3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
22 <!--- @@WEB-TITLE@@=Reference Manual --->
25 This document describes GNU LilyPond and its input format. The last
26 revision of this document was made for LilyPond 1.4.1. It supposes a
27 passing familiarity with how LilyPond input works. New users are
28 encouraged to study the tutorial first.
33 * Easier music entry::
52 @c FIXME: Note entry vs Music entry at top level menu is confusing.
58 The most basic forms of music are notes. Notes on their own don't
59 form valid input, but for the sake of brevity we omit @code{\score}
60 blocks and @code{\paper} declarations.
66 * Chromatic alterations::
71 * Automatic note splitting ::
73 * Easy Notation note heads ::
81 A note is printed by specifying its pitch, and then its duration.
82 @lilypond[fragment,verbatim]
91 @cindex Note specification
93 @cindex entering notes
95 The verbose syntax for pitch specification is
102 @var{scmpitch} is a pitch scheme object.
104 In Note and Chord mode, pitches may be designated by names. The default
105 names are the Dutch note names. The notes are specified by the letters
106 @code{a} through @code{g} (where the octave is formed by notes ranging
107 from @code{c} to @code{b}). The pitch @code{c} is an octave below
108 middle C and the letters span the octave above that C.
110 @cindex note names, Dutch
112 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
113 name and a flat is formed by adding @code{-es}. Double sharps and double
114 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
115 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
116 both forms are accepted.
118 LilyPond has predefined sets of note names for various other languages.
119 To use them, simply include the language specific init file. For
120 example: @code{\include "english.ly"}. The available language files and
121 the names they define are:
124 Note Names sharp flat
125 nederlands.ly c d e f g a bes b -is -es
126 english.ly c d e f g a bf b -s/-sharp -f/-flat
127 deutsch.ly c d e f g a b h -is -es
128 norsk.ly c d e f g a b h -iss/-is -ess/-es
129 svenska.ly c d e f g a b h -iss -ess
130 italiano.ly do re mi fa sol la sib si -d -b
131 catalan.ly do re mi fa sol la sib si -d/-s -b
132 espanol.ly do re mi fa sol la sib si -s -b
141 The optional octave specification takes the form of a series of
142 single quote (`@code{'}') characters or a series of comma
143 (`@code{,}') characters. Each @code{'} raises the pitch by one
144 octave; each @code{,} lowers the pitch by an octave.
146 @lilypond[fragment,verbatim,center]
147 c' c'' es' g' as' gisis' ais'
150 @node Chromatic alterations
151 @subsection Chromatic alterations
153 Normally, accidentals are printed automatically, but you may force
154 accidentals in the following ways: A reminder accidental
155 @cindex reminder accidental
157 can be forced by adding an exclamation mark @code{!} after the pitch. A
158 cautionary accidental,
159 @cindex cautionary accidental
160 @cindex parenthesized accidental
161 i.e., an accidental within parentheses can be obtained by adding the
162 question mark `@code{?}' after the pitch.
164 The automatic production of accidentals can be tuned in many
165 ways. Refer to @ref{Accidentals} for more information.
172 A rest is entered like a note, with note name `@code{r}':
174 @lilypond[singleline,verbatim]
178 Whole bar rests centered in the bar are specified using @code{R}, see
179 @ref{Multi measure rests}. See also @seeinternals{Rest}.
181 For polyphonic music, it can be convenient to specify the rest position
182 directly. You can do that by entering a note, with the keyword
183 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
185 @lilypond[singleline,verbatim]
195 @cindex Invisible rest
198 An invisible rest, or skip, can be entered like a note with note name
199 @code{s}, or with @code{\skip @var{duration}}:
201 @lilypond[singleline,verbatim]
205 The @code{s} syntax is only available in Note mode and Chord mode.
206 In other situations, you should use the @code{\skip} command, and it is
207 only available in Note mode and Chord mode.
209 @c FIXME: in lyrics mode, we have " " and _
211 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
212 @lilypond[singleline,verbatim]
214 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
215 \notes\relative c'' { a2 a4 a a2 a4 a }
219 The unabbreviated `@code{\skip} @var{duration}' also works outside of
222 @lilypond[singleline,verbatim]
225 { \time 4/8 \skip 2 \time 4/4 }
226 \notes\relative c'' { a2 a1 }
231 The skip command is merely a empty musical placeholder. It does not
232 produce any output, not even transparent output.
237 @subsection Durations
241 @cindex @code{\duration}
244 In Note, Chord, and Lyrics mode, durations may be designated by numbers
245 and dots: durations are entered as their reciprocal values. For notes
246 longer than a whole you must use identifiers.
250 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
252 r1 r2 r4 r8 r16 r32 r64 r64
258 \notes \relative c'' {
260 a1 a2 a4 a8 a16 a32 a64 a64
262 r1 r2 r4 r8 r16 r32 r64 r64
267 \remove "Clef_engraver"
268 \remove "Staff_symbol_engraver"
269 \remove "Time_signature_engraver"
270 \consists "Pitch_squash_engraver"
277 If the duration is omitted then it is set to the previous duration
278 entered. At the start of parsing a quarter note is assumed. The
279 duration can be followed by dots (`@code{.}') to obtain dotted note
283 @lilypond[fragment,verbatim,center]
289 You can alter the length of duration by a fraction @var{N/M} by
290 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
291 will not affect the appearance of the notes or rests produced.
293 Durations can also be produced through GUILE extension mechanism.
294 @lilypond[verbatim,fragment]
295 c\duration #(make-duration 2 1)
301 Dot placement for chords is not perfect. In some cases, dots overlap:
303 \context Voice { <f,4. c'' d e f> }
314 A tie connects two adjacent note heads of the same pitch. The tie in
315 effect extends the length of a note. A tie is entered with @code{~}.
317 @lilypond[fragment,verbatim,center]
318 e' ~ e' <c' e' g'> ~ <c' e' g'>
321 When ties are used with chords, all note heads whose pitches match are
322 connected. Ties are indicated using the tilde symbol `@code{~}'. If
323 you try to tie together chords which have no common pitches then no
324 ties will be created.
326 If you want less ties created for a chord, you can set
327 @code{Voice.sparseTies} to true. In this case, a single tie is used
328 for every tied chord.
329 @lilypond[fragment,verbatim,center]
330 \property Voice.sparseTies = ##t
331 <c' e' g'> ~ <c' e' g'>
334 In its meaning a tie is just a way of extending a note duration, similar
335 to the augmentation dot: the following example are two ways of notating
336 exactly the same concept.
338 @lilypond[fragment, singleline]
339 \time 3/4 c'2. c'2 ~ c'4
341 Ties should not be confused with slurs, which indicate articulation,
342 and phrasing slurs, which indicate musical phrasing.
344 See also @seeinternals{Tie}.
349 At present, the tie is represented as a separate event, temporally
350 located in between the notes. Tieing only a subset of the note heads
351 of a chord is not supported in a simple way. It can be achieved by
352 moving the tie-engraver into the Thread context and turning on and off
355 Switching staffs when a tie is active will not work.
357 @node Automatic note splitting
358 @subsection Automatic note splitting
359 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
361 There is a facility for automatically converting long notes to tied
362 notes. This is done by replacing the @code{Note_heads_engraver} by the
363 @code{Completion_heads_engraver}.
365 @lilypond[verbatim,center]
367 \notes\relative c'{ \time 2/4
368 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
372 \remove "Note_heads_engraver"
373 \consists "Completion_heads_engraver"
377 This engraver splits all running notes at the bar line, and inserts
378 ties. One of its uses is to debug complex scores: if the measures are
379 not entirely filled, then the ties exactly show how much each measure
384 Not all durations (especially those containing tuplets) can be
385 represented exactly; the engraver will not insert tuplets.
392 @cindex @code{\times}
394 Tuplets are made out of a music expression by multiplying all duration
397 @cindex @code{\times}
399 \times @var{fraction} @var{musicexpr}
402 The duration of @var{musicexpr} will be multiplied by the fraction.
403 In print, the fraction's denominator will be printed over the notes,
404 optionally with a bracket. The most common tuplet is the triplet in
405 which 3 notes have the length of 2, so the notes are 2/3 of
406 their written length:
408 @lilypond[fragment,verbatim,center]
409 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
412 The property @code{tupletSpannerDuration} specifies how long each bracket
413 should last. With this, you can make lots of tuplets while typing
414 @code{\times} only once, thus saving typing work.
416 @lilypond[fragment, relative, singleline, verbatim]
417 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
418 \times 2/3 { c'8 c c c c c }
421 The format of the number is determined by the property
422 @code{tupletNumberFormatFunction}. The default prints only the
423 denominator, but if you set it to the Scheme function
424 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
428 @cindex @code{tupletNumberFormatFunction}
429 @cindex tuplet formatting
431 See also @seeinternals{TupletBracket}.
435 Nested tuplets are not formatted automatically. In this case, outer
436 tuplet brackets should be moved automatically.
438 @node Easy Notation note heads
439 @subsection Easy Notation note heads
441 @cindex easy notation
444 A entirely different type of note head is the "easyplay" note head: a
445 note head that includes a note name. It is used in some publications by
446 Hal-Leonard Inc. music publishers.
448 @lilypond[singleline,verbatim,26pt]
450 \notes { c'2 e'4 f' | g'1 }
451 \paper { \translator { \EasyNotation } }
455 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
456 probably will want to print it with magnification or a large font size to make it more
463 If you view the result with Xdvi, then staff lines will show through
464 the letters. Printing the PostScript file obtained with ly2dvi does
465 produce the correct result.
468 @node Easier music entry
469 @section Easier music entry
472 * Graphical interfaces::
476 * Skipping corrected music::
479 When entering music with LilyPond, it is easy to introduce errors. This
480 section deals with tricks and features that help you enter music, and
481 find and correct mistakes.
483 @node Graphical interfaces
484 @subsection Graphical interfaces
487 @cindex graphical interface
494 One way to avoid entering notes using the keyboard is to use a
495 graphical user interface. The following programs are known to have
496 a lilypond export option:
500 @uref{http://denemo.sourceforge.net/, Denemo} was once intended as
501 a LilyPond graphical user interface. It run on Gnome/GTK.
503 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html, Noteedit}
504 is a graphical score editor that runs under KDE/Qt.
506 @uref{http://rosegarden.sf.net/, RoseGarden}
507 was the inspiration for naming LilyPond. Nowadays it has been
508 rewritten from scratch and supports LilyPond export as of version
512 Another option is to enter the music using your favorite MIDI
513 sequencer, and then import it using midi2ly. midi2ly is described in
514 @ref{Invoking midi2ly}.
518 @node Relative octaves
519 @subsection Relative octaves
521 @cindex relative octave specification
523 Octaves are specified by adding @code{'} and @code{,} to pitch names.
524 When you copy existing music, it is easy to accidentally put a pitch in
525 the wrong octave and hard to find such an error. To prevent these
526 errors, LilyPond features octave entry.
528 @cindex @code{\relative}
530 \relative @var{startpitch} @var{musicexpr}
533 The octave of notes that appear in @var{musicexpr} are calculated as
534 follows: If no octave changing marks are used, the basic interval
535 between this and the last note is always taken to be a fourth or less
536 (This distance is determined without regarding alterations; a
537 @code{fisis} following a @code{ceses} will be put above the
540 The octave changing marks @code{'} and @code{,} can be added to raise or
541 lower the pitch by an extra octave. Upon entering relative mode, an
542 absolute starting pitch must be specified that will act as the
543 predecessor of the first note of @var{musicexpr}.
545 Entering music that changes octave frequently is easy in relative mode.
546 @lilypond[fragment,singleline,verbatim,center]
552 And octave changing marks are used for intervals greater than a fourth.
553 @lilypond[fragment,verbatim,center]
558 If the preceding item is a chord, the first note of the chord is used
559 to determine the first note of the next chord. However, other notes
560 within the second chord are determined by looking at the immediately
563 @lilypond[fragment,verbatim,center]
570 @cindex @code{\notes}
572 The pitch after the @code{\relative} contains a note name. To parse
573 the pitch as a note name, you have to be in note mode, so there must
574 be a surrounding @code{\notes} keyword (which is not
577 The relative conversion will not affect @code{\transpose},
578 @code{\chords} or @code{\relative} sections in its argument. If you
579 want to use relative within transposed music, you must place an
580 additional @code{\relative} inside the @code{\transpose}.
585 @subsection Bar check
589 @cindex @code{barCheckSynchronize}
593 Whenever a bar check is encountered during interpretation, a warning
594 message is issued if it doesn't fall at a measure boundary. This can
595 help you find errors in the input. Depending on the value of
596 @code{barCheckSynchronize}, the beginning of the measure will be
597 relocated, so this can also be used to shorten measures.
599 A bar check is entered using the bar symbol, @code{|}:
601 \time 3/4 c2 e4 | g2.
606 @cindex skipTypesetting
608 Failed bar checks are most often caused by entering incorrect
609 durations. Incorrect durations often completely garble up the score,
610 especially if it is polyphonic, so you should start correcting the score
611 by scanning for failed bar checks and incorrect durations. To speed up
612 this process, you can use @code{skipTypesetting} (See @ref{Skipping
615 @c . {Point and click}
616 @node Point and click
617 @subsection Point and click
618 @cindex poind and click
620 Point and click lets you find notes in the input by clicking on them in
621 the Xdvi window. This makes it very easy to find input that causes some
622 error in the sheet music.
624 To use it, you need the following software
626 @item A dvi viewer that supports src specials.
628 @item Xdvi, version 22.36 or newer. Available from
629 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
631 Note that most @TeX{} distributions ship with xdvik, which is always
632 a few versions behind the official Xdvi. To find out which xdvi you
633 are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
634 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
635 newer. Enablle the menu Settings -> Inverse search.
642 @item An editor with a client/server interface (or a lightweight GUI editor).
644 @item Emacs. Emacs is an extensible text-editor. It is available from
645 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
648 @c move this elsewhere?
650 LilyPond also comes with support files for emacs: lilypond-mode for
651 emacs provides indentation, syntax coloring and handy compile
652 short-cuts. If lilypond-mode is not installed on your platform, then
653 refer to the installation instructions for more information
657 @cindex lilypond-mode for emacs
658 @cindex syntax coloring
660 @item XEmacs. Xemacs is very similar to emacs.
664 @item NEdit. NEdit runs under Windows, and Unix.
665 It is available from @uref{http://www.nedit.org}.
669 @item GVim. GVim is a GUI variant of VIM, the popular VI
670 clone. It is available from @uref{http://www.vim.org}.
679 Xdvi must be configured to find the @TeX{} fonts and music
680 fonts. Refer to the Xdvi documentation for more information.
682 To use point-and-click, add one of these lines to the top of your .ly
685 #(set! point-and-click line-location)
687 @cindex line-location
689 When viewing, Control-Mousebutton 1 will take you to the originating
690 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
693 If you correct large files with point-and-click, be sure to start
694 correcting at the end of the file. When you start at the top, and
695 insert one line, all following locations will be off by a line.
698 For using point-and-click with emacs, add the following
699 In your emacs startup file (usually @file{~/.emacs}),
704 Make sure that the environment variable @var{XEDITOR} is set to
706 emacsclient --no-wait +%l %f
708 @cindex @var{XEDITOR}
709 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
710 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
712 For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or use this
713 argument with xdvi's @code{-editor} option.
715 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
716 use this argument with xdvi's @code{-editor} option.
718 If can also make your editor jump to the exact location of the note
719 you clicked. This is only supported on Emacs. Users of version 20 must
720 apply the patch @file{emacsclient.patch}. Users of version 21 must
721 apply @file{server.el.patch} (version 21.2 and earlier). At the top
722 of the @code{ly} file, replace the @code{set!} line with the following
725 #(set! point-and-click line-column-location)
727 @cindex line-colomn-location
728 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
732 When you convert the @TeX{} file to PostScript using @code{dvips}, it
733 will complain about not finding @code{src:X:Y} files. These complaints
734 are harmless, and can be ignored.
736 @node Skipping corrected music
737 @subsection Skipping corrected music
739 The property @code{Score.skipTypesetting} can be used to switch on and
740 off typesetting completely during the interpretation phase. When
741 typesetting is switched off, the music is processed much more quickly.
742 You can use this to skip over the parts of a score that you have already
745 @lilypond[fragment,singleline,verbatim]
747 \property Score.skipTypesetting = ##t
749 \property Score.skipTypesetting = ##f
757 @section Staff notation
759 This section deals with music notation that occurs on staff level,
760 such as keys, clefs and time signatures.
762 @cindex Staff notation
774 @subsection Staff symbol
777 @cindex adjusting staff symbol
778 @cindex StaffSymbol, using \property
779 @cindex staff lines, setting number of
782 The lines of the staff symbol are formed by the
783 @internalsref{StaffSymbol} grob. This grob is created at the moment
784 that their context is created. You can not change the appearance of
785 the staff symbol by using @code{\override} or @code{\set}. At the
786 moment that @code{\property Staff} is interpreted, a Staff context is
787 made, and the StaffSymbol is created before any @code{\override} is
788 effective. You can deal with this either overriding properties in a
789 @code{\translator} definition, or by using @code{\outputproperty}.
794 If you end a staff half way a piece, the staff symbol may not end
795 exactly on the barline.
800 @subsection Key signature
805 Setting or changing the key signature is done with the @code{\key}
808 @code{\key} @var{pitch} @var{type}
811 @cindex @code{\minor}
812 @cindex @code{\major}
813 @cindex @code{\minor}
814 @cindex @code{\ionian}
815 @cindex @code{\locrian}
816 @cindex @code{\aeolian}
817 @cindex @code{\mixolydian}
818 @cindex @code{\lydian}
819 @cindex @code{\phrygian}
820 @cindex @code{\dorian}
822 Here, @var{type} should be @code{\major} or @code{\minor} to get
823 @var{pitch}-major or @var{pitch}-minor, respectively.
824 The standard mode names @code{\ionian},
825 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
826 @code{\phrygian}, and @code{\dorian} are also defined.
828 This command sets the context property @code{Staff.keySignature}.
829 Non-standard key signatures can be specified by setting this property
832 The printed signature is a @internalsref{KeySignature} grob, typically
833 created in @internalsref{Staff} context.
835 @cindex @code{keySignature}
842 The clef can be set or changed with the @code{\clef} command:
843 @lilypond[fragment,verbatim]
844 \key f\major c''2 \clef alto g'2
847 Supported clef-names include
848 @c Moved standard clefs to the top /MB
850 @item treble, violin, G, G2
859 G clef on 1st line, so-called French violin clef
874 By adding @code{_8} or @code{^8} to the clef name, the clef is
875 transposed one octave down or up, respectively. Note that you have to
876 enclose @var{clefname} in quotes if you use underscores or digits in the
882 The grob for this symbol is @internalsref{Clef}.
885 This command is equivalent to setting @code{clefGlyph},
886 @code{clefPosition} (which controls the Y position of the clef),
887 @code{centralCPosition} and @code{clefOctavation}. A clef is created
888 when any of these properties are changed.
891 @c . {Time signature}
893 @subsection Time signature
894 @cindex Time signature
898 The time signature is set or changed by the @code{\time}
900 @lilypond[fragment,verbatim]
901 \time 2/4 c'2 \time 3/4 c'2.
904 The actual symbol that's printed can be customized with the @code{style}
905 property. Setting it to @code{#'()} uses fraction style for 4/4 and
909 The grob for this symbol is @internalsref{TimeSignature}. There are
910 many more options for its layout. They are selected through the
911 @code{style} grob property. See @file{input/test/time.ly} for more
914 This command sets the property @code{timeSignatureFraction},
915 @code{beatLength} and @code{measureLength}. The property
916 @code{timeSignatureFraction} determine where bar lines should be
917 inserted, and how automatic beams should be generated. Changing the
918 value of @code{timeSignatureFraction} also causes a time signature
919 symbol to be printed.
926 @cindex partial measure
927 @cindex measure, partial
928 @cindex shorten measures
929 @cindex @code{\partial}
931 Partial measures, for example in upbeats, are entered using the
932 @code{\partial} command:
933 @lilypond[fragment,verbatim]
934 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
937 The syntax for this command is
939 \partial @var{duration}
941 This is internally translated into
943 \property Score.measurePosition = -@var{length of duration}
946 The property @code{measurePosition} contains a rational number
947 indicating how much of the measure has passed at this point.
950 @node Unmetered music
951 @subsection Unmetered music
953 Bar lines and bar numbers are calculated automatically. For unmetered
954 music (e.g. cadenzas), this is not desirable. The commands
955 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
958 @lilypond[fragment,relative,singleline,verbatim]
966 The property @code{Score.timing} can be used to switch off this
971 @subsection Bar lines
975 @cindex measure lines
978 Bar lines are inserted automatically, but if you need a special type
979 of barline, you can force one using the @code{\bar} command:
980 @lilypond[fragment,verbatim] c4 \bar "|:" c4
983 The following bar types are available
984 @lilypond[fragment, relative, singleline, verbatim]
996 You are encouraged to use @code{\repeat} for repetitions. See
999 In scores with many staffs, the barlines are automatically placed at
1000 top level, and they are connected between different staffs of a
1001 @internalsref{StaffGroup}:
1002 @lilypond[fragment, verbatim]
1003 < \context StaffGroup <
1004 \context Staff = up { e'4 d'
1007 \context Staff = down { \clef bass c4 g e g } >
1008 \context Staff = pedal { \clef bass c2 c2 } >
1011 The grobs that are created at @internalsref{Staff} level. The name is
1012 @internalsref{BarLine}.
1014 The command @code{\bar @var{bartype}} is a short cut for
1015 doing @code{\property Score.whichBar = @var{bartype}}
1016 Whenever @code{whichBar} is set to a string, a bar line of that type is
1017 created. @code{whichBar} is usually set automatically: at the start of
1018 a measure it is set to @code{defaultBarType}. The contents of
1019 @code{repeatCommands} is used to override default measure bars.
1021 @code{whichBar} can also be set directly, using @code{\property} or
1022 @code{\bar }. These settings take precedence over the automatic
1023 @code{whichBar} settings.
1026 @cindex Bar_line_engraver
1028 @cindex repeatCommands
1029 @cindex defaultBarType
1038 The easiest way to enter such fragments with more than one voice on a
1039 staff is to split chords using the separator @code{\\}. You can use
1040 it for small, short-lived voices (make a chord of voices) or for
1043 @lilypond[verbatim,fragment]
1044 \context Voice = VA \relative c'' {
1045 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
1049 The separator causes @internalsref{Voice} contexts to be instantiated,
1050 bearing the names @code{"1"}, @code{"2"}, etc.
1052 Sometimes, it is necessary to instantiate these contexts by hand: For
1053 Instantiate a separate Voice context for each part, and use
1054 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
1055 and horizontal shift for each part.
1058 @lilypond[singleline, verbatim]
1060 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1061 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1062 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1065 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1066 ties, slurs and stems, and set shift directions.
1068 If you want more than four voices, you can also manually set
1069 horizontal shifts and stem directions, as is shown in the following example:
1070 @lilypond[fragment, verbatim]
1071 \context Staff \notes\relative c''<
1072 \context Voice=one {
1073 \shiftOff \stemUp e4
1075 \context Voice=two {
1076 \shiftOn \stemUp cis
1078 \context Voice=three {
1079 \shiftOnn \stemUp ais
1081 \context Voice=four {
1082 \shiftOnnn \stemUp fis
1088 Normally, note heads with a different number of dots are not merged, but
1089 if you set the grob property @code{merge-differently-dotted}, they are:
1090 @lilypond[verbatim,fragment,singleline]
1093 \property Staff.NoteCollision \override
1094 #'merge-differently-dotted = ##t
1096 } \\ { [g'8. f16] [g'8. f'16] }
1100 Similarly, you can merge half note heads with eighth notes, by setting
1101 @code{merge-differently-headed}:
1102 @lilypond[fragment, relative=2,verbatim]
1105 \property Staff.NoteCollision
1106 \override #'merge-differently-headed = ##t
1107 c8 c4. } \\ { c2 c2 } >
1110 LilyPond also vertically shifts rests that are opposite of a stem.
1112 @lilypond[singleline,fragment,verbatim]
1113 \context Voice < c''4 \\ r4 >
1116 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1120 Resolving collisions is a very intricate subject, and LilyPond only
1121 handles a few situations. When it can not cope, you are advised to use
1122 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
1123 rests to override typesetting decisions.
1128 Beams are used to group short notes into chunks that are aligned with
1129 the metrum. They are inserted automatically in most cases.
1131 @lilypond[fragment,verbatim, relative=2]
1132 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1135 If you're not satisfied with the automatic beaming, you can enter the
1136 beams explicitly. If you have beaming patterns that differ from the
1137 defaults, you can also set the patterns for automatic beamer.
1139 See also @internalsref{Beam}.
1142 @cindex Automatic beams
1143 @subsection Manual beams
1144 @cindex beams, manual
1148 In some cases it may be necessary to override LilyPond's automatic
1149 beaming algorithm. For example, the auto beamer will not beam over
1150 rests or bar lines, If you want that, specify the begin and end point
1151 manually using a @code{[} before the first beamed note and a @code{]}
1152 after the last note:
1154 @lilypond[fragment,relative,verbatim]
1156 r4 [r8 g' a r8] r8 [g | a] r8
1160 @cindex @code{stemLeftBeamCount}
1162 Normally, beaming patterns within a beam are determined automatically.
1163 When this mechanism fouls up, the properties
1164 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1165 be used to control the beam subdivision on a stem. If you set either
1166 property, its value will be used only once, and then it is erased.
1168 @lilypond[fragment,relative,verbatim]
1171 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1174 @cindex @code{stemRightBeamCount}
1177 The property @code{subdivideBeams} can be set in order to subdivide
1178 all 16th or shorter beams at beat positions. This accomplishes the
1179 same effect as twiddling with @code{stemLeftBeamCount} and
1180 @code{stemRightBeamCount}, but it take less typing.
1185 \property Voice.subdivideBeams = ##t
1187 [c32 c c c c c c c c c c c c c c c]
1188 \property Score.beatLength = #(make-moment 1 8)
1189 [c32 c c c c c c c c c c c c c c c]
1193 \notes \relative c' {
1195 \property Voice.subdivideBeams = ##t
1197 [c32 c c c c c c c c c c c c c c c]
1198 \property Score.beatLength = #(make-moment 1 8)
1199 [c32 c c c c c c c c c c c c c c c]
1203 @cindex subdivideBeams
1205 Kneed beams are inserted automatically, when a large gap between two
1206 adjacent beamed notes is detected. This behavior can be tuned through
1207 the grob property @code{auto-knee-gap}.
1209 @cindex beams, kneed
1211 @cindex auto-knee-gap
1215 @c TODO -> why this ref? Document?
1216 @cindex @code{neutral-direction}
1220 Auto knee beams can not be used together with hara kiri staffs.
1224 The Automatic beamer does not put @strong{unfinished} beams on the
1225 last notes of a score.
1227 Formatting of ties is a difficult subject. LilyPond often does not
1228 give optimal results.
1231 * Setting automatic beam behavior ::
1235 @no de Beam typography
1236 @sub section Beam typography
1238 One of the strong points of LilyPond is how beams are formatted. Beams
1239 are quantized, meaning that the left and right endpoints beams start
1240 exactly on staff lines. Without quantization, small wedges of white
1241 space appear between the beam and staff line, and this looks untidy.
1243 Beams are also slope-damped: melodies that go up or down should also
1244 have beams that go up or down, but the slope of the beams should be
1245 less than the slope of the notes themselves.
1247 Some beams should be horizontal. These are so-called concave beams.
1249 [TODO: some pictures.]
1252 @c . {Automatic beams}
1253 @node Setting automatic beam behavior
1254 @subsection Setting automatic beam behavior
1256 @cindex @code{autoBeamSettings}
1257 @cindex @code{(end * * * *)}
1258 @cindex @code{(begin * * * *)}
1259 @cindex automatic beams, tuning
1260 @cindex tuning automatic beaming
1262 In normal time signatures, automatic beams can start on any note but can
1263 only end in a few positions within the measure: beams can end on a beat,
1264 or at durations specified by the properties in
1265 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1266 are defined in @file{scm/auto-beam.scm}.
1268 The value of @code{autoBeamSettings} is changed using
1269 @code{\override} and unset using @code{\revert}:
1271 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1272 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1274 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1275 whether the rule applies to begin or end-points. The quantity
1276 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1277 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1278 signature (wildcards, `@code{* *}' may be entered to designate all time
1281 For example, if you want automatic beams to end on every quarter note,
1282 you can use the following:
1284 \property Voice.autoBeamSettings \override
1285 #'(end * * * *) = #(make-moment 1 4)
1287 Since the duration of a quarter note is 1/4 of a whole note, it is
1288 entered as @code{(make-moment 1 4)}.
1290 The same syntax can be used to specify beam starting points. In this
1291 example, automatic beams can only end on a dotted quarter note.
1293 \property Voice.autoBeamSettings \override
1294 #'(end * * * *) = #(make-moment 3 8)
1296 In 4/4 time signature, this means that automatic beams could end only on
1297 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1298 3/8 has passed within the measure).
1300 You can also restrict rules to specific time signatures. A rule that
1301 should only be applied in @var{N}/@var{M} time signature is formed by
1302 replacing the second asterisks by @var{N} and @var{M}. For example, a
1303 rule for 6/8 time exclusively looks like
1305 \property Voice.autoBeamSettings \override
1306 #'(begin * * 6 8) = ...
1309 If you want a rule to apply to certain types of beams, you can use the
1310 first pair of asterisks. Beams are classified according to the shortest
1311 note they contain. For a beam ending rule that only applies to beams
1312 with 32nd notes (and no shorter notes), you would use @code{(end 1
1316 @c Automatic beams can not be put on the last note in a score.
1318 If a score ends while an automatic beam has not been ended and is still
1319 accepting notes, this last beam will not be typeset at all.
1321 @cindex automatic beam generation
1323 @cindex @code{Voice.autoBeaming}
1326 For melodies that have lyrics, you may want to switch off
1327 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1333 It is not possible to specify beaming parameters for beams with mixed
1334 durations, that differ from the beaming parameters of all separate
1335 durations, i.e., you'll have to specify manual beams to get:
1336 @lilypond[fragment,singleline,relative]
1337 \property Voice.autoBeamSettings
1338 \override #'(end * * * *) = #(make-moment 3 8)
1339 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1342 It is not possible to specify beaming parameters that act differently in
1343 different parts of a measure. This means that it is not possible to use
1344 automatic beaming in irregular meters such as @code{5/8}.
1347 @section Accidentals
1349 This section describes how to change the way that LilyPond automatically
1350 inserts accidentals before the running notes.
1353 * Using the predefined accidental macros::
1354 * Defining your own accidental typesettings::
1357 @node Using the predefined accidental macros
1358 @subsection Using the predefined accidental macros
1359 The constructs for describing the accidental typesetting rules are
1360 quite hairy, so non-experts should stick to the macros defined in
1361 @file{ly/property-init.ly}.
1362 @cindex @file{property-init.ly}
1364 The macros operate on the ``Current'' context (see @ref{Context properties}). This
1365 means that the macros shuold normally be invoked right after the
1366 creation of the context in which the accidental typesetting described
1367 by the macro is to take effect. I.e. if you want to use
1368 piano-accidentals in a pianostaff then you issue
1369 @code{\pianoAccidentals} first thing after the creation of the piano
1373 \notes \relative c'' <
1374 \context Staff = sa @{ cis4 d e2 @}
1375 \context GrandStaff <
1377 \context Staff = sb @{ cis4 d e2 @}
1378 \context Staff = sc @{ es2 c @}
1380 \context Staff = sd @{ es2 c @}
1384 @lilypond[singleline]
1386 \notes \relative c'' <
1387 \context Staff = sa { cis4 d e2 }
1388 \context GrandStaff <
1390 \context Staff = sb { cis4 d e2 }
1391 \context Staff = sc { es2 c }
1393 \context Staff = sd { es2 c }
1398 minimumVerticalExtent = #'(-4.0 . 4.0)
1406 @item \defaultAccidentals
1407 @cindex @code{\defaultAccidentals}
1408 This is the default typesetting behaviour. It should correspond
1409 to 18th century common practice: Accidentals are
1410 remembered to the end of the measure in which they occur and
1411 only on their own octave.
1413 @item \voiceAccidentals
1414 @cindex @code{\voiceAccidentals}
1415 The normal behaviour is to remember the accidentals on
1417 This macro, however, typesets accidentals individually for each
1419 Apart from that the rule is similar to
1420 @code{\defaultAccidentals}.
1422 Warning: This leads to some weird and often unwanted results
1423 because accidentals from one voice DO NOT get cancelled in other
1425 @lilypond[singleline,relative,fragment,verbatim]
1428 \context Voice=va { \voiceOne es g }
1429 \context Voice=vb { \voiceTwo c, e }
1432 Hence you should only use @code{\voiceAccidentals}
1433 if the voices are to be read solely by
1434 individual musicians. if the staff should be readable also
1435 by one musician/conductor then you should use
1436 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1439 @item \modernAccidentals
1440 @cindex @code{\modernAccidentals}
1441 This rule should correspond to the common practice in the 20th
1443 The rule is a bit more complex than @code{\defaultAccidentals}:
1444 You get all the same accidentals, but temporary
1445 accidentals also get cancelled in other octaves. Further more,
1446 in the same octave, they also get cancelled in the following measure:
1447 @lilypond[singleline,fragment,verbatim]
1449 cis' c'' cis'2 | c'' c'
1452 @item \modernCautionaries
1453 @cindex @code{\modernCautionaries}
1454 This rule is similar to @code{\modernAccidentals}, but the
1455 ``extra'' accidentals (the ones not typeset by
1456 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1457 (i.e. in reduced size):
1458 @lilypond[singleline,fragment,verbatim]
1460 cis' c'' cis'2 | c'' c'
1463 @item \modernVoiceAccidentals
1464 @cindex @code{\modernVoiceAccidentals}
1465 Multivoice accidentals to be read both by musicians playing one voice
1466 and musicians playing all voices.
1468 Accidentals are typeset for each voice, but they ARE cancelled
1469 across voices in the same @internalsref{Staff}.
1471 @item \modernVoiceCautionaries
1472 @cindex @code{\modernVoiceCautionaries}
1473 The same as @code{\modernVoiceAccidentals}, but with the
1474 extra accidentals (the ones not typeset by
1475 @code{\voiceAccidentals}) typeset as cautionaries.
1476 Notice that even though all accidentals typeset by
1477 @code{\defaultAccidentals} ARE typeset by this macro then some
1478 of them are typeset as cautionaries.
1480 @item \pianoAccidentals
1481 @cindex @code{\pianoAccidentals}
1482 20th century practice for piano notation. Very similar to
1483 @code{\modernAccidentals} but accidentals also get cancelled
1484 across the staves in the same @internalsref{GrandStaff} or
1485 @internalsref{PianoStaff}.
1487 @item \pianoCautionaries
1488 @cindex @code{\pianoCautionaries}
1489 As @code{\pianoAccidentals} but with the extra accidentals
1490 typeset as cationaries.
1493 @cindex @code{\noResetKey}
1494 Same as @code{\defaultAccidentals} but with accidentals lasting
1495 ``forever'' and not only until the next measure:
1496 @lilypond[singleline,fragment,verbatim,relative]
1501 @item \forgetAccidentals
1502 @cindex @code{\forgetAccidentals}
1503 This is sort of the opposite of @code{\noResetKey}: Accidentals
1504 are not remembered at all - and hence all accidentals are
1505 typeset relative to the key signature, regardless of what was
1506 before in the music:
1507 @lilypond[singleline,fragment,verbatim,relative]
1509 \key d\major c4 c cis cis d d dis dis
1513 @node Defining your own accidental typesettings
1514 @subsection Defining your own accidental typesettings
1516 This section must be considered gurus-only, and hence it must be
1517 sufficient with a short description of the system and a reference to
1518 the internal documentation.
1520 The idea of the algorithm is to try several different rules and then
1521 use the rule that gives the highest number of accidentals.
1522 Each rule cosists of
1525 In which context is the rule applied. I.e. if context is
1526 @internalsref{Score} then all staves share accidentals, and if
1527 context is @internalsref{Staff} then all voices in the same
1528 staff share accidentals, but staves don't - like normally.
1530 Whether the accidental changes all octaves or only the current
1533 Over how many barlines the accidental lasts.
1534 If lazyness is @code{-1} then the accidental is forget
1535 immidiately, and if lazyness is @code{#t} then the accidental
1539 As described in the internal documentation of
1540 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1541 @code{autoCautionaries} contain lists of rule descriptions. Notice
1542 that the contexts must be listed from in to out - that is
1543 @internalsref{Thread} before @internalsref{Voice},
1544 @internalsref{Voice} before @internalsref{Staff}, etc.
1545 see the macros in @file{ly/property-init.ly} for examples of how the
1550 Currently the simultaneous notes are considered to be entered in
1551 sequential mode. This means that in a chord the accidentals are
1552 typeset as if the notes in the chord happened one at a time - in the
1553 order in which they appear in the input file.
1555 Of course this is only a problem when you have simultainous notes
1556 which accidentals should depend on each other.
1557 Notice that the problem only occurs when using non-default accidentals
1558 - as the default accidentals only depend on other accidentals on the
1559 same staff and same pitch and hence cannot depend on other
1562 This example shows two examples of the same music giving different
1563 accidentals depending on the order in which the notes occur in the
1566 @lilypond[singleline,fragment,verbatim]
1567 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1568 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1571 The only solution is to manually insert the problematic
1572 accidentals using @code{!} and @code{?}.
1574 @node Expressive marks
1575 @section Expressive marks
1590 A slur indicates that notes are to be played bound or @emph{legato}.
1591 They are entered using parentheses:
1592 @lilypond[fragment,verbatim,center]
1593 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1596 See also @seeinternals{Slur}.
1598 Slurs avoid crossing stems, and are generally attached to note heads.
1599 However, in some situations with beams, slurs may be attached to stem
1600 ends. If you want to override this layout you can do this through the
1601 grob-property @code{attachment} of @internalsref{Slur} in
1602 @internalsref{Voice} context It's value is a pair of symbols, specifying
1603 the attachment type of the left and right end points.
1605 @lilypond[fragment,relative,verbatim]
1607 \property Voice.Stem \set #'length = #5.5
1609 \property Voice.Slur \set #'attachment = #'(stem . stem)
1613 If a slur would strike through a stem or beam, the slur will be moved
1614 away upward or downward. If this happens, attaching the slur to the
1615 stems might look better:
1617 @lilypond[fragment,relative,verbatim]
1620 \property Voice.Slur \set #'attachment = #'(stem . stem)
1625 Similarly, the curvature of a slur is adjusted to stay clear of note
1626 heads and stems. When that would increase the curvature too much, the
1627 slur is reverted to its default shape. The threshold for this
1628 decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
1629 It is loosely related to the enclosed area between the slur and the
1630 notes. Usually, the default setting works well, but in some cases you
1631 may prefer a curved slur when LilyPond decides for a vertically moved
1632 one. You can indicate this preference by increasing the
1633 @code{beautiful} value:
1635 @lilyp ond[verbatim,singleline,relative]
1637 c16( a' f' a a f a, )c,
1638 c( a' f' a a f d, )c
1639 \property Voice.Slur \override #'beautiful = #5.0
1640 c( a' f' a a f d, )c
1646 Producing nice slurs is a difficult problem, and LilyPond currently
1647 uses a simple, empiric method to produce slurs. In some cases, the
1648 results of this method are ugly.
1651 This is reflected by the
1652 @code{beautiful} property, which it is an arbitrary parameter in the
1653 slur formatter. Useful values can only be determined by trial and
1657 @cindex Adjusting slurs
1659 @node Phrasing slurs
1660 @subsection Phrasing slurs
1662 @cindex phrasing slurs
1663 @cindex phrasing marks
1665 A phrasing slur (or phrasing mark) connects chords and is used to
1666 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1669 @lilypond[fragment,verbatim,center,relative]
1670 \time 6/4 c' \( d () e f () e \) d
1673 Typographically, the phrasing slur behaves almost exactly like a normal
1674 slur. See also @seeinternals{PhrasingSlur}.
1678 @subsection Breath marks
1680 Breath marks are entered using @code{\breathe}. See also
1681 @seeinternals{BreathingSign}.
1683 @lilypond[fragment,relative]
1692 @cindex beats per minute
1693 @cindex metronome marking
1695 Metronome settings can be entered as follows:
1697 @cindex @code{\tempo}
1699 \tempo @var{duration} = @var{perminute}
1702 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1707 The tempo setting is not printed, but is only used in the MIDI
1708 output. You can trick lily into producing a metronome mark,
1709 though. Details are in @ref{Text markup}.
1714 @subsection Text spanners
1715 @cindex Text spanners
1717 Some textual indications, e.g. rallentando or accelerando, often extend
1718 over many measures. This is indicated by following the text with a
1719 dotted line. You can create such texts using text spanners. The syntax
1722 \spanrequest \start "text"
1723 \spanrequest \stop "text"
1725 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1726 in @internalsref{Voice} context). The string to be printed, as well as the
1727 style is set through grob properties.
1729 An application---or rather, a hack---is to fake octavation indications.
1730 @lilypond[fragment,relative,verbatim]
1731 \relative c' { a''' b c a
1732 \property Voice.TextSpanner \set #'type = #'dotted-line
1733 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1734 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1735 \property Staff.centralCPosition = #-13
1736 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1754 @subsection Articulations
1755 @cindex Articulations
1757 @cindex articulations
1761 A variety of symbols can appear above and below notes to indicate
1762 different characteristics of the performance. They are added to a note
1763 by adding a dash and the the character signifying the
1764 articulation. They are demonstrated here.
1765 @lilypond[singleline]
1767 \notes \context Voice {
1768 \property Voice.TextScript \set #'font-family = #'typewriter
1769 \property Voice.TextScript \set #'font-shape = #'upright
1775 c''4-^_"c-\\^{ }" s4
1780 The script is automatically placed, but if you need to force
1781 directions, you can use @code{_} to force them down, or @code{^} to
1783 @lilypond[fragment, verbatim]
1788 Other symbols can be added using the syntax
1789 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1790 using @code{^} and @code{_}.
1794 @cindex staccatissimo
1802 @cindex organ pedal marks
1811 @cindex prallmordent
1815 @cindex thumb marking
1822 \property Score.LyricText \override #'font-family =#'typewriter
1823 \property Score.LyricText \override #'font-shape = #'upright
1824 \context Staff \notes {
1825 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1826 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1827 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1828 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1829 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1830 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1831 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1832 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1834 \context Lyrics \lyrics {
1835 accent__ marcato__ staccatissimo__ fermata
1836 stopped__ staccato__ tenuto__ upbow
1837 downbow__ lheel__ rheel__ ltoe
1838 rtoe__ turn__ open__ flageolet
1839 reverseturn__ trill__ prall__ mordent
1840 prallprall__ prallmordent__ uprall__ downprall
1841 upmordent__ downmordent__ pralldown__ prallup__
1842 lineprall__ thumb__ segno__ coda
1846 linewidth = 5.875\in
1855 Fingering instructions can also be entered in this shorthand. For
1856 finger changes, use markup texts:
1858 @lilypond[verbatim, singleline, fragment]
1859 c'4-1 c'4-2 c'4-3 c'4-4
1864 @cindex @code{\script}
1869 See also @seeinternals{Script} and @seeinternals{Fingering}.
1873 All of these note ornaments appear in the printed output but have no
1874 effect on the MIDI rendering of the music.
1876 Unfortunately, there is no support for adding fingering instructions or
1877 ornaments to individual note heads. Some hacks exist, though. See
1878 @file{input/test/script-horizontal.ly}.
1883 @subsection Text scripts
1884 @cindex Text scripts
1886 In addition, it is possible to place arbitrary strings of text or markup
1887 text (see @ref{Text markup}) above or below notes by using a string:
1890 By default, these indications do not influence the note spacing, but
1891 by using the command @code{\fatText}, the widths will be taken into
1894 @lilypond[fragment,singleline,verbatim] \relative c' {
1895 c4^"longtext" \fatText c4_"longlongtext" c4 }
1898 It is possible to use @TeX{} commands in the strings, but this should be
1899 avoided because it makes it impossible for LilyPond to compute the
1900 exact length of the string, which may lead to collisions. Also, @TeX{}
1901 commands won't work with direct PostScript output.
1902 @c (see @ref{PostScript output}).
1904 Text scripts are created in form of @internalsref{TextScript} grobs, in
1905 @internalsref{Voice} context.
1907 @ref{Text markup} describes how to change the font or access
1908 special symbols in text scripts.
1913 @subsection Grace notes
1917 @cindex @code{\grace}
1921 Grace notes are ornaments are written out ornaments
1922 @lilypond[relative=2,verbatim,ifragment]
1923 c4 \grace c16 c4 \grace { [c16 d16] } c4
1926 In normal notation, grace notes are supposed to take up no logical
1927 time in a measure. Such an idea is practical for normal notation, but
1928 is not strict enough to put it into a program. The model that LilyPond
1929 uses for grace notes internally is that all timing is done in two
1932 Every point in musical time consists of two rational numbers: one
1933 denotes the logical time, one denotes the grace timing. The above
1934 example is shown here with timing tuples.
1937 \score { \notes \relative c''{
1938 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1939 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1941 \paper { linewidth = 8.\cm }
1945 The advantage of this approach is that you can use almost any lilypond
1946 construction together with grace notes, for example slurs and clef
1947 changes may appear halfway in between grace notes:
1949 @lilypond[relative=2,verbatim,fragment]
1950 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
1953 The placement of these grace notes is synchronized between different
1954 staffs, using this grace timing.
1956 @lilypond[relative=2,verbatim,fragment]
1957 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
1958 \context Staff = SB { c4 \grace { g8 b } c4 } >
1962 Unbeamed eighth notes and shorter by default have a slash through the
1963 stem. This can be controlled with grob property @code{flag-style} of
1964 @internalsref{Stem}. The change in formatting is accomplished by
1965 inserting @code{\startGraceMusic} before handling the grace notes, and
1966 @code{\stopGraceMusic} after finishing the grace notes. You can add to
1967 these definitions to globally change grace note formatting. The
1968 standard definitions are in @file{ly/grace-init.ly}.
1971 @lilypond[fragment,verbatim]
1972 \relative c'' \context Voice {
1973 \grace c8 c4 \grace { [c16 c16] } c4
1975 \property Voice.Stem \override #'flag-style = #'()
1977 \property Voice.Stem \revert #'flag-style
1982 If you want to end a note with a grace note, then the standard trick
1983 is to put the grace notes before a phantom ``space note'', e.g.
1984 @lilypond[fragment,verbatim, relative=2]
1987 { s2 \grace { [c16 d] } } >
1995 Grace note synchronization can also lead to surprises. Staff notation,
1996 such as key signatures, barlines, etc. are also synchronized. Take
1997 care when you mix staffs with grace notes and staffs without.
1999 @lilypond[relative=2,verbatim,fragment]
2000 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2001 \context Staff = SB { c4 \bar "|:" d4 } >
2004 Grace sections should only be used within sequential music
2005 expressions. Nesting, juxtaposing, or ending sequential music with a
2006 grace section is not supported, and might produce crashes or other
2018 @subsection Glissando
2021 @cindex @code{\glissando}
2023 A glissando line can be requested by attaching a @code{\glissando} to
2026 @lilypond[fragment,relative,verbatim]
2032 Printing of an additional text (such as @emph{gliss.}) must be done
2033 manually. See also @seeinternals{Glissando}.
2039 @subsection Dynamics
2052 @cindex @code{\ffff}
2062 Absolute dynamic marks are specified using an identifier after a
2063 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2064 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2065 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2066 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2068 @lilypond[verbatim,singleline,fragment,relative]
2069 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2075 @cindex @code{\decr}
2076 @cindex @code{\rced}
2082 A crescendo mark is started with @code{\cr} and terminated with
2083 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
2084 started with @code{\decr} and terminated with @code{\rced}. There are
2085 also shorthands for these marks. A crescendo can be started with
2086 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2087 can be terminated with @code{\!}. Note that @code{\!} must go before
2088 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2089 after the last note. Because these marks are bound to notes, if you
2090 want several marks during one note, you have to use spacer notes.
2092 @lilypond[fragment,verbatim,center]
2093 c'' \< \! c'' d'' \decr e'' \rced
2094 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2097 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2098 is an example how to do it:
2100 @lilypond[fragment,relative=2,verbatim]
2101 c4 \cresc c4 \endcresc c4
2108 You can also supply your own texts:
2109 @lilypond[fragment,relative,verbatim]
2111 \property Voice.crescendoText = "cresc. poco"
2112 \property Voice.crescendoSpanner = #'dashed-line
2119 Dynamics are grobs of @internalsref{DynamicText} and
2120 @internalsref{Hairpin}. Vertical positioning of these symbols is
2121 handled by the @internalsref{DynamicLineSpanner} grob. If you want to
2122 adjust padding or vertical direction of the dynamics, you must set
2123 properties for the @internalsref{DynamicLineSpanner} grob. Predefined
2124 identifiers to set the vertical direction are \dynamicUp and
2127 @cindex direction, of dynamics
2128 @cindex @code{\dynamicDown}
2129 @cindex @code{\dynamicUp}
2137 @cindex @code{\repeat}
2139 To specify repeats, use the @code{\repeat} keyword. Since repeats
2140 should work differently when played or printed, there are a few
2141 different variants of repeats.
2145 Repeated music is fully written (played) out. Useful for MIDI
2146 output, and entering repetitive music.
2149 This is the normal notation: Repeats are not written out, but
2150 alternative endings (voltas) are printed, left to right.
2153 Alternative endings are written stacked. This has limited use but may be
2154 used to typeset two lines of lyrics in songs with repeats, see
2155 @file{input/star-spangled-banner.ly}.
2161 Make beat or measure repeats. These look like percent signs.
2167 * Repeats and MIDI::
2168 * Manual repeat commands::
2170 * Tremolo subdivisions::
2175 @subsection Repeat syntax
2177 The syntax for repeats is
2180 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2183 If you have alternative endings, you may add
2184 @cindex @code{\alternative}
2186 \alternative @code{@{} @var{alternative1}
2188 @var{alternative3} @dots{} @code{@}}
2190 where each @var{alternative} is a music expression.
2192 Normal notation repeats are used like this:
2193 @lilypond[fragment,verbatim]
2195 \repeat volta 2 { c'4 d' e' f' }
2196 \repeat volta 2 { f' e' d' c' }
2199 With alternative endings:
2200 @lilypond[fragment,verbatim]
2202 \repeat volta 2 {c'4 d' e' f'}
2203 \alternative { {d'2 d'} {f' f} }
2206 Folded repeats look like this:
2209 @lilypond[fragment,verbatim]
2211 \repeat fold 2 {c'4 d' e' f'}
2212 \alternative { {d'2 d'} {f' f} }
2216 If you don't give enough alternatives for all of the repeats, then
2217 the first alternative is assumed to be repeated often enough to equal
2218 the specified number of repeats.
2220 @lilypond[fragment,verbatim]
2224 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2225 \alternative { { g4 g g } { a | a a a a | b2. } }
2230 @node Repeats and MIDI
2231 @subsection Repeats and MIDI
2233 @cindex expanding repeats
2235 For instructions on how to unfoldi repeats for MIDI output, see
2236 the example file @file{input/test/unfold-all-repeats.ly}.
2241 Notice that timing information is not remembered at the start of an
2242 alternative, so you have to reset timing information after a repeat,
2243 e.g. using a bar-check (See @ref{Bar check}), setting
2244 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2245 are also not repeated.
2247 It is possible to nest @code{\repeat}s, although this probably is only
2248 meaningful for unfolded repeats.
2250 Folded repeats offer little more over simultaneous music.
2252 @node Manual repeat commands
2253 @subsection Manual repeat commands
2255 @cindex @code{repeatCommands}
2257 The property @code{repeatCommands} can be used to control the layout of
2258 repeats. Its value is a Scheme list of repeat commands, where each repeat
2266 @item (volta . @var{text})
2267 Print a volta bracket saying @var{text}.
2269 Stop a running volta bracket
2272 @lilypond[verbatim, fragment]
2274 \property Score.repeatCommands = #'((volta "93") end-repeat)
2276 \property Score.repeatCommands = #'((volta #f))
2281 Repeats brackets are @internalsref{VoltaBracket} grobs.
2283 @node Tremolo repeats
2284 @subsection Tremolo repeats
2285 @cindex tremolo beams
2287 To place tremolo marks between notes, use @code{\repeat} with tremolo
2289 @lilypond[verbatim,center,singleline]
2291 \context Voice \notes\relative c' {
2292 \repeat "tremolo" 8 { c16 d16 }
2293 \repeat "tremolo" 4 { c16 d16 }
2294 \repeat "tremolo" 2 { c16 d16 }
2295 \repeat "tremolo" 4 c16
2300 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
2301 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2302 entered without @code{@{} and @code{@}}.
2306 Only powers of two and undotted notes are supported repeat counts.
2308 @node Tremolo subdivisions
2309 @subsection Tremolo subdivisions
2310 @cindex tremolo marks
2311 @cindex @code{tremoloFlags}
2313 Tremolo marks can be printed on a single note by adding
2314 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2315 A @var{length} value of 8 gives one line across the note stem. If the
2316 length is omitted, then then the last value (stored in
2317 @code{Voice.tremoloFlags}) is used.
2319 @lilypond[verbatim,fragment,center]
2320 c'2:8 c':32 | c': c': |
2326 Tremolos in this style do not carry over into the MIDI output.
2329 @node Measure repeats
2330 @subsection Measure repeats
2332 @cindex percent repeats
2333 @cindex measure repeats
2335 In the @code{percent} style, a note pattern can be repeated. It is
2336 printed once, and then the pattern is replaced with a special sign.
2337 Patterns of a one and two measures are replaced by percent-like signs,
2338 patterns that divide the measure length are replaced by slashes.
2340 @lilypond[verbatim,singleline]
2341 \context Voice { \repeat "percent" 4 { c'4 }
2342 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2346 The signs are represented by these grobs: @internalsref{RepeatSlash} and
2347 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2351 You can not nest percent repeats, e.g. by filling in the first measure
2352 with slashes, and repeating that measure with percents.
2354 @node Rhythmic music
2355 @section Rhythmic music
2357 Sometimes you might want to show only the rhythm of a melody. This can
2358 be done with the rhythmic staff. All pitches of notes on such a staff
2359 are squashed, and the staff itself looks has a single staff line:
2361 @lilypond[fragment,relative,verbatim]
2362 \context RhythmicStaff {
2364 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2369 * Percussion staves::
2372 @node Percussion staves
2373 @subsection Percussion staves
2376 To typeset more than one piece of percussion to be played by the same
2377 musician one typically uses a multiline staff where each staff
2378 position refers to a specific piece of percussion.
2380 LilyPond is shipped with a bunch of scheme functions which allows you
2381 to do this fairly easily.
2383 The system is based on the general midi drum-pitches.
2384 In order to use the drum pitches you include
2385 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2386 variable @code{drum-pitch-names} - which definition can be read in
2387 @file{scm/drums.scm}. You see that each piece of percussion has a full
2388 name and an abbreviated name - and you may freely select whether to
2389 refer to the full name or the abbreviation in your music definition.
2391 To typeset the music on a staff you apply the scheme function
2392 @code{drums->paper} to the percussion music. This function takes a
2393 list of percussion instrument names, notehead scripts and staff
2394 positions (that is: pitches relative to the C-clef) and uses this to
2395 transform the input music by moving the pitch, changing the notehead
2396 and (optionally) adding a script:
2397 @lilypond[singleline,verbatim]
2398 \include "drumpitch-init.ly"
2399 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2400 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2402 \apply #(drums->paper 'drums) \context Staff <
2404 \context Voice = up { \voiceOne \up }
2405 \context Voice = down { \voiceTwo \down }
2410 In the above example the music was transformed using the list @code{'drums}.
2411 Currently the following lists are defined in @file{scm/drums.scm}:
2414 To typeset a typical drum kit on a five line staff.
2416 \include "drumpitch-init.ly"
2417 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2418 bd sn ss tomh tommh tomml toml tomfh tomfl }
2419 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2420 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2423 \apply #(drums->paper 'drums) \context Staff <
2427 \context Lyrics \nam
2432 \remove Bar_engraver
2433 \remove Time_signature_engraver
2434 minimumVerticalExtent = #'(-4.0 . 5.0)
2438 \remove Stem_engraver
2443 Notice that the scheme supports six different toms.
2444 If you are using fewer toms then you simply select the toms that produce
2445 the desired result - i.e. to get toms on the three middle lines you
2446 use @code{tommh}, @code{tomml} and @code{tomfh}.
2448 Because the general midi contain no rimshots we use the sidestick for
2449 this purpose instead.
2451 To typeset timbales on a two line staff.
2452 @lilypond[singleline]
2453 \include "drumpitch-init.ly"
2454 nam = \lyrics { timh ssh timl ssl cb }
2455 mus = \notes { timh ssh timl ssl cb s16 }
2458 \apply #(drums->paper 'timbales) \context Staff <
2462 \context Lyrics \nam
2467 \remove Bar_engraver
2468 \remove Time_signature_engraver
2469 StaffSymbol \override #'line-count = #2
2470 StaffSymbol \override #'staff-space = #2
2471 minimumVerticalExtent = #'(-3.0 . 4.0)
2475 \remove Stem_engraver
2482 To typeset congas on a two line staff.
2483 @lilypond[singleline]
2484 \include "drumpitch-init.ly"
2485 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2486 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2489 \apply #(drums->paper 'congas) \context Staff <
2493 \context Lyrics \nam
2498 \remove Bar_engraver
2499 \remove Time_signature_engraver
2500 StaffSymbol \override #'line-count = #2
2501 StaffSymbol \override #'staff-space = #2
2502 minimumVerticalExtent = #'(-3.0 . 4.0)
2506 \remove Stem_engraver
2512 To typeset bongos on a two line staff.
2513 @lilypond[singleline]
2514 \include "drumpitch-init.ly"
2515 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2516 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2519 \apply #(drums->paper 'bongos) \context Staff <
2523 \context Lyrics \nam
2528 \remove Bar_engraver
2529 \remove Time_signature_engraver
2530 StaffSymbol \override #'line-count = #2
2531 StaffSymbol \override #'staff-space = #2
2532 minimumVerticalExtent = #'(-3.0 . 4.0)
2536 \remove Stem_engraver
2542 To typeset all kinds of simple percussion on one line staves.
2543 @lilypond[singleline]
2544 \include "drumpitch-init.ly"
2545 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2546 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2549 \apply #(drums->paper 'percussion) \context Staff <
2553 \context Lyrics \nam
2558 \remove Bar_engraver
2559 \remove Time_signature_engraver
2560 StaffSymbol \override #'line-count = #1
2561 minimumVerticalExtent = #'(-2.0 . 3.0)
2565 \remove Stem_engraver
2572 If you don't like any of the predefined lists you can define your own
2573 list at the top of your file:
2575 @lilypond[singleline, verbatim]
2577 (bassdrum default #f ,(make-pitch -1 2 0))
2578 (snare default #f ,(make-pitch 0 1 0))
2579 (hihat cross #f ,(make-pitch 0 5 0))
2580 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2581 (lowtom diamond #f ,(make-pitch -1 6 0))
2583 \include "drumpitch-init.ly"
2584 up = \notes { hh8 hh hh hh hhp4 hhp }
2585 down = \notes { bd4 sn bd toml8 toml }
2587 \apply #(drums->paper 'mydrums) \context Staff <
2589 \context Voice = up { \voiceOne \up }
2590 \context Voice = down { \voiceTwo \down }
2595 To use a modified existing list instead of building your own from
2596 scratch you can append your modifications to the start of the existing
2600 #(define mydrums (append `(
2601 (bassdrum default #f ,(make-pitch -1 2 0))
2602 (lowtom diamond #f ,(make-pitch -1 6 0))
2606 @c FIXME: Too many levels of headers when using subsubsections.
2607 @c Perhaps junk subsection ``Percussion staves''
2608 @subsubsection Percussion staves with normal staves
2609 When you include @file{drumpitch-init.ly} then the default pitches
2610 are overridden so that you after the inclusion cannot use the common
2611 dutch pitch names anymore. Hence you might wan't to reinclude
2612 @file{nederlands.ly} after the drum-pattern-definitions:
2613 @lilypond[singleline,verbatim]
2614 \include "drumpitch-init.ly"
2615 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2616 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2617 \include "nederlands.ly"
2618 bass = \notes \transpose c, { a4. e8 r e g e }
2621 \apply #(drums->paper 'drums) \context Staff = drums <
2623 \context Voice = up { \voiceOne \up }
2624 \context Voice = down { \voiceTwo \down }
2626 \context Staff = bass { \clef "F_8" \bass }
2631 @subsubsection Percussion midi output
2632 In order to produce correct midi output you need to produce two score
2633 blocks - one for the paper and one for the midi.
2634 To use the percussion channel you set the property @code{instrument}
2635 to @code{'drums}. Because the drum-pitches themself are similar to the
2636 general midi pitches all you have to do is to insert the voices with
2637 none of the scheme functions to get the correct midi output:
2641 \apply #(drums->paper 'mydrums) \context Staff <
2643 \context Voice = up @{ \voiceOne \up @}
2644 \context Voice = down @{ \voiceTwo \down @}
2650 \property Staff.instrument = #'drums
2659 This scheme is to be considered a temporary implementation. Even
2660 though the scheme will probably keep on working then the future might
2661 bring some other way of typesetting drums, and probably
2662 there will be made no great efforts in keeping things downwards
2667 @section Piano music
2669 Piano music is an odd type of notation. Piano staves are two normal
2670 staves coupled with a brace. The staves are largely independent, but
2671 sometimes voices can cross between the two staves. The
2672 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2673 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2674 other pianistic peculiarities.
2677 * Automatic staff changes::
2678 * Manual staff switches::
2681 * Voice follower lines::
2685 @c . {Automatic staff changes}
2686 @node Automatic staff changes
2687 @subsection Automatic staff changes
2688 @cindex Automatic staff changes
2690 Voices can switch automatically between the top and the bottom
2691 staff. The syntax for this is
2693 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2695 The autochanger switches on basis of pitch (central C is the turning
2696 point), and it looks ahead skipping over rests to switch rests in
2697 advance. Here is a practical example:
2699 @lilypond[verbatim,singleline]
2700 \score { \notes \context PianoStaff <
2701 \context Staff = "up" {
2702 \autochange Staff \context Voice = VA < \relative c' {
2703 g4 a b c d r4 a g } > }
2704 \context Staff = "down" {
2709 Spacer rests are used to prevent the bottom staff from
2710 terminating too soon.
2713 @node Manual staff switches
2714 @subsection Manual staff switches
2716 @cindex manual staff switches
2717 @cindex staff switch, manual
2719 Voices can be switched between staves manually, using the following command:
2721 \translator Staff = @var{staffname} @var{music}
2723 The string @var{staffname} is the name of the staff. It switches the
2724 current voice from its current staff to the Staff called
2725 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2733 Piano pedal instruction can be expressed using
2734 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2735 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2737 These identifiers are shorthands for spanner commands of the types
2738 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2740 @lilypond[fragment,verbatim]
2741 c''4 \spanrequest \start "Sustain" c''4
2742 c''4 \spanrequest \stop "Sustain"
2745 The symbols that are printed can be modified by setting
2746 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2747 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2748 @rgrob{SustainPedal}, for example, for more information.
2750 Pedals can also be indicated by a sequence of brackets, by setting the
2751 @code{pedal-type} property of SustainPedal grobs:
2753 @lilypond[fragment,verbatim]
2754 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2755 c''4 \sustainDown d''4 e''4 a'4
2756 \sustainUp \sustainDown
2757 f'4 g'4 a'4 \sustainUp
2760 A third style of pedal notation is a mixture of text and brackets,
2761 obtained by setting @code{pedal-type} to @code{mixed}:
2763 @lilypond[fragment,verbatim]
2764 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2765 c''4 \sustainDown d''4 e''4 c'4
2766 \sustainUp \sustainDown
2767 f'4 g'4 a'4 \sustainUp
2770 The default '*Ped' style for sustain and damper pedals corresponds to
2771 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2772 for a sostenuto pedal:
2774 @lilypond[fragment,verbatim]
2775 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2778 For fine-tuning of the appearance of a pedal bracket, the properties
2779 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2780 @code{PianoPedalBracket} grobs (see the detailed documentation of
2781 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2782 may be extended to the end of the note head.
2784 @lilypond[fragment,verbatim]
2785 \property Staff.PianoPedalBracket \override
2786 #'shorten-pair = #'(0 . -1.0)
2787 c''4 \sostenutoDown d''4 e''4 c'4
2788 f'4 g'4 a'4 \sostenutoUp
2795 @subsection Arpeggio
2798 @cindex broken arpeggio
2799 @cindex @code{\arpeggio}
2801 You can specify an arpeggio sign on a chord by attaching an
2802 @code{\arpeggio} to a note of the chord.
2805 @lilypond[fragment,relative,verbatim]
2806 \context Voice <c\arpeggio e g c>
2809 When an arpeggio crosses staves in piano music, you attach an arpeggio
2810 to the chords in both staves, and set
2811 @code{PianoStaff.connectArpeggios}.
2813 @lilypond[fragment,relative,verbatim]
2814 \context PianoStaff <
2815 \property PianoStaff.connectArpeggios = ##t
2816 \context Voice = one { <c'\arpeggio e g c> }
2817 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2821 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2822 are @code{PianoStaff.Arpeggio}.
2824 To add an arrow head to explicitly specify the direction of the
2825 arpeggio, you should set the arpeggio grob property
2826 @code{arpeggio-direction}.
2828 @lilypond[fragment,relative,verbatim]
2830 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2832 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2837 A square bracket on the left indicates that the player should not
2838 arpeggiate the chord. To draw these brackets, set the
2839 @code{molecule-callback} property of @code{Arpeggio} or
2840 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2841 @code{\arpeggio} statements within the chords as before.
2843 @lilypond[fragment,relative,verbatim]
2844 \context PianoStaff <
2845 \property PianoStaff.connectArpeggios = ##t
2846 \property PianoStaff.Arpeggio \override
2847 #'molecule-callback = \arpeggioBracket
2848 \context Voice = one { <c'\arpeggio e g c> }
2849 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2856 It is not possible to mix connected arpeggios and unconnected
2857 arpeggios in one PianoStaff at the same time.
2861 @node Voice follower lines
2862 @subsection Voice follower lines
2864 @cindex follow voice
2865 @cindex staff switching
2868 @cindex @code{followVoice}
2870 Whenever a voice switches to another staff a line connecting the notes
2871 can be printed automatically. This is enabled if the property
2872 @code{PianoStaff.followVoice} is set to true:
2874 @lilypond[fragment,relative,verbatim]
2875 \context PianoStaff <
2876 \property PianoStaff.followVoice = ##t
2877 \context Staff \context Voice {
2879 \translator Staff=two
2882 \context Staff=two {\clef bass \skip 1*2 }
2886 The associated grob is @internalsref{VoiceFollower}.
2892 Tablature notation is used music for plucked string instruments. It
2893 notates pitches not by using note heads, but by indicating on which
2894 string and fret a note must be played. LilyPond offers limited
2895 support for tablature, by abusing the fingering system.
2898 * Tablatures basic::
2899 * Non-guitar tablatures::
2900 * Tablature in addition to normal staff::
2903 @node Tablatures basic
2904 @subsection Tablatures basic
2905 @cindex Tablatures basic
2907 Tablature can be typeset with Lilypond by using the
2908 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2909 tablature is a recent feature in Lilypond, most of the guitar special
2910 effects such as hammer, pull, bend are not yet supported.
2912 With the @internalsref{TabStaff}, the string number associated to a note
2913 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2914 quarter on the third string. The string 1 is the lowest one, and the
2915 tuning defaults to the standard guitar tuning (with 6 strings).
2917 @lilypond[fragment,verbatim]
2920 \property Staff.Stem \override #'direction = #1
2929 @node Non-guitar tablatures
2930 @subsection Non-guitar tablatures
2931 @cindex Non-guitar tablatures
2933 There are many ways to customize Lilypond tablatures.
2935 First you can change the number of strings, by setting the number of
2936 lines in the @internalsref{TabStaff}. You can change the strings
2937 tuning. A string tuning is given as a Scheme list with one integer
2938 number for each string, the number being the pitch of an open string.
2940 Finally, it is possible to change the Scheme function to format the
2941 tablature note text. The default is @var{fret-number-tablature-format},
2942 which uses the fret number, but for some instruments that may not use
2943 this notation, just create your own tablature-format function. This
2944 function takes three argument: the string number, the string tuning and
2948 @node Tablature in addition to normal staff
2949 @subsection Tablature in addition to normal staff
2950 @cindex Tablature in addition to normal staff
2952 It is possible to typeset both tablature and a "normal" staff, as
2953 commonly done in many parts.
2955 A common trick for that is to put the notes in a variables, and to hide
2956 the fingering information (which correspond to the string number) for
2965 \context StaffGroup <
2967 % Hide fingering number
2968 \property Staff.Fingering \override #'transparent = ##t
2973 \property Staff.Stem \override #'direction = #1
2987 LilyPond has support for both entering and printing chords.
2988 @lilypond[verbatim,singleline]
2989 twoWays = \notes \transpose c'' {
2999 < \context ChordNames \twoWays
3000 \context Voice \twoWays > }
3003 This example also shows that the chord printing routines do not try to
3004 be intelligent. If you enter @code{f bes d}, it does not interpret
3005 this as an inversion.
3007 As you can see chords really are a set of pitches. They are internally
3008 stored as simultaneous music expressions. This means you can enter
3009 chords by name and print them as notes, enter them as notes and print
3010 them as chord names, or (the most common case) enter them by name, and
3015 * Printing named chords::
3020 @subsection Chords mode
3023 Chord mode is a mode where you can input sets of pitches using common
3024 names. It is introduced by the keyword @code{\chords}. It is similar
3025 to note mode, but words are also looked up in a chord modifier table
3026 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
3027 to indicate chord additions and subtractions, so articulation scripts
3028 can not be entered in Chord mode.
3030 Throughout these examples, chords have been shifted around the staff
3031 using @code{\transpose}.
3033 @lilypond[fragment,verbatim]
3037 c:9 c:9-.5+.7+ c:3-.5-
3047 The second type of modifier that may appear after the @code{:} is a
3048 named modifier. Named modifiers are listed in the file
3049 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
3050 @code{min} which lower the 3rd half a step, `@code{aug}' which
3051 raises the 5th, `@code{dim}' which lowers the 5th,
3052 `@code{maj}' which adds a raised 7th, and `@code{sus}'
3053 which replaces the 5th with a 4th.
3055 @lilypond[fragment,verbatim]
3058 c1:m c:min7 c:maj c:aug c:dim c:sus
3064 Chord subtractions are used to eliminate notes from a chord. The
3065 notes to be subtracted are listed after a @code{^} character,
3068 @lilypond[fragment,verbatim,center]
3077 Chord inversions can be specified by appending `@code{/}' and the name
3078 of a single note to a chord. In a chord inversion, the inverted note is
3079 transposed down until it is the lowest note in the chord. If the note
3080 is not in the chord, a warning will be printed.
3082 @lilypond[fragment,verbatim,center]
3092 Bass notes can be added by `@code{/+}' and
3093 the name of a single note to a chord. This has the effect of
3094 adding the specified note to the chord, lowered by an octave,
3095 so it becomes the lowest note in the chord.
3097 @lilypond[fragment,verbatim,center]
3106 The formal syntax for named chords is as follows:
3108 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
3111 @var{tonic} should be the tonic note of the chord, and @var{duration} is
3112 the chord duration in the usual notation. There are two kinds of
3113 modifiers. One type is formed by @emph{chord additions}. Additions are
3114 obtained by listing intervals separated by dots. An interval is written
3115 by its number with an optional @code{+} or @code{-} to indicate raising
3116 or lowering by half a step. Chord additions have two effects: they adds
3117 the specified interval and all lower odd numbered intervals to the
3118 chord, and they may lower or raise the specified interval.
3123 Implementation details are gory. For example @code{c:4} not only adds
3124 a fourth, but also removes the third.
3127 @c . {Printing named chords}
3128 @node Printing named chords
3129 @subsection Printing named chords
3131 @cindex printing chord names
3135 For displaying printed chord names, use the @internalsref{ChordNames} context.
3136 The chords may be entered either using the notation described above, or
3137 directly using simultaneous music.
3139 @lilypond[verbatim,singleline]
3141 \chords {a1 b c} <d f g> <e g b>
3145 \context ChordNames \scheme
3146 \context Staff \transpose c'' \scheme
3151 You can make the chord changes stand out by setting
3152 @code{ChordNames.chordChanges} to true. This will only display chord
3153 names when there's a change in the chords scheme and at the start of a
3158 c1:m c:m \break c:m c:m d
3162 \context ChordNames {
3163 \property ChordNames.chordChanges = ##t
3165 \context Staff \transpose c'' \scheme
3167 \paper{linewidth= 9.\cm}
3171 LilyPond examines chords specified as lists of notes to determine a name
3172 to give the chord. LilyPond will not try to identify chord inversions or
3173 an added bass note, which may result in strange chord names when chords
3174 are entered as a list of pitches:
3176 @lilypond[verbatim,center,singleline]
3185 \context ChordNames \scheme
3186 \context Staff \scheme
3192 By default, a chord name system proposed by Harald Banter (See
3193 @ref{Literature}) is used. The system is very regular and predictable.
3194 Typical American style chord names may be selected by setting the
3195 @code{style} property of the @code{ChordNames.ChordName} grob to
3196 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3198 Routines that determine the names to be printed are written in Scheme,
3199 and may be customized by the user. The code can be found in
3200 @file{scm/chord-name.scm}. Here's an example showing the differences in
3204 @c maybe just junk verbatim option?
3205 @lilypond[verbatim,singleline]
3215 \context ChordNames = banter \scheme
3216 \context ChordNames = american {
3217 \property ChordNames.ChordName \override
3218 #'style = #'american \scheme }
3219 \context ChordNames = jazz {
3220 \property ChordNames.ChordName \override
3221 #'style = #'jazz \scheme }
3222 \context Staff \transpose c'' \scheme
3229 @section Writing parts
3231 Orchestral music involves some special notation, both in the full score,
3232 as in the individual parts. This section explains how to tackle common
3233 problems in orchestral music.
3240 * Instrument names::
3242 * Multi measure rests::
3243 * Automatic part combining::
3244 * Hara kiri staves::
3245 * Sound output for transposing instruments::
3248 @c . {Rehearsal marks}
3249 @node Rehearsal marks
3250 @subsection Rehearsal marks
3251 @cindex Rehearsal marks
3253 @cindex @code{\mark}
3255 To print a rehearsal mark, use the @code{\mark} command.
3256 @lilypond[fragment,verbatim]
3267 As you can see, the mark is incremented automatically if you use
3268 @code{\mark \default}. The value to use is stored in the property
3269 @code{rehearsalMark} is used and automatically incremented. The grob
3270 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3271 @code{input/test/boxed-molecule.ly} if you need boxes around the
3274 The @code{\mark} command can also be used to put signs like coda,
3275 segno and fermatas on a barline. The trick is to use the text markup
3276 mechanism to access the fermata symbol.
3277 @lilypond[fragment,verbatim,relative=1]
3278 c1 \mark #'(music "scripts-ufermata")
3282 The problem is that marks that occur at a line break are typeset only
3283 at the beginning of the next line, opposite to what you want for the
3284 fermata. This can be corrected by the following property setting
3286 \property Score.RehearsalMark \override
3287 #'visibility-lambda = #begin-of-line-invisible
3293 @cindex barlines, putting symbols on
3297 @subsection Bar numbers
3301 @cindex measure numbers
3302 @cindex currentBarNumber
3304 Bar numbers are printed by default at the start of the line. The
3305 number itself is a property that can be set by modifying the
3306 @code{currentBarNumber} property, i.e.
3308 \property Score.currentBarNumber = #217
3311 If you want boxed bar numbers, see the example file
3312 @code{input/test/boxed-molecule.ly}.
3314 See also @seeinternals{BarNumber}.
3318 Printing bar numbers at regular intervals is not implemented.
3319 Barnumbers can collide with the StaffGroup, if there is one at the
3320 top. To solve this, You have to twiddle with the
3321 @internalsref{padding} property of @internalsref{BarNumber} if your
3322 score starts with a @internalsref{StaffGroup}.
3324 @node Instrument names
3325 @subsection Instrument names
3327 In scores, the instrument name is printed before the staff. This can
3328 be done by setting @code{Staff.instrument} and
3329 @code{Staff.instr}. This will print a string before the start of the
3330 staff. For the first start, @code{instrument} is used, for the next
3331 ones @code{instr} is used.
3333 @lilypond[verbatim,singleline]
3334 \property Staff.instrument = "ploink " { c''4 }
3337 You can also use markup texts to construct more complicated instrument
3341 @lilypond[verbatim,singleline]
3343 '((font-relative-size . -2 ) (music "accidentals--1")))
3346 \property Staff.instrument = #`((kern . 0.5) (lines
3347 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3355 When you put a name on a grand staff or piano staff the width of the
3356 brace is not taken into account. You must add extra spaces to the end of
3357 the name to avoid a collision.
3360 @subsection Transpose
3362 @cindex transposition of pitches
3363 @cindex @code{\transpose}
3365 A music expression can be transposed with @code{\transpose}. The syntax
3368 \transpose @var{pitch} @var{musicexpr}
3371 This means that middle C in @var{musicexpr} is transposed to
3374 @code{\transpose} distinguishes between enharmonic pitches: both
3375 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3376 a tone. The first version will print sharps and the second version
3379 @lilypond[singleline, verbatim]
3380 mus =\notes { \key d \major cis d fis g }
3381 \score { \notes \context Staff {
3389 If you want to use both @code{\transpose} and @code{\relative}, then
3390 you must use @code{\transpose} first. @code{\relative} will have no
3391 effect music that appears inside a @code{\transpose}.
3393 @c . {Multi measure rests}
3394 @node Multi measure rests
3395 @subsection Multi measure rests
3396 @cindex Multi measure rests
3400 Multi measure rests are entered using `@code{R}'. It is specifically
3401 meant for full bar rests and for entering parts: the rest can expand to
3403 rests, or it can be printed as a single multimeasure rest This expansion
3404 is controlled by the property @code{Score.skipBars}. If this is set to true,
3405 Lily will not expand empty measures, and the appropriate number is added
3408 @lilypond[fragment,verbatim]
3409 \time 3/4 r2. | R2. | R2.*2
3410 \property Score.skipBars = ##t R2.*17 R2.*4
3413 Notice that the @code{R2.} is printed as a whole rest, centered in the
3416 @cindex whole rests for a full measure
3418 The grob for this object is @internalsref{MultiMeasureRest}.
3422 Currently, there is no way to automatically condense multiple rests
3423 into a single multimeasure rest. Multi measure rests do not take part
3426 @cindex condensing rests
3428 @node Automatic part combining
3429 @subsection Automatic part combining
3430 @cindex automatic part combining
3431 @cindex part combiner
3434 Automatic part combining is used to merge two parts of music onto a
3435 staff in an intelligent way. It is aimed primarily at typesetting
3436 orchestral scores. When the two parts are identical for a period of
3437 time, only one is shown. In places where the two parts differ, they
3438 are typeset as separate voices, and stem directions are set
3439 automatically. Also, solo and @emph{a due} parts can be identified
3442 The syntax for part combining is
3445 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3447 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3448 combined into one context of type @var{context}. The music expressions
3449 must be interpreted by contexts whose names should start with @code{one}
3452 The most useful function of the part combiner is to combine parts into
3453 one voice, as common for wind parts in orchestral scores:
3455 @lilypond[verbatim,singleline,fragment]
3457 \context Voice=one \partcombine Voice
3458 \context Thread=one \relative c'' {
3461 \context Thread=two \relative c'' {
3467 Notice that the first @code{g} appears only once, although it was
3468 specified twice (once in each part). Stem, slur and tie directions are
3469 set automatically, depending whether there is a solo or unisono. The
3470 first part (with context called @code{one}) always gets up stems, and
3471 `solo', while the second (called @code{two}) always gets down stems and
3474 If you just want the merging parts, and not the textual markings, you
3475 may set the property @var{soloADue} to false.
3477 @lilypond[verbatim,singleline,fragment]
3479 \property Staff.soloADue = ##f
3480 \context Voice=one \partcombine Voice
3481 \context Thread=one \relative c'' {
3484 \context Thread=two \relative c'' {
3490 There are a number of other properties that you can use to tweak the
3491 behavior of part combining, refer to the automatically generated
3492 documentation of @reng{Thread_devnull_engraver} and
3493 @reng{Voice_devnull_engraver}. Look at the documentation of the
3494 responsible engravers, @code{Thread_devnull_engraver},
3495 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3499 In @code{soloADue} mode, when the two voices play the same notes on and
3500 off, the part combiner may typeset @code{a2} more than once in a
3503 @lilypond[fragment,singleline]
3505 \context Voice=one \partcombine Voice
3506 \context Thread=one \relative c'' {
3509 \context Thread=two \relative c'' {
3515 @cindex @code{Thread_devnull_engraver}
3516 @cindex @code{Voice_engraver}
3517 @cindex @code{A2_engraver}
3519 @node Hara kiri staves
3520 @subsection Hara kiri staves
3522 In orchestral scores, staff lines that only have rests are usually removed.
3523 This saves some space. LilyPond also supports this through the hara
3524 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3525 the Japanese Samourai warriors.} staff. This staff commits suicide when
3526 it finds itself to be empty after the line-breaking process. It will
3527 not disappear when it contains normal rests, you must use multi measure
3530 The hara kiri staff is specialized version of the @internalsref{Staff}
3531 context. It is available as the context identifier
3532 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3533 example disappears in the second line.
3537 \notes \relative c' <
3538 \context Staff = SA { e4 f g a \break c1 }
3539 \context Staff = SB { c4 d e f \break R1 }
3543 \translator { \HaraKiriStaffContext }
3549 @node Sound output for transposing instruments
3550 @subsection Sound output for transposing instruments
3552 When you want to make a MIDI file from a score containing transposed
3553 and untransposed instruments, you have to instruct LilyPond the pitch
3554 offset (in semitones) for the transposed instruments. This is done
3555 using the @code{transposing} property. It does not affect printed
3558 @cindex @code{transposing}
3561 \property Staff.instrument = #"Cl. in B-flat"
3562 \property Staff.transposing = #-2
3568 @node Ancient notation
3569 @section Ancient notation
3572 * Ancient note heads::
3579 @node Ancient note heads
3580 @subsection Ancient note heads
3582 To get a longa note head, you have to use mensural note heads. This
3583 is accomplished by setting the @code{style} property of the
3584 NoteHead grob to @code{mensural}. There is also a note head style
3585 @code{baroque} which gives mensural note heads for @code{\longa} and
3586 @code{\breve} but standard note heads for shorter notes.
3588 @lilypond[fragment,singleline,verbatim]
3589 \property Voice.NoteHead \set #'style = #'mensural
3590 \property Voice.NoteHead \set #'font-family = #'ancient
3595 @subsection Custodes
3600 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3601 staff context symbol that appears at the end of a staff line. It
3602 anticipates the pitch of the first note(s) of the following line and
3603 thus helps the player or singer to manage line breaks during
3604 performance, thus enhancing readability of a score.
3609 \property Staff.Custos \set #'style = #'mensural
3614 \consists Custos_engraver
3620 Custodes were frequently used in music notation until the 17th century.
3621 There were different appearances for different notation styles.
3622 Nowadays, they have survived only in special forms of musical notation
3623 such as via the @emph{editio vaticana} dating back to the beginning of
3626 For typesetting custodes, just put a @code{Custos_engraver} into the
3627 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3628 block, you can also globally control the appearance of the custos symbol
3629 by setting the custos @code{style} property. Currently supported styles
3630 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3637 \consists Custos_engraver
3638 Custos \override #'style = #'mensural
3643 The property can also be set locally, for example in a @code{\notes}
3648 \property Staff.Custos \override #'style = #'vaticana
3649 c'1 d' e' d' \break c' d' e' d'
3654 @subsection Ancient clefs
3656 LilyPond supports a variety of clefs, many of them ancient. These can
3657 be selected from the @code{ancient} font family, by setting
3658 @code{Staff.clefGlyph}) to one of the following values
3667 @item clefs-vaticana_do
3668 Editio Vaticana style do clef
3669 @item clefs-vaticana_fa
3670 Editio Vaticana style fa clef
3671 @item clefs-medicaea_do
3672 Editio Medicaea style do clef
3673 @item clefs-medicaea_fa
3674 Editio Medicaea style fa clef
3675 @item clefs-mensural1_c
3676 modern style mensural C clef
3677 @item clefs-mensural2_c
3678 historic style small mensural C clef
3679 @item clefs-mensural3_c
3680 historic style big mensural C clef
3681 @item clefs-mensural1_f
3682 historic style traditional mensural F clef
3683 @item clefs-mensural2_f
3684 historic style new mensural F clef
3685 @item clefs-mensural_g
3686 historic style mensural G clef
3687 @item clefs-hufnagel_do
3688 historic style hufnagel do clef
3689 @item clefs-hufnagel_fa
3690 historic style hufnagel fa clef
3691 @item clefs-hufnagel_do_fa
3692 historic style hufnagel combined do/fa clef
3693 @item clefs-percussion
3694 modern style percussion clef
3697 @emph{Modern style} means ``as is typeset in current editions.''
3698 @emph{Historic style} means ``as was typeset or written in contemporary
3699 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3702 @cindex Vaticana, Editio
3703 @cindex Medicaea, Editio
3704 @cindex hufnagel clefs
3708 @subsection Figured bass
3710 @cindex Basso continuo
3712 LilyPond has limited support for figured bass:
3714 @lilypond[verbatim,fragment]
3716 \context FiguredBass
3721 \context Voice { c4 g8 }
3725 The support for figured bass consists of two parts: there is an input
3726 mode, introduced by @code{\figures}, where you can enter bass figures
3727 as numbers, and there is a context called @internalsref{FiguredBass}
3728 that takes care of making @internalsref{BassFigure} grobs.
3730 In figures input mode, a group of bass figures is delimited by
3731 @code{<} and @code{>}. The duration is entered after the @code{>}.
3736 \context FiguredBass
3740 Accidentals are added to the numbers if you alterate them by
3741 appending @code{-}, @code{!} and @code{+}.
3747 \context FiguredBass
3748 \figures { <4- 6+ 7!> }
3751 Spaces or dashes may be inserted by using @code{_}. Brackets are
3752 introduced with @code{[} and @code{]}.
3758 \context FiguredBass
3759 \figures { < [4 6] 8 [_ 12]> }
3762 Although the support for figured bass may superficially resemble chord
3763 support, it works much simpler: in figured bass simply stores the
3764 numbers, and then prints the numbers you entered. There is no
3765 conversion to pitches, and no realizations of the bass are played in
3769 @c . {Tuning output}
3771 @section Tuning output
3773 LilyPond tries to take as much formatting as possible out of your
3774 hands. Nevertheless, there are situations where it needs some help, or
3775 where you want to override its decisions. In this section we discuss
3776 ways to do just that.
3778 Formatting is internally done by manipulating so called grobs (graphic
3779 objects). Each grob carries with it a set of properties (grob
3780 properties) specific to that object. For example, a stem grob has
3781 properties that specify its direction, length and thickness.
3783 The most direct way of tuning the output is by altering the values of
3784 these properties. There are two ways of doing that: first, you can
3785 temporarily change the definition of a certain type of grob, thus
3786 affecting a whole set of objects. Second, you can select one specific
3787 object, and set a grob property in that object.
3790 * Tuning groups of grobs ::
3791 * Tuning per grob ::
3796 @node Tuning groups of grobs
3797 @subsection Tuning groups of grobs
3799 @cindex grob description
3803 A grob definition is a Scheme association list, that is stored in a
3804 context property. By assigning to that property (using plain
3805 @code{\property}), you can change the resulting grobs.
3807 @lilypond[verbatim, fragment]
3808 c'4 \property Voice.Stem = #'()
3811 The @code{\property} assignment effectively empties the definition of
3812 the Stem object. One of the effects is that the recipe of how it should be
3813 printed is erased, with the effect of rendering it invisible. The above
3814 assignment is available as a standard identifier, for the case that you
3818 \property Voice.Stem = \turnOff
3825 This mechanism is fairly crude, since you can only set, but not modify,
3826 the definition of a grob. For this reason, there is a more advanced
3829 The definition of a grob is actually a list of default grob
3830 properties. For example, the definition of the Stem grob (available in
3831 @file{scm/grob-description.scm}), defines the following values for
3836 (beamed-lengths . (0.0 2.5 2.0 1.5))
3837 (Y-extent-callback . ,Stem::height)
3841 You can add a property on top of the existing definition, or remove a
3842 property, thus overriding the system defaults:
3844 c'4 \property Voice.Stem \override #'thickness = #4.0
3845 c'4 \property Voice.Stem \revert #'thickness
3848 You should balance @code{\override} and @code{\revert}. If that's too
3849 much work, you can use the @code{\set} shorthand. It performs a revert
3850 followed by an override. The following example gives exactly the same
3851 result as the previous one.
3853 c'4 \property Voice.Stem \set #'thickness = #4.0
3854 c'4 \property Voice.Stem \set #'thickness = #0.8
3857 If you use @code{\set}, you must explicitly restore the default.
3860 Formally the syntax for these constructions is
3862 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3863 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3864 \property @var{context}.@var{grobname} \revert @var{symbol}
3866 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3867 and @var{grobname} are strings and @var{value} is a Scheme expression.
3870 If you revert a setting which was not set in the first place, then it
3871 has no effect. However, if the setting was set as a system default, it
3872 may remove the default value, and this may give surprising results,
3873 including crashes. In other words, @code{\override} and @code{\revert},
3874 must be carefully balanced.
3876 These are examples of correct nesting of @code{\override}, @code{\set},
3879 A clumsy but correct form:
3881 \override \revert \override \revert \override \revert
3884 Shorter version of the same:
3886 \override \set \set \revert
3889 A short form, using only @code{\set}. This requires you to know the
3892 \set \set \set \set @var{to default value}
3895 If there is no default (i.e. by default, the grob property is unset),
3898 \set \set \set \revert
3901 For the digirati, the grob description is an Scheme association
3902 list. Since a Scheme list is a singly linked list, we can treat it as a
3903 stack, and @code{\override} and @code{\revert} are just push and pop
3904 operations. This pushing and popping is also used for overriding
3905 automatic beaming settings.
3909 LilyPond will hang or crash if @var{value} contains cyclic references.
3910 The backend is not very strict in type-checking grob properties. If you
3911 @code{\revert} properties that are expected to be set by default,
3917 @node Tuning per grob
3918 @subsection Tuning per grob
3920 @cindex \outputproperty
3922 A second way of tuning grobs is the more arcane @code{\outputproperty}
3923 feature. The syntax is as follows:
3925 \outputproperty @var{predicate} @var{symbol} = @var{value}
3927 Here @code{predicate} is a Scheme function taking a grob argument, and
3928 returning a boolean. This statement is processed by the
3929 @code{Output_property_engraver}. It instructs the engraver to feed all
3930 grobs that it sees to @var{predicate}. Whenever the predicate returns
3931 true, the grob property @var{symbol} will be set to @var{value}.
3933 You will need to combine this statement with @code{\context} to select
3934 the appropriate context to apply this to.
3936 Here are some random examples.
3939 In the following example, all note heads occurring at current staff
3940 level, are shifted up and right by setting their @code{extra-offset}
3943 @lilypond[fragment,verbatim,singleline]
3945 \context Staff \outputproperty
3946 #(make-type-checker 'note-head-interface)
3947 #'extra-offset = #'(0.5 . 0.75)
3951 @cindex @code{extra-offset}
3953 In this example, the predicate checks the @code{text} grob property, to
3954 shift only the `m.d.' text, but not the fingering instruction "2".
3955 @lilypond[verbatim,singleline]
3956 #(define (make-text-checker text)
3957 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3960 \notes\relative c''' {
3961 \property Voice.Stem \set #'direction = #1
3962 \outputproperty #(make-text-checker "m.d.")
3963 #'extra-offset = #'(-3.5 . -4.5)
3971 If possible, avoid this feature: the semantics are not very clean, and
3972 the syntax and semantics are up for rewrite.
3977 @node Font selection
3978 @subsection Font selection
3980 The most common thing to change about the appearance of fonts is
3981 their size. The font size of a @internalsref{Voice},
3982 @internalsref{Staff} or @internalsref{Thread} context, can be easily
3983 changed by setting the @code{fontSize} property for that context:
3984 @lilypond[fragment,relative=1]
3985 c4 c4 \property Voice.fontSize = #-1
3988 This command will not change the size of variable symbols, such as
3989 beams or slurs. You can use this command to get smaller symbol for
3990 cue notes, but that involves some more subtleties. An elaborate
3991 example of those is in @file{input/test/cue-notes.ly}.
3997 The font used for printing a grob can be selected by setting
3998 @code{font-name}, e.g.
4000 \property Staff.TimeSignature
4001 \set #'font-name = #"cmr17"
4003 You may use any font which is available to @TeX{}, such as foreign
4004 fonts or fonts that do not belong to the Computer Modern font family.
4005 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
4006 can also be adjusted with a more fine-grained mechanism. By setting
4007 the grob properties described below, you can select a different font.
4008 All three mechanisms work for every grob that supports
4009 @code{font-interface}.
4013 A symbol indicating the general class of the typeface. Supported are
4014 @code{roman} (Computer Modern), @code{braces} (for piano staff
4015 braces), @code{music} (the standard music font), @code{ancient} (the
4016 ancient notation font) @code{dynamic} (font for dynamic signs) and
4020 A symbol indicating the shape of the font, there are typically several
4021 font shapes available for each font family. Choices are @code{italic},
4022 @code{caps} and @code{upright}
4025 A symbol indicating the series of the font. There are typically several
4026 font series for each font family and shape. Choices are @code{medium}
4029 @item font-relative-size
4030 A number indicating the size relative the standard size. For example,
4031 with 20pt staff height, relative size -1 corresponds to 16pt staff
4032 height, and relative size +1 corresponds to 23 pt staff height.
4034 @item font-design-size
4035 A number indicating the design size of the font.
4037 This is a feature of the Computer Modern Font: each point size has a
4038 slightly different design. Smaller design sizes are relatively wider,
4039 which enhances readability.
4042 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
4043 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
4044 to override default setting, which are always present. For example:
4046 \property Lyrics . LyricText \override #'font-series = #'bold
4047 \property Lyrics . LyricText \override #'font-family = #'typewriter
4048 \property Lyrics . LyricText \override #'font-shape = #'*
4051 @cindex @code{font-style}
4053 There are also pre-cooked font selection qualifiers. These are
4054 selected through the grob property @code{font-style}. For example,
4055 the style @code{finger} selects family @code{number} and relative size
4056 @code{-3}. Styles available include @code{volta}, @code{finger},
4057 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
4058 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
4059 tables for selecting fonts are located in @file{scm/font.scm}. Refer
4060 to this file for more information.
4062 @cindex magnification
4064 The size of the font may be scaled with the grob property
4065 @code{font-magnification}. For example, @code{2.0} blows up all
4066 letters by a factor 2 in both directions.
4070 Relative size is not linked to any real size.
4072 There is no style sheet provided for other fonts besides the @TeX{}
4073 family, and the style sheet can not be modified easiyl.
4075 @cindex font selection
4076 @cindex font magnification
4077 @cindex @code{font-interface}
4081 @subsection Text markup
4085 LilyPond has an internal mechanism to typeset texts. You can
4086 form text markup expressions by composing scheme expressions
4087 in the following way.
4089 @lilypond[verbatim, singleline]
4094 c^#'(italic "italic")
4095 d_#'((bold italic) "ff")
4097 f_#'(lines "one" (bold "two"))
4098 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
4102 Normally, the Scheme markup text is stored in the @code{text} property
4103 of a grob. Formally, it is defined as follows:
4106 text: string | (head? text+)
4107 head: markup | (markup+)
4108 markup-item: property | abbrev
4109 property: (@var{key} . @var{value})
4110 abbrev: @code{columns lines roman music bold italic named super sub}
4111 @code{overstrike text finger volta timesig mmrest mark script}
4112 @code{large Large dynamic}
4115 The markup is broken down and converted into a list of grob properties,
4116 which are prepended to the property list. The @var{key}-@var{value}
4117 pair is a grob property. A list of properties available is included in
4118 the generated documentation for @rint{Text_interface}.
4120 The following abbreviations are defined:
4123 horizontal mode: set all text on one line (default)
4125 vertical mode: set every text on a new line
4129 selects the Feta font (the standard font for music notation glyphs),
4130 and uses named lookup
4137 lookup by character name
4139 plain text lookup (by character value)
4145 the next text or character overstrikes this one
4147 select fingering number fontstyle
4149 select volta number fontstyle
4151 select time signature number fontstyle
4153 select multi measure rest number fontstyle
4155 select mark number fontstyle
4157 select scriptsize roman fontstyle
4159 select large roman fontstyle
4161 select Large roman fontstyle
4163 select dynamics fontstyle
4167 @cindex metronome mark
4169 One practical application of complicated markup is to fake a metronome
4173 #(define note '(columns
4174 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4175 #(define eight-note `(columns ,note ((kern . -0.1)
4176 (music ((raise . 3.5) "flags-u3")))))
4177 #(define dotted-eight-note
4178 `(columns ,eight-note (music "dots-dot")))
4181 \notes\relative c'' {
4182 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
4188 TextScript \override #'font-shape = #'upright
4196 The syntax and semantics of markup texts are not clean, and both
4197 syntax and semantics are slated for a rewrite.
4199 LilyPond does not do kerning, and there generally spaces texts
4205 @section Global layout
4207 The global layout determined by three factors: the page layout, the
4208 iline breaks and the spacing. These all influence each other: The
4209 choice of spacing determines how densely each system of music is set,
4210 whree line breaks breaks are chosen, and thus ultimately how many
4211 pages a piece of music takes. In this section we will explain how the
4212 lilypond spacing engine works, and how you can tune its results.
4214 Globally spoken, this procedure happens in three steps: first,
4215 flexible distances (``springs'') are chosen, based on durations. All
4216 possible line breaking combination are tried, and the one with the
4217 best results---a layout that has uniform density and requires as
4218 little stretching or cramping as possible---is chosen. When the score
4219 is processed by @TeX{}, page are filled with systems, and page breaks
4220 are chosen whenever the page gets full.
4223 * Vertical spacing::
4224 * Horizontal spacing::
4231 @node Vertical spacing
4232 @subsection Vertical spacing
4234 @cindex vertical spacing
4235 @cindex distance between staffs
4236 @cindex staff distance
4237 @cindex between staves, distance
4239 The height of each system is determined automatically by lilypond, to
4240 keep systems from bumping into each other, some minimum distances are
4241 set. By changing these, you can put staffs closer together, and thus
4242 put more systems onto one page.
4244 Normally staves are stacked vertically. To make
4245 staves maintain a distance, their vertical size is padded. This is
4246 done with the property @code{minimumVerticalExtent}. It takes a pair
4247 of numbers, so if you want to make it smaller from its, then you could
4250 \property Staff.minimumVerticalExtent = #'(-4 . 4)
4252 This sets the vertical size of the current staff to 4 staff-space on
4253 either side of the center staff line. The argument of
4254 @code{minimumVerticalExtent} is interpreted as an interval, where the
4255 center line is the 0, so the first number is generally negative. you
4256 could also make the staff larger at the bottom by setting it to
4257 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
4259 Vertical aligment of staves is handled by the
4260 @internalsref{VerticalAlignment} grob, which lives at
4261 @internalsref{Score} level.
4263 The piano staffs are handled a little differently: to make cross-staff
4264 beaming work correctly, it necessary that the distance between staves
4265 is fixed. This is also done with a @internalsref{VerticalAlignment}
4266 grob, created in @internalsref{PianoStaff}, but a forced distance is
4267 set. This is done with the grob property #'forced-distance. If you
4268 want to override this, use a @code{\translator} block as follows:
4272 VerticalAlignment \override #'forced-distance = #9
4275 This would bring the staffs together at a distance of 9 staff spaces,
4276 and again this is measured from the center line of each staff.
4280 @node Horizontal spacing
4281 @subsection Horizontal Spacing
4283 The spacing engine translates differences in durations into
4284 stretchable distances (``springs'') of differing lengths. Longer
4285 durations get more space, shorter durations get less. The basis for
4286 assigning spaces to durations, is that the shortest durations get a
4287 fixed amount of space, and the longer durations get more: doubling a
4288 duration adds a fixed amount of space to the note.
4290 For example, the following piece contains lots of half, quarter and
4291 8th notes, the eighth note is followed by 1 note head width. The The
4292 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4293 @lilypond[fragment, verbatim, relative=1]
4294 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4297 These two amounts of space are @code{shortest-duration-space}
4298 @code{spacing-increment}, grob properties of
4299 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4300 set to 1.2, which is the width of a note head, and
4301 @code{shortest-duration-space} is set to 2.0, meaning that the
4302 shortest note gets 2 noteheads of space. For normal notes, this space
4303 is always counted from the left edge of the symbol, so the short notes
4304 in a score is generally followed by one note head width of space.
4306 If one would follow the above procedure exactly, then adding a single
4307 32th note to a score that uses 8th and 16th notes, would widen up the
4308 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4309 thus adding 2 noteheads of space to every note. To prevent this, the
4310 shortest duration for spacing is not the shortest note in the score,
4311 but the most commonly found shortest note. Notes that are even
4312 shorter this are followed by a space that is proportonial to their
4313 duration relative to the common shortest note. So if we were to add
4314 only a few 16th notes to the example above, they would be followed by
4317 @lilypond[fragment, verbatim, relative=1]
4318 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4321 The most common shortest duration is determined as follows: in every
4322 measure, the shortest duration is determined. The most common short
4323 duration, is taken as the basis for the spacing, with the stipulation
4324 that this shortest duration should always be equal to or shorter than
4325 1/8th note. The shortest duration is printed when you run lilypond
4326 with @code{--verbose}. These durations may also be customized. If you
4327 set the @code{common-shortest-duration} in
4328 @internalsref{SpacingSpanner}, then this sets the base duration for
4329 spacing. The maximum duration for this base (normally 1/8th), is set
4330 through @code{base-shortest-duration}.
4332 @cindex @code{common-shortest-duration}
4333 @cindex @code{base-shortest-duration}
4334 @cindex @code{stem-spacing-correction}
4335 @cindex @code{spacing}
4337 In the introduction it was explained that stem directions influence
4338 spacing. This is controlled with @code{stem-spacing-correction} in
4339 @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
4340 same property for controlling the stem/barline spacing. In the
4341 following example shows these corrections, once with default settings,
4342 and once with exaggerated corrections.
4348 \property Staff.NoteSpacing \override #'stem-spacing-correction
4350 \property Staff.StaffSpacing \override #'stem-spacing-correction
4355 \paper { linewidth = -1. } }
4362 Spacing is determined on a score wide basis. If you have a score that
4363 changes its character (measured in durations) half way during the
4364 score, the part containing the longer durations will be spaced too
4367 Generating optically pleasing spacing is black magic. LilyPond tries
4368 to deal with a number of frequent cases. Here is an example that is
4369 not handled correctly, due to the combination of chord collisions and
4374 \context PianoStaff \notes \transpose c''' <
4375 \context Staff = up { s1 }
4376 \context Staff = down { [c8 c \translator Staff=up <c d> c
4377 \translator Staff=down c c c] }
4379 \paper { linewidth = -1 }
4386 @subsection Font size
4387 @cindex font size, setting
4388 @cindex staff size, setting
4389 @cindex @code{paper} file
4391 The Feta font provides musical symbols at seven different sizes.
4392 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4393 point, and 26 point. The point size of a font is the height of the
4394 five lines in a staff when displayed in the font.
4396 Definitions for these sizes are the files @file{paperSZ.ly}, where
4397 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4398 of these files, the identifiers @code{paperEleven},
4399 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4400 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4401 are defined respectively. The default @code{\paper} block is also
4402 set. These files should be imported at toplevel, i.e.
4404 \include "paper26.ly"
4408 The font definitions are generated using a Scheme function. For more
4409 details, see the file @file{scm/font.scm}.
4414 @subsection Line breaking
4417 @cindex breaking lines
4419 Line breaks are normally computed automatically. They are chosen such
4420 that it looks neither cramped nor loose, and that consecutive lines have
4423 Occasionally you might want to override the automatic breaks; you can
4424 do this by specifying @code{\break}. This will force a line break at
4425 this point. Line breaks can only occur at places where there are bar
4426 lines. If you want to have a line break where there is no bar line,
4427 you can force an invisible bar line by entering @code{\bar
4428 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4432 @cindex regular line breaks
4433 @cindex four bar music.
4435 If you want linebreaks at regular intervals, you can use the following:
4437 < \repeat 7 unfold @{ s1 * 4 \break @}
4441 This makes the following 28 measures (assuming 4/4 time) be broken every
4445 @subsection Page layout
4448 @cindex breaking pages
4450 @cindex @code{indent}
4451 @cindex @code{linewidth}
4453 The most basic settings influencing the spacing are @code{linewidth}
4454 and @code{indent}, both set in the @code{\paper} block. They control
4455 the indentation of the first line of music, and the lengths of the
4456 lines. If @code{linewidth} set to a negative value, a single
4457 unjustified line is produced. A similar effect for scores that are
4458 longer than one line, can be produced by setting @code{raggedright} to
4459 true in the @code{\paper} block.
4463 The page layout process happens outside lilypond. Ly2dvi sets page
4464 layout instructions. Ly2dvi responds to the following variables in the
4465 @code{\paper} block. The variable @code{textheight} sets the total
4466 height of the music on each page. The spacing between systems is
4467 controlled with @code{interscoreline}, its default is 16pt.
4468 The distance between the score lines will stretch in order to fill the
4469 full page @code{interscorelinefill} is set to a positive number. In
4470 that case @code{interscoreline} specifies the minimum spacing.
4472 @cindex @code{textheight}
4473 @cindex @code{interscoreline}
4474 @cindex @code{interscorelinefill}
4476 If the variable @code{lastpagefill} is defined (that is, it gets any
4477 value assigned in the @code{\paper} block), systems are evenly
4478 distributed vertically on the last page. This might produce ugly
4479 results in case there are not enough systems on the last page. Note
4480 that @command{lilypond-book} ignores @code{lastpagefill}. See
4481 @ref{Insert music snippets into your texts using lilypond-book} for
4484 @cindex @code{lastpagefill}
4486 Page breaks are normally computed by @TeX{}, so they are not under
4487 direct control of LilyPond. However, you can insert a commands into
4488 the @file{.tex} output to instruct @TeX{} where to break pages. You
4489 can insert a @code{\newpage} from within lilypond. This is done by
4490 setting the @code{between-systems-strings} on the
4491 @internalsref{NonMusicalPaperColumn} where the system is broken.
4495 @cindex @code{papersize}
4497 To change the paper size, you must first set the
4498 @code{papersize} paper variable variable. Set it to
4499 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4500 specification, you must set the font as described above. If you want
4501 the default font, then use the 20 point font.
4504 \paper@{ papersize = "a4" @}
4505 \include "paper16.ly"
4508 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4509 will set the paper variables @code{hsize} and @code{vsize} (used by
4510 Lilypond and @code{ly2dvi})
4520 LilyPond can produce MIDI output. The performance lacks lots of
4521 interesting effects, such as swing, articulation, slurring, etc., but it
4522 is good enough for proof-hearing the music you have entered. Ties,
4523 dynamics and tempo changes are interpreted.
4525 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4526 levels. Dynamic marks translate to a fixed fraction of the available
4527 MIDI volume range, crescendi and decrescendi make the the volume vary
4528 linearly between their two extremities. The fractions be adjusted by
4529 overriding the @code{absolute-volume-alist} defined in
4530 @file{scm/midi.scm}.
4532 For each type of musical instrument (that MIDI supports), a volume range
4533 can be defined. This gives you basic equalizer control, which can
4534 enhance the quality of the MIDI output remarkably. You can add
4535 instruments and ranges or change the default settings by overriding the
4536 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4538 Both loudness controls are combined to produce the final MIDI volume.
4544 * MIDI instrument names::
4549 @subsection MIDI block
4553 The MIDI block is analogous to the paper block, but it is somewhat
4554 simpler. The @code{\midi} block can contain:
4558 @item a @code{\tempo} definition
4559 @item context definitions
4562 Assignments in the @code{\midi} block are not allowed.
4566 @cindex context definition
4568 Context definitions follow precisely the same syntax as within the
4569 \paper block. Translation modules for sound are called performers.
4570 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4573 @node MIDI instrument names
4574 @subsection MIDI instrument names
4576 @cindex instrument names
4577 @cindex @code{Staff.midiInstrument}
4578 @cindex @code{Staff.instrument}
4580 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4581 property or, if that property is not set, the @code{Staff.instrument}
4582 property. The instrument name should be chosen from the list in
4583 @ref{MIDI instruments}.
4587 If the selected string does not exactly match, then LilyPond uses the
4588 default (Grand Piano). It is not possible to select an instrument by