup { "$\\backslash$time 9/4" }
5077 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5079 s_\markup { "$\\backslash$time 9/8" }
5080 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5082 s_\markup { "$\\backslash$time 4/8" }
5083 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5085 s_\markup { "$\\backslash$time 2/4" }
5086 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5094 \remove Staff_symbol_engraver
5095 \remove Clef_engraver
5096 \remove Time_signature_engraver
5102 Use the @code{style} property of grob @internalsref{TimeSignature} to
5103 select ancient time signatures. Supported styles are
5104 @code{neo_mensural} and @code{mensural}. The above table uses the
5105 @code{neo_mensural} style. This style is appropriate e.g. for the
5106 incipit of transcriptions of mensural pieces. The @code{mensural}
5107 style mimicks the look of historical printings of the 16th century.
5109 @inputfileref{input/test,time.ly} gives an overview over all available
5110 ancient and modern styles.
5114 @ref{Time signature} gives a general introduction into the use of time
5119 Mensural signature glyphs are mapped to time fractions in a
5120 hard-wired way. This mapping is sensible, but still arbitrary: given
5121 a mensural time signature, the time fraction represents a modern meter
5122 that usually will be a good choice when transcribing a mensural piece
5123 of music. For a particular piece of mensural music, however, the
5124 mapping may be unsatisfactory. In particular, the mapping assumes a
5125 fixed transcription of durations (e.g. brevis = half note in 2/2,
5126 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5127 are not at all accessible through the @code{\time} command.
5129 Mensural time signatures are supported typographically, but not yet
5130 musically. The internal representation of durations is
5131 based on a purely binary system; a ternary division such as 1 brevis =
5132 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5133 prolatione maiori) is not correctly handled: event times in ternary
5134 modes will be badly computed, resulting e.g. in horizontally
5135 misaligned note heads, and bar checks are likely to erroneously fail.
5137 The syntax and semantics of the @code{\time} command for mensural
5138 music is subject to change.
5141 @subsection Custodes
5146 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5147 symbol that appears at the end of a staff. It anticipates the pitch
5148 of the first note(s) of the following line and thus helps the player
5149 or singer to manage line breaks during performance, thus enhancing
5150 readability of a score.
5152 Custodes were frequently used in music notation until the 17th
5153 century. Nowadays, they have survived only in a few particular forms
5154 of musical notation such as contemporary editions of Gregorian chant
5155 like the @emph{editio vaticana}. There are different custos glyphs
5156 used in different flavours of notational style.
5160 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5161 @internalsref{Staff} context when declaring the @code{\paper} block,
5162 as shown in the following example:
5168 \consists Custos_engraver
5169 Custos \override #'style = #'mensural
5174 The result looks like this:
5180 \property Staff.Custos \set #'style = #'mensural
5187 \consists Custos_engraver
5194 The custos glyph is selected by the @code{style} property. The styles
5195 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5196 @code{mensural}. They are demonstrated in the following fragment:
5206 { " " \musicglyph #"custodes-vaticana-u0" }
5210 { " " \musicglyph #"custodes-medicaea-u0" }
5214 { " " \musicglyph #"custodes-hufnagel-u0" }
5218 { " " \musicglyph #"custodes-mensural-u0" }
5227 \remove "Bar_number_engraver"
5231 \remove "Clef_engraver"
5232 \remove "Key_engraver"
5233 \remove "Time_signature_engraver"
5234 \remove "Staff_symbol_engraver"
5235 minimumVerticalExtent = ##f
5241 If the boolean property @code{adjust-if-on-staffline} is set to
5242 @code{#t} (which it is by default), lily typesets slightly different
5243 variants of the custos glyph, depending on whether the custos, is
5244 typeset on or between stafflines. The glyph will
5245 optically fit well into the staff, with the appendage on the right of
5246 the custos always ending at the same vertical position between two
5247 stafflines regardless of the pitch. If you set
5248 @code{adjust-if-on-staffline} to @code{#f}, then
5249 a compromise between both forms is used.
5251 Just like stems can be attached to noteheads in two directions
5252 @emph{up} and @emph{down}, each custos glyph is available with its
5253 appendage pointing either up or down. If the pitch of a custos is
5254 above a selectable position, the appendage will point downwards; if
5255 the pitch is below this position, the appendage will point upwards.
5256 Use property @code{neutral-position} to select this position. By
5257 default, it is set to @code{0}, such that the neutral position is the
5258 center of the staff. Use property @code{neutral-direction} to control
5259 what happens if a custos is typeset on the neutral position itself.
5260 By default, this property is set to @code{-1}, such that the appendage
5261 will point downwards. If set to @code{1}, the appendage will point
5262 upwards. Other values such as @code{0} are reserved for future
5263 extensions and should not be used.
5267 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5271 @subsection Divisiones
5277 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5278 `division') is a staff context symbol that is used to structure
5279 Gregorian music into phrases and sections. The musical meaning of
5280 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5281 can be characterized as short, medium and long pause, somewhat like
5282 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5283 a chant, but is also frequently used within a single
5284 antiphonal/responsorial chant to mark the end of each section.
5288 To use divisiones, include the file @code{gregorian-init.ly}. It
5289 contains definitions that you can apply by just inserting
5290 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5291 and @code{\finalis} at proper places in the input. Some editions use
5292 @emph{virgula} or @emph{caesura} instead of divisio minima.
5293 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5296 @lilypondfile[notexidoc]{divisiones.ly}
5300 @cindex @code{\virgula}
5302 @cindex @code{\caesura}
5304 @cindex @code{\divisioMinima}
5305 @code{\divisioMinima},
5306 @cindex @code{\divisioMaior}
5307 @code{\divisioMaior},
5308 @cindex @code{\divisioMaxima}
5309 @code{\divisioMaxima},
5310 @cindex @code{\finalis}
5315 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5316 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5319 @subsection Ligatures
5323 @c TODO: Should double check if I recalled things correctly when I wrote
5324 @c down the following paragraph by heart.
5326 In musical terminology, a ligature is a coherent graphical symbol that
5327 represents at least two distinct notes. Ligatures originally appeared
5328 in the manuscripts of Gregorian chant notation roughly since the 9th
5329 century as an allusion to the accent symbols of greek lyric poetry to
5330 denote ascending or descending sequences of notes. Both, the shape
5331 and the exact meaning of ligatures changed tremendously during the
5332 following centuries: In early notation, ligatures were used for
5333 monophonic tunes (Gregorian chant) and very soon denoted also the way
5334 of performance in the sense of articulation. With upcoming
5335 multiphony, the need for a metric system arised, since multiple voices
5336 of a piece have to be synchronized some way. New notation systems
5337 were invented that used the manifold shapes of ligatures to now denote
5338 rhythmical patterns (e.g. black mensural notation, mannered notation,
5339 ars nova). With the invention of the metric system of the white
5340 mensural notation, the need for ligatures to denote such patterns
5341 disappeared. Nevertheless, ligatures were still in use in the
5342 mensural system for a couple of decades until they finally disappeared
5343 during the late 16th / early 17th century. Still, ligatures have
5344 survived in contemporary editions of Gregorian chant such as the
5345 Editio Vaticana from 1905/08.
5349 Syntactically, ligatures are simply enclosed by @code{\[} and
5350 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5351 additional input syntax specific for this particular type of ligature.
5352 By default, the @internalsref{LigatureBracket} engraver just puts a
5353 square bracket above the ligature:
5355 @lilypond[singleline,verbatim]
5357 \notes \transpose c c' {
5365 To select a specific style of ligatures, a proper ligature engraver
5366 has to be added to the @internalsref{Voice} context, as explained in
5367 the following subsections. Only white mensural ligatures
5368 are supported with certain limitations. Support for Editio Vaticana
5369 will be added in the future.
5372 * White mensural ligatures::
5373 * Gregorian square neumes ligatures::
5376 @node White mensural ligatures
5377 @subsubsection White mensural ligatures
5379 @cindex Mensural ligatures
5380 @cindex White mensural ligatures
5382 There is limited support for white mensural ligatures. The
5383 implementation is still experimental; it may output strange
5384 warnings or even crash in some cases or produce weird results on more
5389 To engrave white mensural ligatures, in the paper block the
5390 @internalsref{Mensural_ligature_engraver} has to be put into the
5391 @internalsref{Voice} context, and remove the
5392 @internalsref{Ligature_bracket_engraver}:
5398 \remove Ligature_bracket_engraver
5399 \consists Mensural_ligature_engraver
5404 There is no additional input language to describe the shape of a
5405 white mensural ligature. The shape is rather determined solely from
5406 the pitch and duration of the enclosed notes. While this approach may
5407 take a new user a while to get accustomed, it has the great advantage
5408 that the full musical information of the ligature is known internally.
5409 This is not only required for correct MIDI output, but also allows for
5410 automatic transcription of the ligatures.
5415 \property Score.timing = ##f
5416 \property Score.defaultBarType = "empty"
5417 \property Voice.NoteHead \set #'style = #'neo_mensural
5418 \property Staff.TimeSignature \set #'style = #'neo_mensural
5420 \[ g\longa c\breve a\breve f\breve d'\longa \]
5422 \[ e1 f1 a\breve g\longa \]
5424 @lilypond[singleline]
5426 \notes \transpose c c' {
5427 \property Score.timing = ##f
5428 \property Score.defaultBarType = "empty"
5429 \property Voice.NoteHead \set #'style = #'neo_mensural
5430 \property Staff.TimeSignature \set #'style = #'neo_mensural
5432 \[ g\longa c\breve a\breve f\breve d'\longa \]
5434 \[ e1 f1 a\breve g\longa \]
5439 \remove Ligature_bracket_engraver
5440 \consists Mensural_ligature_engraver
5446 Without replacing @internalsref{Ligature_bracket_engraver} with
5447 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5450 @lilypond[singleline]
5452 \notes \transpose c c' {
5453 \property Score.timing = ##f
5454 \property Score.defaultBarType = "empty"
5455 \property Voice.NoteHead \set #'style = #'neo_mensural
5456 \property Staff.TimeSignature \set #'style = #'neo_mensural
5458 \[ g\longa c\breve a\breve f\breve d'\longa \]
5460 \[ e1 f1 a\breve g\longa \]
5466 @node Gregorian square neumes ligatures
5467 @subsubsection Gregorian square neumes ligatures
5469 @cindex Square neumes ligatures
5470 @cindex Gregorian square neumes ligatures
5472 Gregorian square neumes notation (following the style of the Editio
5473 Vaticana) is under heavy development, but not yet really usable for
5474 production purposes. Core ligatures can already be typeset, but
5475 essential issues for serious typesetting are still under development,
5476 such as (among others) horizontal alignment of multiple ligatures,
5477 lyrics alignment and proper accidentals handling. Still, this section
5478 gives a sneak preview of what Gregorian chant may look like once it
5481 The following table contains the extended neumes table of the 2nd
5482 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5483 1983 by the monks of Solesmes.
5485 @multitable @columnfractions .4 .2 .2 .2
5488 @b{Neuma aut@*Neumarum Elementa} @tab
5489 @b{Figurae@*Rectae} @tab
5490 @b{Figurae@*Liquescentes Auctae} @tab
5491 @b{Figurae@*Liquescentes Deminutae}
5493 @c TODO: \paper block is identical in all of the below examples.
5494 @c Therefore, it should somehow be included rather than duplicated all
5497 @c why not make identifiers in ly/engraver-init.ly? --hwn
5499 @c Because it's just used to typeset plain notes without
5500 @c a staff for demonstration purposes rather than something
5501 @c special of Gregorian chant notation. --jr
5506 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5507 \include "gregorian-init.ly"
5509 \notes \transpose c c' {
5512 \noBreak s^\markup {"a"} \noBreak
5514 % Punctum Inclinatum
5516 \noBreak s^\markup {"b"}
5522 \remove "Bar_number_engraver"
5526 \remove "Clef_engraver"
5527 \remove "Key_engraver"
5528 StaffSymbol \set #'transparent = ##t
5529 \remove "Time_signature_engraver"
5530 \remove "Bar_engraver"
5531 minimumVerticalExtent = ##f
5535 \remove Ligature_bracket_engraver
5536 \consists Vaticana_ligature_engraver
5537 NoteHead \set #'style = #'vaticana_punctum
5538 Stem \set #'transparent = ##t
5544 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5545 \include "gregorian-init.ly"
5547 \notes \transpose c c' {
5548 % Punctum Auctum Ascendens
5549 \[ \auctum \ascendens b \]
5550 \noBreak s^\markup {"c"} \noBreak
5552 % Punctum Auctum Descendens
5553 \[ \auctum \descendens b \]
5554 \noBreak s^\markup {"d"} \noBreak
5556 % Punctum Inclinatum Auctum
5557 \[ \inclinatum \auctum b \]
5558 \noBreak s^\markup {"e"}
5564 \remove "Bar_number_engraver"
5568 \remove "Clef_engraver"
5569 \remove "Key_engraver"
5570 StaffSymbol \set #'transparent = ##t
5571 \remove "Time_signature_engraver"
5572 \remove "Bar_engraver"
5573 minimumVerticalExtent = ##f
5577 \remove Ligature_bracket_engraver
5578 \consists Vaticana_ligature_engraver
5579 NoteHead \set #'style = #'vaticana_punctum
5580 Stem \set #'transparent = ##t
5586 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5587 \include "gregorian-init.ly"
5589 \notes \transpose c c' {
5590 % Punctum Inclinatum Parvum
5591 \[ \inclinatum \deminutum b \]
5592 \noBreak s^\markup {"f"}
5598 \remove "Bar_number_engraver"
5602 \remove "Clef_engraver"
5603 \remove "Key_engraver"
5604 StaffSymbol \set #'transparent = ##t
5605 \remove "Time_signature_engraver"
5606 \remove "Bar_engraver"
5607 minimumVerticalExtent = ##f
5611 \remove Ligature_bracket_engraver
5612 \consists Vaticana_ligature_engraver
5613 NoteHead \set #'style = #'vaticana_punctum
5614 Stem \set #'transparent = ##t
5623 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5624 \include "gregorian-init.ly"
5626 \notes \transpose c c' {
5629 \noBreak s^\markup {"g"}
5635 \remove "Bar_number_engraver"
5639 \remove "Clef_engraver"
5640 \remove "Key_engraver"
5641 StaffSymbol \set #'transparent = ##t
5642 \remove "Time_signature_engraver"
5643 \remove "Bar_engraver"
5644 minimumVerticalExtent = ##f
5648 \remove Ligature_bracket_engraver
5649 \consists Vaticana_ligature_engraver
5650 NoteHead \set #'style = #'vaticana_punctum
5651 Stem \set #'transparent = ##t
5660 @code{3. Apostropha vel Stropha}
5662 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5663 \include "gregorian-init.ly"
5665 \notes \transpose c c' {
5668 \noBreak s^\markup {"h"}
5674 \remove "Bar_number_engraver"
5678 \remove "Clef_engraver"
5679 \remove "Key_engraver"
5680 StaffSymbol \set #'transparent = ##t
5681 \remove "Time_signature_engraver"
5682 \remove "Bar_engraver"
5683 minimumVerticalExtent = ##f
5687 \remove Ligature_bracket_engraver
5688 \consists Vaticana_ligature_engraver
5689 NoteHead \set #'style = #'vaticana_punctum
5690 Stem \set #'transparent = ##t
5696 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5697 \include "gregorian-init.ly"
5699 \notes \transpose c c' {
5701 \[ \stropha \auctum b \]
5702 \noBreak s^\markup {"i"}
5708 \remove "Bar_number_engraver"
5712 \remove "Clef_engraver"
5713 \remove "Key_engraver"
5714 StaffSymbol \set #'transparent = ##t
5715 \remove "Time_signature_engraver"
5716 \remove "Bar_engraver"
5717 minimumVerticalExtent = ##f
5721 \remove Ligature_bracket_engraver
5722 \consists Vaticana_ligature_engraver
5723 NoteHead \set #'style = #'vaticana_punctum
5724 Stem \set #'transparent = ##t
5734 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5735 \include "gregorian-init.ly"
5737 \notes \transpose c c' {
5740 \noBreak s^\markup {"j"}
5746 \remove "Bar_number_engraver"
5750 \remove "Clef_engraver"
5751 \remove "Key_engraver"
5752 StaffSymbol \set #'transparent = ##t
5753 \remove "Time_signature_engraver"
5754 \remove "Bar_engraver"
5755 minimumVerticalExtent = ##f
5759 \remove Ligature_bracket_engraver
5760 \consists Vaticana_ligature_engraver
5761 NoteHead \set #'style = #'vaticana_punctum
5762 Stem \set #'transparent = ##t
5771 @code{5. Clivis vel Flexa}
5773 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5774 \include "gregorian-init.ly"
5776 \notes \transpose c c' {
5785 \remove "Bar_number_engraver"
5789 \remove "Clef_engraver"
5790 \remove "Key_engraver"
5791 StaffSymbol \set #'transparent = ##t
5792 \remove "Time_signature_engraver"
5793 \remove "Bar_engraver"
5794 minimumVerticalExtent = ##f
5798 \remove Ligature_bracket_engraver
5799 \consists Vaticana_ligature_engraver
5800 NoteHead \set #'style = #'vaticana_punctum
5801 Stem \set #'transparent = ##t
5807 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5808 \include "gregorian-init.ly"
5810 \notes \transpose c c' {
5811 % Clivis Aucta Descendens
5812 \[ b \flexa \auctum \descendens g \]
5813 \noBreak s^\markup {"l"} \noBreak
5815 % Clivis Aucta Ascendens
5816 \[ b \flexa \auctum \ascendens g \]
5817 \noBreak s^\markup {"m"}
5823 \remove "Bar_number_engraver"
5827 \remove "Clef_engraver"
5828 \remove "Key_engraver"
5829 StaffSymbol \set #'transparent = ##t
5830 \remove "Time_signature_engraver"
5831 \remove "Bar_engraver"
5832 minimumVerticalExtent = ##f
5836 \remove Ligature_bracket_engraver
5837 \consists Vaticana_ligature_engraver
5838 NoteHead \set #'style = #'vaticana_punctum
5839 Stem \set #'transparent = ##t
5845 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5846 \include "gregorian-init.ly"
5848 \notes \transpose c c' {
5850 \[ b \flexa \deminutum g \]
5857 \remove "Bar_number_engraver"
5861 \remove "Clef_engraver"
5862 \remove "Key_engraver"
5863 StaffSymbol \set #'transparent = ##t
5864 \remove "Time_signature_engraver"
5865 \remove "Bar_engraver"
5866 minimumVerticalExtent = ##f
5870 \remove Ligature_bracket_engraver
5871 \consists Vaticana_ligature_engraver
5872 NoteHead \set #'style = #'vaticana_punctum
5873 Stem \set #'transparent = ##t
5880 @code{6. Podatus vel Pes}
5882 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5883 \include "gregorian-init.ly"
5885 \notes \transpose c c' {
5894 \remove "Bar_number_engraver"
5898 \remove "Clef_engraver"
5899 \remove "Key_engraver"
5900 StaffSymbol \set #'transparent = ##t
5901 \remove "Time_signature_engraver"
5902 \remove "Bar_engraver"
5903 minimumVerticalExtent = ##f
5907 \remove Ligature_bracket_engraver
5908 \consists Vaticana_ligature_engraver
5909 NoteHead \set #'style = #'vaticana_punctum
5910 Stem \set #'transparent = ##t
5916 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5917 \include "gregorian-init.ly"
5919 \notes \transpose c c' {
5920 % Pes Auctus Descendens
5921 \[ g \pes \auctum \descendens b \]
5922 \noBreak s^\markup {"p"} \noBreak
5924 % Pes Auctus Ascendens
5925 \[ g \pes \auctum \ascendens b \]
5926 \noBreak s^\markup {"q"}
5932 \remove "Bar_number_engraver"
5936 \remove "Clef_engraver"
5937 \remove "Key_engraver"
5938 StaffSymbol \set #'transparent = ##t
5939 \remove "Time_signature_engraver"
5940 \remove "Bar_engraver"
5941 minimumVerticalExtent = ##f
5945 \remove Ligature_bracket_engraver
5946 \consists Vaticana_ligature_engraver
5947 NoteHead \set #'style = #'vaticana_punctum
5948 Stem \set #'transparent = ##t
5954 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5955 \include "gregorian-init.ly"
5957 \notes \transpose c c' {
5959 \[ g \pes \deminutum b \]
5966 \remove "Bar_number_engraver"
5970 \remove "Clef_engraver"
5971 \remove "Key_engraver"
5972 StaffSymbol \set #'transparent = ##t
5973 \remove "Time_signature_engraver"
5974 \remove "Bar_engraver"
5975 minimumVerticalExtent = ##f
5979 \remove Ligature_bracket_engraver
5980 \consists Vaticana_ligature_engraver
5981 NoteHead \set #'style = #'vaticana_punctum
5982 Stem \set #'transparent = ##t
5989 @code{7. Pes Quassus}
5991 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5992 \include "gregorian-init.ly"
5994 \notes \transpose c c' {
5996 \[ \oriscus g \pes \virga b \]
6003 \remove "Bar_number_engraver"
6007 \remove "Clef_engraver"
6008 \remove "Key_engraver"
6009 StaffSymbol \set #'transparent = ##t
6010 \remove "Time_signature_engraver"
6011 \remove "Bar_engraver"
6012 minimumVerticalExtent = ##f
6016 \remove Ligature_bracket_engraver
6017 \consists Vaticana_ligature_engraver
6018 NoteHead \set #'style = #'vaticana_punctum
6019 Stem \set #'transparent = ##t
6025 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6026 \include "gregorian-init.ly"
6028 \notes \transpose c c' {
6029 % Pes Quassus Auctus Descendens
6030 \[ \oriscus g \pes \auctum \descendens b \]
6037 \remove "Bar_number_engraver"
6041 \remove "Clef_engraver"
6042 \remove "Key_engraver"
6043 StaffSymbol \set #'transparent = ##t
6044 \remove "Time_signature_engraver"
6045 \remove "Bar_engraver"
6046 minimumVerticalExtent = ##f
6050 \remove Ligature_bracket_engraver
6051 \consists Vaticana_ligature_engraver
6052 NoteHead \set #'style = #'vaticana_punctum
6053 Stem \set #'transparent = ##t
6061 @code{8. Quilisma Pes}
6063 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6064 \include "gregorian-init.ly"
6066 \notes \transpose c c' {
6068 \[ \quilisma g \pes b \]
6075 \remove "Bar_number_engraver"
6079 \remove "Clef_engraver"
6080 \remove "Key_engraver"
6081 StaffSymbol \set #'transparent = ##t
6082 \remove "Time_signature_engraver"
6083 \remove "Bar_engraver"
6084 minimumVerticalExtent = ##f
6088 \remove Ligature_bracket_engraver
6089 \consists Vaticana_ligature_engraver
6090 NoteHead \set #'style = #'vaticana_punctum
6091 Stem \set #'transparent = ##t
6097 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6098 \include "gregorian-init.ly"
6100 \notes \transpose c c' {
6101 % Quilisma Pes Auctus Descendens
6102 \[ \quilisma g \pes \auctum \descendens b \]
6109 \remove "Bar_number_engraver"
6113 \remove "Clef_engraver"
6114 \remove "Key_engraver"
6115 StaffSymbol \set #'transparent = ##t
6116 \remove "Time_signature_engraver"
6117 \remove "Bar_engraver"
6118 minimumVerticalExtent = ##f
6122 \remove Ligature_bracket_engraver
6123 \consists Vaticana_ligature_engraver
6124 NoteHead \set #'style = #'vaticana_punctum
6125 Stem \set #'transparent = ##t
6133 @code{9. Podatus Initio Debilis}
6135 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6136 \include "gregorian-init.ly"
6138 \notes \transpose c c' {
6139 % Pes Initio Debilis
6140 \[ \deminutum g \pes b \]
6147 \remove "Bar_number_engraver"
6151 \remove "Clef_engraver"
6152 \remove "Key_engraver"
6153 StaffSymbol \set #'transparent = ##t
6154 \remove "Time_signature_engraver"
6155 \remove "Bar_engraver"
6156 minimumVerticalExtent = ##f
6160 \remove Ligature_bracket_engraver
6161 \consists Vaticana_ligature_engraver
6162 NoteHead \set #'style = #'vaticana_punctum
6163 Stem \set #'transparent = ##t
6169 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6170 \include "gregorian-init.ly"
6172 \notes \transpose c c' {
6173 % Pes Auctus Descendens Initio Debilis
6174 \[ \deminutum g \pes \auctum \descendens b \]
6181 \remove "Bar_number_engraver"
6185 \remove "Clef_engraver"
6186 \remove "Key_engraver"
6187 StaffSymbol \set #'transparent = ##t
6188 \remove "Time_signature_engraver"
6189 \remove "Bar_engraver"
6190 minimumVerticalExtent = ##f
6194 \remove Ligature_bracket_engraver
6195 \consists Vaticana_ligature_engraver
6196 NoteHead \set #'style = #'vaticana_punctum
6197 Stem \set #'transparent = ##t
6207 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6208 \include "gregorian-init.ly"
6210 \notes \transpose c c' {
6212 \[ a \pes b \flexa g \]
6219 \remove "Bar_number_engraver"
6223 \remove "Clef_engraver"
6224 \remove "Key_engraver"
6225 StaffSymbol \set #'transparent = ##t
6226 \remove "Time_signature_engraver"
6227 \remove "Bar_engraver"
6228 minimumVerticalExtent = ##f
6232 \remove Ligature_bracket_engraver
6233 \consists Vaticana_ligature_engraver
6234 NoteHead \set #'style = #'vaticana_punctum
6235 Stem \set #'transparent = ##t
6241 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6242 \include "gregorian-init.ly"
6244 \notes \transpose c c' {
6245 % Torculus Auctus Descendens
6246 \[ a \pes b \flexa \auctum \descendens g \]
6253 \remove "Bar_number_engraver"
6257 \remove "Clef_engraver"
6258 \remove "Key_engraver"
6259 StaffSymbol \set #'transparent = ##t
6260 \remove "Time_signature_engraver"
6261 \remove "Bar_engraver"
6262 minimumVerticalExtent = ##f
6266 \remove Ligature_bracket_engraver
6267 \consists Vaticana_ligature_engraver
6268 NoteHead \set #'style = #'vaticana_punctum
6269 Stem \set #'transparent = ##t
6275 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6276 \include "gregorian-init.ly"
6278 \notes \transpose c c' {
6279 % Torculus Deminutus
6280 \[ a \pes b \flexa \deminutum g \]
6287 \remove "Bar_number_engraver"
6291 \remove "Clef_engraver"
6292 \remove "Key_engraver"
6293 StaffSymbol \set #'transparent = ##t
6294 \remove "Time_signature_engraver"
6295 \remove "Bar_engraver"
6296 minimumVerticalExtent = ##f
6300 \remove Ligature_bracket_engraver
6301 \consists Vaticana_ligature_engraver
6302 NoteHead \set #'style = #'vaticana_punctum
6303 Stem \set #'transparent = ##t
6310 @code{11. Torculus Initio Debilis}
6312 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6313 \include "gregorian-init.ly"
6315 \notes \transpose c c' {
6316 % Torculus Initio Debilis
6317 \[ \deminutum a \pes b \flexa g \]
6324 \remove "Bar_number_engraver"
6328 \remove "Clef_engraver"
6329 \remove "Key_engraver"
6330 StaffSymbol \set #'transparent = ##t
6331 \remove "Time_signature_engraver"
6332 \remove "Bar_engraver"
6333 minimumVerticalExtent = ##f
6337 \remove Ligature_bracket_engraver
6338 \consists Vaticana_ligature_engraver
6339 NoteHead \set #'style = #'vaticana_punctum
6340 Stem \set #'transparent = ##t
6346 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6347 \include "gregorian-init.ly"
6349 \notes \transpose c c' {
6350 % Torculus Auctus Descendens Initio Debilis
6351 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6358 \remove "Bar_number_engraver"
6362 \remove "Clef_engraver"
6363 \remove "Key_engraver"
6364 StaffSymbol \set #'transparent = ##t
6365 \remove "Time_signature_engraver"
6366 \remove "Bar_engraver"
6367 minimumVerticalExtent = ##f
6371 \remove Ligature_bracket_engraver
6372 \consists Vaticana_ligature_engraver
6373 NoteHead \set #'style = #'vaticana_punctum
6374 Stem \set #'transparent = ##t
6380 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6381 \include "gregorian-init.ly"
6383 \notes \transpose c c' {
6384 % Torculus Deminutus Initio Debilis
6385 \[ \deminutum a \pes b \flexa \deminutum g \]
6392 \remove "Bar_number_engraver"
6396 \remove "Clef_engraver"
6397 \remove "Key_engraver"
6398 StaffSymbol \set #'transparent = ##t
6399 \remove "Time_signature_engraver"
6400 \remove "Bar_engraver"
6401 minimumVerticalExtent = ##f
6405 \remove Ligature_bracket_engraver
6406 \consists Vaticana_ligature_engraver
6407 NoteHead \set #'style = #'vaticana_punctum
6408 Stem \set #'transparent = ##t
6415 @code{12. Porrectus}
6417 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6418 \include "gregorian-init.ly"
6420 \notes \transpose c c' {
6422 \[ a \flexa g \pes b \]
6429 \remove "Bar_number_engraver"
6433 \remove "Clef_engraver"
6434 \remove "Key_engraver"
6435 StaffSymbol \set #'transparent = ##t
6436 \remove "Time_signature_engraver"
6437 \remove "Bar_engraver"
6438 minimumVerticalExtent = ##f
6442 \remove Ligature_bracket_engraver
6443 \consists Vaticana_ligature_engraver
6444 NoteHead \set #'style = #'vaticana_punctum
6445 Stem \set #'transparent = ##t
6451 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6452 \include "gregorian-init.ly"
6454 \notes \transpose c c' {
6455 % Porrectus Auctus Descendens
6456 \[ a \flexa g \pes \auctum \descendens b \]
6463 \remove "Bar_number_engraver"
6467 \remove "Clef_engraver"
6468 \remove "Key_engraver"
6469 StaffSymbol \set #'transparent = ##t
6470 \remove "Time_signature_engraver"
6471 \remove "Bar_engraver"
6472 minimumVerticalExtent = ##f
6476 \remove Ligature_bracket_engraver
6477 \consists Vaticana_ligature_engraver
6478 NoteHead \set #'style = #'vaticana_punctum
6479 Stem \set #'transparent = ##t
6485 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6486 \include "gregorian-init.ly"
6488 \notes \transpose c c' {
6489 % Porrectus Deminutus
6490 \[ a \flexa g \pes \deminutum b \]
6497 \remove "Bar_number_engraver"
6501 \remove "Clef_engraver"
6502 \remove "Key_engraver"
6503 StaffSymbol \set #'transparent = ##t
6504 \remove "Time_signature_engraver"
6505 \remove "Bar_engraver"
6506 minimumVerticalExtent = ##f
6510 \remove Ligature_bracket_engraver
6511 \consists Vaticana_ligature_engraver
6512 NoteHead \set #'style = #'vaticana_punctum
6513 Stem \set #'transparent = ##t
6522 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6523 \include "gregorian-init.ly"
6525 \notes \transpose c c' {
6527 \[ \virga b \inclinatum a \inclinatum g \]
6534 \remove "Bar_number_engraver"
6538 \remove "Clef_engraver"
6539 \remove "Key_engraver"
6540 StaffSymbol \set #'transparent = ##t
6541 \remove "Time_signature_engraver"
6542 \remove "Bar_engraver"
6543 minimumVerticalExtent = ##f
6547 \remove Ligature_bracket_engraver
6548 \consists Vaticana_ligature_engraver
6549 NoteHead \set #'style = #'vaticana_punctum
6550 Stem \set #'transparent = ##t
6556 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6557 \include "gregorian-init.ly"
6559 \notes \transpose c c' {
6561 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6568 \remove "Bar_number_engraver"
6572 \remove "Clef_engraver"
6573 \remove "Key_engraver"
6574 StaffSymbol \set #'transparent = ##t
6575 \remove "Time_signature_engraver"
6576 \remove "Bar_engraver"
6577 minimumVerticalExtent = ##f
6581 \remove Ligature_bracket_engraver
6582 \consists Vaticana_ligature_engraver
6583 NoteHead \set #'style = #'vaticana_punctum
6584 Stem \set #'transparent = ##t
6590 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6591 \include "gregorian-init.ly"
6593 \notes \transpose c c' {
6594 % Climacus Deminutus
6595 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6602 \remove "Bar_number_engraver"
6606 \remove "Clef_engraver"
6607 \remove "Key_engraver"
6608 StaffSymbol \set #'transparent = ##t
6609 \remove "Time_signature_engraver"
6610 \remove "Bar_engraver"
6611 minimumVerticalExtent = ##f
6615 \remove Ligature_bracket_engraver
6616 \consists Vaticana_ligature_engraver
6617 NoteHead \set #'style = #'vaticana_punctum
6618 Stem \set #'transparent = ##t
6625 @code{14. Scandicus}
6627 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6628 \include "gregorian-init.ly"
6630 \notes \transpose c c' {
6632 \[ g \pes a \virga b \]
6639 \remove "Bar_number_engraver"
6643 \remove "Clef_engraver"
6644 \remove "Key_engraver"
6645 StaffSymbol \set #'transparent = ##t
6646 \remove "Time_signature_engraver"
6647 \remove "Bar_engraver"
6648 minimumVerticalExtent = ##f
6652 \remove Ligature_bracket_engraver
6653 \consists Vaticana_ligature_engraver
6654 NoteHead \set #'style = #'vaticana_punctum
6655 Stem \set #'transparent = ##t
6661 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6662 \include "gregorian-init.ly"
6664 \notes \transpose c c' {
6665 % Scandicus Auctus Descendens
6666 \[ g \pes a \pes \auctum \descendens b \]
6673 \remove "Bar_number_engraver"
6677 \remove "Clef_engraver"
6678 \remove "Key_engraver"
6679 StaffSymbol \set #'transparent = ##t
6680 \remove "Time_signature_engraver"
6681 \remove "Bar_engraver"
6682 minimumVerticalExtent = ##f
6686 \remove Ligature_bracket_engraver
6687 \consists Vaticana_ligature_engraver
6688 NoteHead \set #'style = #'vaticana_punctum
6689 Stem \set #'transparent = ##t
6695 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6696 \include "gregorian-init.ly"
6698 \notes \transpose c c' {
6699 % Scandicus Deminutus
6700 \[ g \pes a \pes \deminutum b \]
6707 \remove "Bar_number_engraver"
6711 \remove "Clef_engraver"
6712 \remove "Key_engraver"
6713 StaffSymbol \set #'transparent = ##t
6714 \remove "Time_signature_engraver"
6715 \remove "Bar_engraver"
6716 minimumVerticalExtent = ##f
6720 \remove Ligature_bracket_engraver
6721 \consists Vaticana_ligature_engraver
6722 NoteHead \set #'style = #'vaticana_punctum
6723 Stem \set #'transparent = ##t
6732 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6733 \include "gregorian-init.ly"
6735 \notes \transpose c c' {
6737 \[ g \oriscus a \pes \virga b \]
6744 \remove "Bar_number_engraver"
6748 \remove "Clef_engraver"
6749 \remove "Key_engraver"
6750 StaffSymbol \set #'transparent = ##t
6751 \remove "Time_signature_engraver"
6752 \remove "Bar_engraver"
6753 minimumVerticalExtent = ##f
6757 \remove Ligature_bracket_engraver
6758 \consists Vaticana_ligature_engraver
6759 NoteHead \set #'style = #'vaticana_punctum
6760 Stem \set #'transparent = ##t
6766 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6767 \include "gregorian-init.ly"
6769 \notes \transpose c c' {
6770 % Salicus Auctus Descendens
6771 \[ g \oriscus a \pes \auctum \descendens b \]
6778 \remove "Bar_number_engraver"
6782 \remove "Clef_engraver"
6783 \remove "Key_engraver"
6784 StaffSymbol \set #'transparent = ##t
6785 \remove "Time_signature_engraver"
6786 \remove "Bar_engraver"
6787 minimumVerticalExtent = ##f
6791 \remove Ligature_bracket_engraver
6792 \consists Vaticana_ligature_engraver
6793 NoteHead \set #'style = #'vaticana_punctum
6794 Stem \set #'transparent = ##t
6804 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6805 \include "gregorian-init.ly"
6807 \notes \transpose c c' {
6809 \[ \stropha b \stropha b \stropha a \]
6816 \remove "Bar_number_engraver"
6820 \remove "Clef_engraver"
6821 \remove "Key_engraver"
6822 StaffSymbol \set #'transparent = ##t
6823 \remove "Time_signature_engraver"
6824 \remove "Bar_engraver"
6825 minimumVerticalExtent = ##f
6829 \remove Ligature_bracket_engraver
6830 \consists Vaticana_ligature_engraver
6831 NoteHead \set #'style = #'vaticana_punctum
6832 Stem \set #'transparent = ##t
6844 Unlike most other neumes notation systems, the input language for
6845 neumes does not necessarily reflect directly the typographical
6846 appearance, but is designed to solely focuse on musical meaning. For
6847 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6848 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6849 a Porrectus with a curved flexa shape and only a single Punctum head.
6850 There is no command to explicitly typeset the curved flexa shape; the
6851 decision of when to typeset a curved flexa shape is purely taken from
6852 the musical input. The idea of this approach is to separate the
6853 musical aspects of the input from the notation style of the output.
6854 This way, the same input can be reused to typeset the same music in a
6855 different style of Gregorian chant notation such as Hufnagel (also
6856 known as German gothic neumes) or Medicaea (kind of a very simple
6857 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6858 engraver and Medicaea ligature engraver will have been implemented, it
6859 will be as simple as replacing the ligature engraver in the
6860 @internalsref{Voice} context to get the desired notation style from
6863 The following table shows the code fragments that produce the
6864 ligatures in the above neumes table. The letter in the first column
6865 in each line of the below table indicates to which ligature in the
6866 above table it refers. The second column gives the name of the
6867 ligature. The third column shows the code fragment that produces this
6868 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6870 @multitable @columnfractions .1 .4 .5
6884 Punctum Inclinatum @tab
6885 @code{\[ \inclinatum b \]}
6889 Punctum Auctum Ascendens @tab
6890 @code{\[ \auctum \ascendens b \]}
6894 Punctum Auctum Descendens @tab
6895 @code{\[ \auctum \descendens b \]}
6899 Punctum Inclinatum Auctum @tab
6900 @code{\[ \inclinatum \auctum b \]}
6904 Punctum Inclinatum Parvum @tab
6905 @code{\[ \inclinatum \deminutum b \]}
6910 @code{\[ \virga b \]}
6915 @code{\[ \stropha b \]}
6920 @code{\[ \stropha \auctum b \]}
6925 @code{\[ \oriscus b \]}
6929 Clivis vel Flexa @tab
6930 @code{\[ b \flexa g \]}
6934 Clivis Aucta Descendens @tab
6935 @code{\[ b \flexa \auctum \descendens g \]}
6939 Clivis Aucta Ascendens @tab
6940 @code{\[ b \flexa \auctum \ascendens g \]}
6945 @code{\[ b \flexa \deminutum g \]}
6949 Podatus vel Pes @tab
6950 @code{\[ g \pes b \]}
6954 Pes Auctus Descendens @tab
6955 @code{\[ g \pes \auctum \descendens b \]}
6959 Pes Auctus Ascendens @tab
6960 @code{\[ g \pes \auctum \ascendens b \]}
6965 @code{\[ g \pes \deminutum b \]}
6970 @code{\[ \oriscus g \pes \virga b \]}
6974 Pes Quassus Auctus Descendens @tab
6975 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6980 @code{\[ \quilisma g \pes b \]}
6984 Quilisma Pes Auctus Descendens @tab
6985 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6989 Pes Initio Debilis @tab
6990 @code{\[ \deminutum g \pes b \]}
6994 Pes Auctus Descendens Initio Debilis @tab
6995 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7000 @code{\[ a \pes b \flexa g \]}
7004 Torculus Auctus Descendens @tab
7005 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7009 Torculus Deminutus @tab
7010 @code{\[ a \pes b \flexa \deminutum g \]}
7014 Torculus Initio Debilis @tab
7015 @code{\[ \deminutum a \pes b \flexa g \]}
7019 Torculus Auctus Descendens Initio Debilis @tab
7020 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7024 Torculus Deminutus Initio Debilis @tab
7025 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7030 @code{\[ a \flexa g \pes b \]}
7034 Porrectus Auctus Descendens @tab
7035 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7039 Porrectus Deminutus @tab
7040 @code{\[ a \flexa g \pes \deminutum b \]}
7045 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7049 Climacus Auctus @tab
7050 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7054 Climacus Deminutus @tab
7055 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7060 @code{\[ g \pes a \virga b \]}
7064 Scandicus Auctus Descendens @tab
7065 @code{\[ g \pes a \pes \auctum \descendens b \]}
7069 Scandicus Deminutus @tab
7070 @code{\[ g \pes a \pes \deminutum b \]}
7075 @code{\[ g \oriscus a \pes \virga b \]}
7079 Salicus Auctus Descendens @tab
7080 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7085 @code{\[ \stropha b \stropha b \stropha a \]}
7091 The following head prefixes are supported:
7093 @cindex @code{\virga}
7095 @cindex @code{\stropha}
7097 @cindex @code{\inclinatum}
7099 @cindex @code{\auctum}
7101 @cindex @code{\descendens}
7103 @cindex @code{\ascendens}
7105 @cindex @code{\oriscus}
7107 @cindex @code{\quilisma}
7109 @cindex @code{\deminutum}
7112 Head prefixes can be accumulated, though restrictions apply. For
7113 example, either @code{\descendens} or @code{\ascendens} can be applied
7114 to a head, but not both to the same head.
7117 @cindex @code{\flexa}
7118 Two adjacent heads can be tied together with the @code{\pes} and
7119 @code{\flexa} infix commands for a rising and falling line of melody,
7124 Trigonus: apply equal spacing, regardless of pitch.
7127 @subsection Figured bass
7129 @cindex Basso continuo
7131 @c TODO: musicological blurb about FB
7135 LilyPond has limited support for figured bass:
7137 @lilypond[verbatim,fragment]
7139 \context Voice \notes { \clef bass dis4 c d ais}
7140 \context FiguredBass
7142 < 6 >4 < 7 >8 < 6+ [_!] >
7148 The support for figured bass consists of two parts: there is an input
7149 mode, introduced by @code{\figures}, where you can enter bass figures
7150 as numbers, and there is a context called @internalsref{FiguredBass} that
7151 takes care of making @internalsref{BassFigure} objects.
7153 In figures input mode, a group of bass figures is delimited by
7154 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7159 \context FiguredBass
7163 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7170 \context FiguredBass
7171 \figures { <4- 6+ 7!> }
7174 Spaces or dashes may be inserted by using @code{_}. Brackets are
7175 introduced with @code{[} and @code{]}:
7181 \context FiguredBass
7182 \figures { < [4 6] 8 [_! 12]> }
7185 Although the support for figured bass may superficially resemble chord
7186 support, it works much simpler. The @code{\figures} mode simply
7187 stores the numbers , and @internalsref{FiguredBass} context prints
7188 them as entered. There is no conversion to pitches, and no
7189 realizations of the bass are played in the MIDI file.
7191 Internally, the code produces markup texts. You can use any of the
7192 markup text properties to override formatting. For example, the
7193 vertical spacing of the figures may be set with @code{baseline-skip}.
7197 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7198 and @internalsref{FiguredBass} context.
7202 Slash notation for alterations is not supported.
7205 @node Vaticana style contexts
7206 @subsection Vaticana style contexts
7208 @cindex VaticanaVoiceContext
7209 @cindex VaticanaStaffContext
7211 The predefined @code{VaticanaVoiceContext} and
7212 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7213 Gregorian Chant in the style of the Editio Vaticana. These contexts
7214 initialize all relevant context properties and grob properties to
7215 proper values. With these contexts, you can immediately go ahead
7216 entering the chant, as the following short excerpt demonstrates:
7218 @lilypond[raggedright,verbatim,noindent]
7219 \include "gregorian-init.ly"
7222 \context VaticanaVoice {
7223 \property Score.BarNumber \set #'transparent = ##t
7225 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7226 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7227 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7230 \context Lyrics \lyrics {
7231 San- ctus, San- ctus, San- ctus
7236 @node Contemporary notation
7237 @section Contemporary notation
7239 In the 20th century, composers have greatly expanded the musical
7240 vocabulary. With this expansion, many innovations in musical notation
7241 have been tried. The book by Stone (1980) gives a comprehensive
7242 overview (see @ref{Literature list}). In general, the use of new,
7243 innovative notation makes a piece harder to understand and perform and
7244 its use should therefore be avoided if possible. For this reason,
7245 support for contemporary notation in LilyPond is limited.
7254 @subsection Clusters
7258 In musical terminology, a @emph{cluster} denotes a range of
7259 simultaneously sounding pitches that may change over time. The set of
7260 available pitches to apply usually depends on the accoustic source.
7261 Thus, in piano music, a cluster typically consists of a continous range
7262 of the semitones as provided by the piano's fixed set of a chromatic
7263 scale. In choral music, each singer of the choir typically may sing an
7264 arbitrary pitch within the cluster's range that is not bound to any
7265 diatonic, chromatic or other scale. In electronic music, a cluster
7266 (theoretically) may even cover a continuous range of pitches, thus
7267 resulting in coloured noise, such as pink noise.
7269 Clusters can be denoted in the context of ordinary staff notation by
7270 engraving simple geometrical shapes that replace ordinary notation of
7271 notes. Ordinary notes as musical events specify starting time and
7272 duration of pitches; however, the duration of a note is expressed by the
7273 shape of the note head rather than by the horizontal graphical extent of
7274 the note symbol. In contrast, the shape of a cluster geometrically
7275 describes the development of a range of pitches (vertical extent) over
7276 time (horizontal extent). Still, the geometrical shape of a cluster
7277 covers the area in wich any single pitch contained in the cluster would
7278 be notated as an ordinary note. From this point of view, it is
7279 reasonable to specify a cluster as the envelope of a set of notes.
7283 A cluster is engraved as the envelope of a set of
7284 cluster-notes. Cluster notes are created by applying the function
7285 @code{notes-to-clusters} to a sequence of chords, e.g.
7287 @lilypond[relative 1,verbatim]
7288 \apply #notes-to-clusters { <c e > <b f'> }
7291 The following example (from
7292 @inputfileref{input/regression,cluster.ly}) shows what the result
7295 @lilypondfile[notexidoc]{cluster.ly}
7297 By default, @internalsref{Cluster_spanner_engraver} is in the
7298 @internalsref{Voice} context. This allows putting ordinary notes and
7299 clusters together in the same staff, even simultaneously. In such a
7300 case no attempt is made to automatically avoid collisions between
7301 ordinary notes and clusters.
7305 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7306 @inputfileref{input/regression,cluster.ly},
7307 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7311 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7312 accurately. Use @code{<g a>8 <e a>8} instead.
7317 @subsection Fermatas
7323 Contemporary music notation frequently uses special fermata symbols to
7324 indicate fermatas of differing lengths.
7328 The following are supported
7330 @lilypond[singleline]
7332 << \addlyrics \notes {
7352 \context Lyrics \lyrics {
7353 "shortfermata" "fermata" "longfermata" "verylongfermata"
7358 See @ref{Articulations} for general instructions how to apply scripts
7359 such as fermatas to a @code{\notes@{@}} block.
7362 @section Tuning output
7364 There are situations where default layout decisions are not
7365 sufficient. In this section we discuss ways to override these
7368 Formatting is internally done by manipulating so called objects
7369 (graphic objects). Each object carries with it a set of properties
7370 (object or layout properties) specific to that object. For example, a
7371 stem object has properties that specify its direction, length and
7374 The most direct way of tuning the output is by altering the values of
7375 these properties. There are two ways of doing that: first, you can
7376 temporarily change the definition of one type of object, thus
7377 affecting a whole set of objects. Second, you can select one specific
7378 object, and set a layout property in that object.
7380 Do not confuse layout properties with translation
7381 properties. Translation properties always use a mixed caps style
7382 naming, and are manipulated using @code{\property}:
7384 \property Context.propertyName = @var{value}
7386 Layout properties are use Scheme style variable naming, i.e. lower
7387 case words separated with dashes. They are symbols, and should always
7388 be quoted using @code{#'}. For example, this could be an imaginary
7389 layout property name:
7391 #'layout-property-name
7396 * Constructing a tweak::
7404 @node Tuning objects
7405 @subsection Tuning objects
7407 @cindex object description
7409 The definition of an object is a list of default object
7410 properties. For example, the definition of the Stem object (available
7411 in @file{scm/define-grobs.scm}), includes the following definitions
7412 for @internalsref{Stem}:
7416 (beamed-lengths . (0.0 2.5 2.0 1.5))
7417 (Y-extent-callback . ,Stem::height)
7422 Adding variables on top of this existing definition overrides the
7423 system default, and alters the resulting appearance of the layout
7429 Changing a variable for only one object is commonly achieved with
7433 \once \property @var{context}.@var{objectname}
7434 \override @var{symbol} = @var{value}
7436 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7437 and @var{objectname} is a string and @var{value} is a Scheme expression.
7438 This command applies a setting only during one moment in the score.
7440 In the following example, only one @internalsref{Stem} object is
7441 changed from its original setting:
7443 @lilypond[verbatim, fragment, relative=1]
7445 \once \property Voice.Stem \set #'thickness = #4
7449 @cindex @code{\once}
7451 For changing more objects, the same command, without @code{\once} can
7454 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7456 This command adds @code{@var{symbol} = @var{value}} to the definition
7457 of @var{objectname} in the context @var{context}, and this definition
7458 stays in place until it is removed.
7460 An existing definition may be removed by the following command:
7463 \property @var{context}.@var{objectname} \revert @var{symbol}
7466 All @code{\override} and @code{\revert} commands should be balanced.
7467 The @code{\set} shorthand performs a revert followed by an override,
7468 and is often more convenient to use
7471 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7475 @lilypond[verbatim,quote]
7476 c'4 \property Voice.Stem \override #'thickness = #4.0
7478 c'4 \property Voice.Stem \revert #'thickness
7482 The following example gives exactly the same result as the previous
7483 one (assuming the system default for stem thickness is 1.3):
7485 @lilypond[verbatim,quote]
7486 c'4 \property Voice.Stem \set #'thickness = #4.0
7488 c'4 \property Voice.Stem \set #'thickness = #1.3
7492 Reverting a setting which was not set in the first place has no
7493 effect. However, if the setting was set as a system default, this may
7494 remove the default value, and this may give surprising results,
7495 including crashes. In other words, @code{\override} and
7496 @code{\revert} must be carefully balanced. The following are examples
7497 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7501 a clumsy but correct form:
7503 \override \revert \override \revert \override \revert
7507 shorter version of the same:
7509 \override \set \set \revert
7513 a short form, using only @code{\set}. This requires you to know the
7516 \set \set \set \set @var{to default value}
7520 if there is no default (i.e. by default, the object property is unset),
7523 \set \set \set \revert
7527 The object description is an Scheme association
7528 list. Since a Scheme list is a singly linked list, we can treat it as
7529 a stack, and @code{\override} and @code{\revert} are push and pop
7530 operations. The association list is stored in a normal context
7533 \property Voice.NoteHead = #'()
7535 will effectively erase @internalsref{NoteHead}s from the current
7536 @internalsref{Voice}. Typically, this will blank the object. However,
7537 this mechanism should not be used: it may cause crashes or other
7542 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7543 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7544 @internalsref{All-layout-objects}.
7549 The backend is not very strict in type-checking object properties.
7550 Cyclic references in Scheme values for properties cause hangs and/or
7551 crashes. Reverting properties that are system defaults may also lead
7554 @node Constructing a tweak
7555 @subsection Constructing a tweak
7558 @cindex internal documentation
7559 @cindex finding graphical objects
7560 @cindex graphical object descriptions
7562 @cindex @code{\override}
7564 @cindex internal documentation
7568 Three pieces of information are required to use @code{\override} and
7569 @code{\set}: the name of the layout object, the context and the name
7570 of the property. We demonstrate how to glean this information from
7571 the notation manual and the generated documentation.
7573 The generated documentation is a set of HTML pages which should be
7574 included if you installed a binary distribution, typically in
7575 @file{/usr/share/doc/lilypond}. They are also available on the web:
7576 go to the @uref{http://lilypond.org,LilyPond website}, click
7577 ``Documentation'', select the correct version, and click then
7578 ``Program reference.'' It is advisable to bookmark the local HTML
7579 files. They will load faster than the ones on the web. If you use the
7580 version from the web, you must check whether the documentation matches
7581 the program version: it is generated from the definitions that the
7582 program uses, and therefore it is strongly tied to the LilyPond
7586 @c [TODO: revise for new site.]
7588 Suppose we want to move the fingering indication in the fragment below:
7590 @lilypond[relative=2,verbatim]
7596 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7597 instructions}), you will notice that there is written:
7602 @internalsref{FingerEvent} and @internalsref{Fingering}.
7609 In other words, the fingerings once entered, are internally stored as
7610 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7611 layout object is created for every @code{FingerEvent}.
7613 The Fingering object has a number of different functions, and each of
7614 those is captured in an interface. The interfaces are listed under
7615 @internalsref{Fingering} in the program reference.
7619 The @code{Fingering} object has a fixed size
7620 (@internalsref{item-interface}), the symbol is a piece of text
7621 (@internalsref{text-interface}), whose font can be set
7622 (@internalsref{font-interface}). It is centered horizontally
7623 (@internalsref{self-alignment-interface}), it is placed next to other
7624 objects (@internalsref{side-position-interface}) vertically, and its
7625 placement is coordinated with other scripts
7626 (@internalsref{text-script-interface}). It also has the standard
7627 @internalsref{grob-interface} (grob stands for Graphical object)
7629 @cindex graphical object
7630 @cindex layout object
7631 @cindex object, layout
7632 with all the variables that come with
7633 it. Finally, it denotes a fingering instruction, so it has
7634 @internalsref{finger-interface}.
7636 For the vertical placement, we have to look under
7637 @code{side-position-interface}:
7639 @code{side-position-interface}
7641 Position a victim object (this one) next to other objects (the
7642 support). In this case, the property @code{direction} signifies where to put the
7643 victim object relative to the support (left or right, up or down?)
7648 below this description, the variable @code{padding} is described as
7652 (dimension, in staff space)
7654 add this much extra space between objects that are next to each
7655 other. Default value: @code{0.6}
7659 By increasing the value of @code{padding}, we can move away the
7660 fingering. The following command inserts 3 staff spaces of white
7661 between the note and the fingering:
7663 \once \property Voice.Fingering \set #'padding = #3
7666 Inserting this command before the Fingering object is created,
7667 i.e. before @code{c2}, yields the following result:
7669 @lilypond[relative=2,fragment,verbatim]
7670 \once \property Voice.Fingering
7677 The context name @code{Voice} in the example above can be determined
7678 as follows. In the documentation for @internalsref{Fingering}, it says
7680 Fingering grobs are created by: @internalsref{Fingering_engraver}
7683 Clicking @code{Fingering_engraver} shows the documentation of
7684 the module responsible for interpreting the fingering instructions and
7685 translating them to a @code{Fingering} object. Such a module is called
7686 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7689 Fingering_engraver is part of contexts: Voice
7691 so tuning the settings for Fingering should be done with
7693 \property Voice.Fingering \set @dots{}
7696 Of course, the tweak may also done in a larger context than
7697 @code{Voice}, for example, @internalsref{Staff} or
7698 @internalsref{Score}.
7702 The program reference also contains alphabetical lists of
7703 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7704 @internalsref{Music-expressions}, so you can also find which objects to
7705 tweak by browsing the internals document.
7709 @subsection Applyoutput
7711 The most versatile way of tuning an object is @code{\applyoutput}. Its
7714 \applyoutput @var{proc}
7718 where @var{proc} is a Scheme function, taking three arguments.
7720 When interpreted, the function @var{proc} is called for every layout
7721 object found in the context, with the following arguments:
7723 @item the layout object itself,
7724 @item the context where the layout object was created, and
7725 @item the context where @code{\applyoutput} is processed.
7729 In addition, the cause of the layout object, i.e. the music
7730 expression or object that was responsible for creating it, is in the
7731 object property @code{cause}. For example, for a note head, this is a
7732 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7733 this is a @internalsref{NoteHead} object.
7735 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7738 (define (blanker grob grob-origin context)
7739 (if (and (memq (ly:get-grob-property grob 'interfaces)
7740 note-head-interface)
7741 (eq? (ly:get-grob-property grob 'staff-position) 0))
7743 (ly:set-grob-property! grob 'transparent #t)))
7748 @node Font selection
7749 @subsection Font selection
7751 The most common thing to change about the appearance of fonts is their
7752 size. The font size of any context can be easily changed by setting
7753 the @code{fontSize} property for that context. Its value is an
7754 integer: negative numbers make the font smaller, positive numbers
7755 larger. An example is given below:
7757 @lilypond[fragment,relative=1,verbatim,quote]
7758 c4 c4 \property Voice.fontSize = #-1
7761 This command will set @code{font-relative-size} (see below), and does
7762 not change the size of variable symbols, such as beams or slurs.
7765 One of the uses of @code{fontSize} is to get smaller symbol for cue
7766 notes. An elaborate example of those is in
7767 @inputfileref{input/test,cue-notes.ly}.
7769 @cindex magnification
7771 The size of the font may be scaled with the object property
7772 @code{font-magnification}. For example, @code{2.0} blows up all
7773 letters by a factor 2 in both directions.
7782 The font used for printing a object can be selected by setting
7783 @code{font-name}, e.g.
7785 \property Staff.TimeSignature
7786 \set #'font-name = #"cmr17"
7790 Any font can be used, as long as it is available to @TeX{}. Possible
7791 fonts include foreign fonts or fonts that do not belong to the
7792 Computer Modern font family.
7794 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7795 can also be adjusted with a more fine-grained mechanism. By setting
7796 the object properties described below, you can select a different font;
7797 all three mechanisms work for every object that supports
7798 @code{font-interface}:
7802 is a symbol indicating the general class of the typeface. Supported are
7803 @code{roman} (Computer Modern), @code{braces} (for piano staff
7804 braces), @code{music} (the standard music font, including ancient
7805 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7808 is a symbol indicating the shape of the font, there are typically several
7809 font shapes available for each font family. Choices are @code{italic},
7810 @code{caps} and @code{upright}.
7813 is a symbol indicating the series of the font. There are typically several
7814 font series for each font family and shape. Choices are @code{medium}
7817 @item font-relative-size
7818 is a number indicating the size relative the standard size. For example,
7819 with 20pt staff height, relative size -1 corresponds to 16pt staff
7820 height, and relative size +1 corresponds to 23 pt staff height.
7822 There are small differences in design between fonts designed for
7823 different sizes, hence @code{font-relative-size} is preferred over
7824 @code{font-magnification} for changing font sizes.
7827 @item font-design-size
7828 is a number indicating the design size of the font.
7830 This is a feature of the Computer Modern Font: each point size has a
7831 slightly different design. Smaller design sizes are relatively wider,
7832 which enhances readability.
7835 For any of these properties, the value @code{*} (i.e. the symbol
7836 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7837 to override default setting, which are always present. For example:
7839 \property Lyrics . LyricText \override #'font-series = #'bold
7840 \property Lyrics . LyricText \override #'font-family = #'typewriter
7841 \property Lyrics . LyricText \override #'font-shape = #'*
7844 @cindex @code{font-style}
7848 The following commands set @code{fontSize} for the current voice.
7850 @cindex @code{\tiny}
7852 @cindex @code{\small}
7854 @cindex @code{\normalsize}
7859 Relative size is not linked to any real size.
7861 There is no style sheet provided for other fonts besides the @TeX{}
7862 family, and the style sheet cannot be modified easily.
7864 @cindex font selection
7865 @cindex font magnification
7866 @cindex @code{font-interface}
7870 @subsection Text markup
7875 @cindex typeset text
7877 LilyPond has an internal mechanism to typeset texts. You can access it
7878 with the keyword @code{\markup}. Within markup mode, you can enter texts
7879 similar to lyrics: simply enter them, surrounded by spaces:
7882 @lilypond[verbatim,fragment,relative=1]
7883 c1^\markup { hello }
7884 c1_\markup { hi there }
7885 c1^\markup { hi \bold there, is \italic anyone home? }
7888 @cindex font switching
7890 The markup in the example demonstrates font switching commands. The
7891 command @code{\bold} and @code{\italic} only apply to the first
7892 following word; enclose a set of texts with braces to apply a command
7895 \markup @{ \bold @{ hi there @} @}
7899 For clarity, you can also do this for single arguments, e.g.
7901 \markup @{ is \italic @{ anyone @} home @}
7904 @cindex font size, texts
7906 The following size commands set absolute sizes:
7908 @cindex @code{\teeny}
7909 @cindex @code{\tiny}
7910 @cindex @code{\small}
7911 @cindex @code{\large}
7912 @cindex @code{\huge}
7922 You can also make letter larger or smaller relative to their neighbors,
7923 with the commands @code{\larger} and @code{\smaller}.
7927 @cindex font style, for texts
7928 @cindex @code{\bold}
7929 @cindex @code{\dynamic}
7930 @cindex @code{\number}
7931 @cindex @code{\italic}
7933 The following font change commands are defined:
7936 changes to the font used in dynamic signs. This font does not
7937 contain all characters of the alphabet, so when producing ``piu f'',
7938 the ``piu'' should be done in a different font.
7942 changes to the font used in time signatures. It only contains
7943 numbers and a few punctuation marks.
7945 changes @code{font-shape} to @code{italic}.
7947 changes @code{font-series} to @code{bold}.
7950 @cindex raising text
7951 @cindex lowering text
7953 @cindex translating text
7956 @cindex @code{\super}
7958 Raising and lowering texts can be done with @code{\super} and
7961 @lilypond[verbatim,fragment,relative=1]
7962 c1^\markup { E "=" mc \super "2" }
7965 @cindex @code{\raise}
7967 If you want to give an explicit amount for lowering or raising, use
7968 @code{\raise}. This command takes a Scheme valued first argument, and
7969 a markup object as second argument:
7971 @lilypond[verbatim,fragment,relative=1,quote]
7972 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7974 The argument to @code{\raise} is the vertical displacement amount,
7975 measured in (global) staff spaces. @code{\raise} and @code{\super}
7976 raise objects in relation to their surrounding markups. They cannot be
7977 used to move a single text up or down, when it is above or below a
7978 note, since the mechanism that positions it next to the note cancels
7979 any vertical shift. For vertical positioning, use the @code{padding}
7980 and/or @code{extra-offset} properties.
7982 Other commands taking single arguments include
7985 @item \bracket, \hbracket
7986 Bracket the argument markup with normal and horizontal brackets
7990 @cindex @code{\musicglyph}
7991 This is converted to a musical symbol, e.g. @code{\musicglyph
7992 #"accidentals-0"} will select the natural sign from the music font.
7993 See @ref{The Feta font} for a complete listing of the possible glyphs.
7995 This produces a single character, e.g. @code{\char #65} produces the
7998 @item \note @var{log} @var{dots} @var{dir}
7999 @cindex @code{\note}
8001 This produces a note with a stem pointing in @var{dir} direction, with
8002 duration log @var{log} and @var{dots} augmentation dots. The duration
8003 log is the negative 2-logarithm of the duration denominator. For
8004 example, a quarter note has log 2, an eighth note 3 and a breve has
8007 @item \hspace #@var{amount}
8008 @cindex @code{\hspace}
8009 This produces a invisible object taking horizontal space.
8011 \markup @{ A \hspace #2.0 B @}
8013 will put extra space between A and B, on top of the space that is
8014 normally inserted before elements on a line.
8016 @item \fontsize #@var{size}
8017 @cindex @code{\fontsize}
8018 This sets the relative font size, eg.
8020 A \fontsize #2 @{ B C @} D
8024 This will enlarge the B and the C by two steps.
8025 @item \translate #(cons @var{x} @var{y})
8027 This translates an object. Its first argument is a cons of numbers
8029 A \translate #(cons 2 -3) @{ B C @} D
8031 This moves `B C' 2 spaces to the right, and 3 down.
8033 @item \magnify #@var{mag}
8034 @cindex @code{\magnify}
8035 This sets the font magnification for the its argument. In the following
8036 example, the middle A will be 10% larger:
8038 A \magnify #1.1 @{ A @} A
8042 @item \override #(@var{key} . @var{value})
8043 @cindex @code{\override}
8044 This overrides a formatting property for its argument. The argument
8045 should be a key/value pair, e.g.
8047 m \override #'(font-family . math) m m
8051 In markup mode you can compose expressions, similar to mathematical
8052 expressions, XML documents and music expressions. The braces group
8053 notes into horizontal lines. Other types of lists also exist: you can
8054 stack expressions grouped with @code{<}, and @code{>} vertically with
8055 the command @code{\column}. Similarly, @code{\center} aligns texts by
8058 @lilypond[verbatim,fragment,relative=1]
8059 c1^\markup { \column < a bbbb c > }
8060 c1^\markup { \center < a bbbb c > }
8061 c1^\markup { \line < a b c > }
8064 The markup mechanism is extensible. Refer to
8065 @file{scm/new-markup.scm} for more information.
8071 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8078 Text layout is ultimately done by @TeX{}, which does kerning of
8079 letters. LilyPond does not account for kerning, so texts will be
8080 spaced slightly too wide.
8082 Syntax errors for markup mode are confusing.
8084 Markup texts cannot be used in the titling of the @code{\header}
8085 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8092 @section Global layout
8094 The global layout determined by three factors: the page layout, the
8095 line breaks and the spacing. These all influence each other. The
8096 choice of spacing determines how densely each system of music is set,
8097 which influences where line breaks breaks are chosen, and thus
8098 ultimately how many pages a piece of music takes. This section
8099 explains how to tune the algorithm for spacing.
8101 Globally spoken, this procedure happens in three steps: first,
8102 flexible distances (``springs'') are chosen, based on durations. All
8103 possible line breaking combination are tried, and the one with the
8104 best results---a layout that has uniform density and requires as
8105 little stretching or cramping as possible---is chosen. When the score
8106 is processed by @TeX{}, each page is filled with systems, and page breaks
8107 are chosen whenever the page gets full.
8112 * Vertical spacing::
8113 * Horizontal spacing::
8120 @node Vertical spacing
8121 @subsection Vertical spacing
8123 @cindex vertical spacing
8124 @cindex distance between staves
8125 @cindex staff distance
8126 @cindex between staves, distance
8127 @cindex staffs per page
8128 @cindex space between staves
8130 The height of each system is determined automatically by LilyPond, to
8131 keep systems from bumping into each other, some minimum distances are
8132 set. By changing these, you can put staves closer together, and thus
8133 put more systems onto one page.
8135 Normally staves are stacked vertically. To make
8136 staves maintain a distance, their vertical size is padded. This is
8137 done with the property @code{minimumVerticalExtent}. It takes a pair
8138 of numbers, so if you want to make it smaller from its, then you could
8141 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8143 This sets the vertical size of the current staff to 4 staff spaces on
8144 either side of the center staff line. The argument of
8145 @code{minimumVerticalExtent} is interpreted as an interval, where the
8146 center line is the 0, so the first number is generally negative. The
8147 staff can be made larger at the bottom by setting it to @code{(-6
8150 The piano staves are handled a little differently: to make cross-staff
8151 beaming work correctly, it is necessary that the distance between staves
8152 is fixed beforehand. This is also done with a
8153 @internalsref{VerticalAlignment} object, created in
8154 @internalsref{PianoStaff}. In this object the distance between the
8155 staves is fixed by setting @code{forced-distance}. If you want to
8156 override this, use a @code{\translator} block as follows:
8160 VerticalAlignment \override #'forced-distance = #9
8163 This would bring the staves together at a distance of 9 staff spaces,
8164 measured from the center line of each staff.
8168 Vertical alignment of staves is handled by the
8169 @internalsref{VerticalAlignment} object.
8173 @node Horizontal spacing
8174 @subsection Horizontal Spacing
8176 The spacing engine translates differences in durations into
8177 stretchable distances (``springs'') of differing lengths. Longer
8178 durations get more space, shorter durations get less. The shortest
8179 durations get a fixed amount of space (which is controlled by
8180 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8181 /The longer the duration, the more space it gets: doubling a
8182 duration adds a fixed amount (this amount is controlled by
8183 @code{spacing-increment}) of space to the note.
8185 For example, the following piece contains lots of half, quarter and
8186 8th notes, the eighth note is followed by 1 note head width (NHW).
8187 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8188 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8192 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8193 width of a note head, and @code{shortest-duration-space} is set to
8194 2.0, meaning that the shortest note gets 2 NHW (2 times
8195 @code{shortest-duration-space}) of space. For normal notes, this space
8196 is always counted from the left edge of the symbol, so the shortest
8197 notes are generally followed by one NHW of space.
8199 If one would follow the above procedure exactly, then adding a single
8200 32th note to a score that uses 8th and 16th notes, would widen up the
8201 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8202 thus adding 1 NHW to every note. To prevent this, the
8203 shortest duration for spacing is not the shortest note in the score,
8204 but the most commonly found shortest note. Notes that are even
8205 shorter this are followed by a space that is proportional to their
8206 duration relative to the common shortest note. So if we were to add
8207 only a few 16th notes to the example above, they would be followed by
8210 @lilypond[fragment, verbatim, relative=2]
8211 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8214 The most common shortest duration is determined as follows: in every
8215 measure, the shortest duration is determined. The most common short
8216 duration, is taken as the basis for the spacing, with the stipulation
8217 that this shortest duration should always be equal to or shorter than
8218 1/8th note. The shortest duration is printed when you run lilypond
8219 with @code{--verbose}. These durations may also be customized. If you
8220 set the @code{common-shortest-duration} in
8221 @internalsref{SpacingSpanner}, then this sets the base duration for
8222 spacing. The maximum duration for this base (normally 1/8th), is set
8223 through @code{base-shortest-duration}.
8225 @cindex @code{common-shortest-duration}
8226 @cindex @code{base-shortest-duration}
8227 @cindex @code{stem-spacing-correction}
8228 @cindex @code{spacing}
8230 In the introduction it was explained that stem directions influence
8231 spacing. This is controlled with @code{stem-spacing-correction}
8232 property in @internalsref{NoteSpacing}, which are generated for every
8233 @internalsref{Voice} context. The @code{StaffSpacing} object
8234 (generated at @internalsref{Staff} context) contains the same property
8235 for controlling the stem/barline spacing. The following example
8236 shows these corrections, once with default settings, and once with
8237 exaggerated corrections:
8243 \property Staff.NoteSpacing \override #'stem-spacing-correction
8245 \property Staff.StaffSpacing \override #'stem-spacing-correction
8250 \paper { raggedright = ##t } }
8253 @cindex SpacingSpanner, overriding properties
8255 Properties of the @internalsref{SpacingSpanner} must be overridden
8256 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8257 created before any @code{\property} statements are interpreted.
8259 \paper @{ \translator @{
8261 SpacingSpanner \override #'spacing-increment = #3.0
8268 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8269 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8270 @internalsref{SeparatingGroupSpanner}.
8274 Spacing is determined on a score wide basis. If you have a score that
8275 changes its character (measured in durations) halfway during the
8276 score, the part containing the longer durations will be spaced too
8279 There is no convenient mechanism to manually override spacing.
8284 @subsection Font size
8285 @cindex font size, setting
8286 @cindex staff size, setting
8287 @cindex @code{paper} file
8289 The Feta font provides musical symbols at seven different sizes.
8290 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8291 26 point. The point size of a font is the height of the corresponding
8292 staff (excluding line thicknesses).
8294 Definitions for these sizes are the files @file{paperSZ.ly}, where
8295 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8296 of these files, the variables @code{paperEleven},
8297 @code{paperThirteen}, @code{paperSixteen},
8298 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8299 are defined respectively. The default @code{\paper} block is also
8300 set. These files should be imported at toplevel, i.e.
8302 \include "paper26.ly"
8306 The default font size settings for each staff heights are generated
8307 from the 20pt style sheet. For more details, see the file
8308 @file{scm/font.scm}.
8312 @subsection Line breaking
8315 @cindex breaking lines
8317 Line breaks are normally computed automatically. They are chosen such
8318 that lines look neither cramped nor loose, and that consecutive lines
8319 have similar density.
8321 Occasionally you might want to override the automatic breaks; you can
8322 do this by specifying @code{\break}. This will force a line break at
8323 this point. Line breaks can only occur at places where there are bar
8324 lines. If you want to have a line break where there is no bar line,
8325 you can force an invisible bar line by entering @code{\bar
8326 ""}. Similarly, @code{\noBreak} forbids a line break at a
8330 @cindex regular line breaks
8331 @cindex four bar music.
8333 For linebreaks at regular intervals use @code{\break} separated by
8334 skips and repeated with @code{\repeat}:
8336 << \repeat unfold 7 @{ s1 * 4 \break @}
8337 @emph{the real music}
8342 This makes the following 28 measures (assuming 4/4 time) be broken every
8347 @internalsref{BreakEvent}.
8351 @subsection Page layout
8354 @cindex breaking pages
8356 @cindex @code{indent}
8357 @cindex @code{linewidth}
8359 The most basic settings influencing the spacing are @code{indent} and
8360 @code{linewidth}. They are set in the @code{\paper} block. They
8361 control the indentation of the first line of music, and the lengths of
8364 If @code{raggedright} is set to true in the @code{\paper}
8365 block, then the lines are justified at their natural length. This
8366 useful for short fragments, and for checking how tight the natural
8370 @cindex vertical spacing
8372 The page layout process happens outside the LilyPond formatting
8373 engine: variables controlling page layout are passed to the output,
8374 and are further interpreted by @code{lilypond} wrapper program. It
8375 responds to the following variables in the @code{\paper} block. The
8376 variable @code{textheight} sets the total height of the music on each
8377 page. The spacing between systems is controlled with
8378 @code{interscoreline}, its default is 16pt. The distance between the
8379 score lines will stretch in order to fill the full page
8380 @code{interscorelinefill} is set to a positive number. In that case
8381 @code{interscoreline} specifies the minimum spacing.
8383 @cindex @code{textheight}
8384 @cindex @code{interscoreline}
8385 @cindex @code{interscorelinefill}
8387 If the variable @code{lastpagefill} is defined,
8388 @c fixme: this should only be done if lastpagefill == #t
8389 systems are evenly distributed vertically on the last page. This
8390 might produce ugly results in case there are not enough systems on the
8391 last page. The @command{lilypond-book} command ignores
8392 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8395 @cindex @code{lastpagefill}
8397 Page breaks are normally computed by @TeX{}, so they are not under
8398 direct control of LilyPond. However, you can insert a commands into
8399 the @file{.tex} output to instruct @TeX{} where to break pages. This
8400 is done by setting the @code{between-systems-strings} on the
8401 @internalsref{NonMusicalPaperColumn} where the system is broken.
8402 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8403 The predefined command @code{\newpage} also does this.
8407 @cindex @code{papersize}
8409 To change the paper size, you must first set the @code{papersize} paper
8410 variable variable as in the example below. Set it to
8411 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8412 specification, you must set the font as described above. If you want
8413 the default font, then use the 20 point font.
8416 \paper@{ papersize = "a4" @}
8417 \include "paper16.ly"
8420 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8421 will set the paper variables @code{hsize} and @code{vsize} (used by
8422 @code{lilypond-book} and @code{lilypond}).
8427 @cindex @code{\newpage}
8433 @ref{Invoking lilypond},
8434 @inputfileref{input/regression,between-systems.ly}, and
8435 @internalsref{NonMusicalPaperColumn}.
8439 LilyPond has no concept of page layout, which makes it difficult to
8440 reliably choose page breaks in longer pieces.
8449 Entered music can also be converted to MIDI output. The performance
8450 is good enough for proof-hearing the music for errors.
8452 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8453 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8454 marks translate to a fixed fraction of the available MIDI volume
8455 range, crescendi and decrescendi make the volume vary linearly between
8456 their two extremities. The fractions can be adjusted by
8457 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8458 For each type of MIDI instrument, a volume range can be defined. This
8459 gives a basic equalizer control, which can enhance the quality of
8460 the MIDI output remarkably. The equalizer can be controlled by
8461 setting @code{instrumentEqualizer}.
8465 Many musically interesting effects, such as swing, articulation,
8466 slurring, etc., are not translated to MIDI.
8471 * MIDI instrument names::
8476 @subsection MIDI block
8480 The MIDI block is analogous to the paper block, but it is somewhat
8481 simpler. The @code{\midi} block can contain:
8485 @item a @code{\tempo} definition, and
8486 @item context definitions.
8489 Assignments in the @code{\midi} block are not allowed.
8491 A number followed by a period is interpreted as a real number, so
8492 for setting the tempo for dotted notes, an extra space should be
8493 inserted, for example:
8496 \midi @{ \tempo 4 . = 120 @}
8500 @cindex context definition
8502 Context definitions follow precisely the same syntax as within the
8503 \paper block. Translation modules for sound are called performers.
8504 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8507 @node MIDI instrument names
8508 @subsection MIDI instrument names
8510 @cindex instrument names
8511 @cindex @code{Staff.midiInstrument}
8512 @cindex @code{Staff.instrument}
8514 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8515 property or, if that property is not set, the @code{Staff.instrument}
8516 property. The instrument name should be chosen from the list in
8517 @ref{MIDI instruments}.
8521 If the selected string does not exactly match, then LilyPond uses the
8522 default (Grand Piano). It is not possible to select an instrument by