3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[singleline,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[singleline,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[singleline,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[singleline,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative 2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a @internalsref{Stem} object is created
367 automatically. For whole notes and rests, they are also created but
372 @cindex @code{\stemUp}
374 @cindex @code{\stemDown}
376 @cindex @code{\stemBoth}
387 A tie connects two adjacent note heads of the same pitch. The tie in
388 effect extends the length of a note. Ties should not be confused with
389 slurs, which indicate articulation, or phrasing slurs, which indicate
390 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
392 @lilypond[fragment,verbatim,center]
393 e' ~ e' <c' e' g'> ~ <c' e' g'>
396 When a tie is applied to a chord, all note heads whose pitches match
397 are connected. When no note heads match, no ties will be created.
399 In its meaning a tie is just a way of extending a note duration, similar
400 to the augmentation dot; in the following example there are two ways of
401 notating exactly the same concept:
403 @lilypond[fragment, singleline,quote]
404 \time 3/4 c'2. c'2 ~ c'4
406 If you need to tie a lot of notes over bars, it may be easier to use automatic
407 note splitting (See @ref{Automatic note splitting}).
412 @cindex @code{\tieUp}
414 @cindex @code{\tieDown}
416 @cindex @code{\tieBoth}
418 @cindex @code{\tieDotted}
420 @cindex @code{\tieSolid}
425 In this manual: @ref{Automatic note splitting}.
427 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 Examples: if you want less ties created for a chord, see
431 @inputfileref{input/test,tie-sparse.ly}.
433 For tying only a subset of the note heads of a pair of chords, see
434 @inputfileref{input/regression,tie-chord-partial.ly}.
439 Switching staves when a tie is active will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
462 The duration of @var{musicexpr} will be multiplied by the fraction.
463 The fraction's denominator will be printed over the notes, optionally
464 with a bracket. The most common tuplet is the triplet in which 3
465 notes have the length of 2, so the notes are 2/3 of their written
468 @lilypond[fragment,verbatim,center]
469 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
472 The property @code{tupletSpannerDuration} specifies how long each
473 bracket should last. With this, you can make lots of tuplets while
474 typing @code{\times} only once, saving lots of typing. In the next
475 example, there are two triplets shown, while @code{\times} was only
478 @lilypond[fragment, relative, singleline, verbatim]
479 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
480 \times 2/3 { c'8 c c c c c }
483 The format of the number is determined by the property
484 @code{tupletNumberFormatFunction}. The default prints only the
485 denominator, but if it is set to the Scheme function
486 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
490 @cindex @code{tupletNumberFormatFunction}
491 @cindex tuplet formatting
496 @cindex @code{\tupletUp}
498 @cindex @code{\tupletDown}
500 @cindex @code{\tupletBoth}
505 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
509 Nested tuplets are not formatted automatically. In this case, outer
510 tuplet brackets should be moved manually.
512 @node Easy Notation note heads
513 @subsection Easy Notation note heads
515 @cindex easy notation
518 The `easy play' note head includes a note name inside the head. It is
519 used in music aimed at beginners:
521 @lilypond[singleline,verbatim,26pt]
523 \notes { c'2 e'4 f' | g'1 }
524 \paper { \translator { \EasyNotation } }
528 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
529 You probably will want to print it with magnification or a
530 large font size to make it more readable. To print with
531 magnification, you must create a DVI file (with @file{lilypond}) and
532 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
533 See the @code{dvips} documentation for more details. To print with a
534 larger font, see @ref{Font Size}.
540 If you view the result with Xdvi, then staff lines will show through
541 the letters. Printing the PostScript file obtained does produce the
545 @node Easier music entry
546 @section Easier music entry
549 When entering music it is easy to introduce errors. This section deals
550 with tricks and features of the input language that were added solely
551 to help entering music, and find and correct mistakes.
553 It is also possible to use external programs, for example GUI
554 interfaces, or MIDI transcription programs, to enter or edit
555 music. Refer to the website for more information. Finally, there are
556 tools make debugging easier, by linking the input file and the output
557 shown on screen. See @ref{Point and click} for more information.
564 * Skipping corrected music::
565 * Automatic note splitting::
571 @node Relative octaves
572 @subsection Relative octaves
574 @cindex relative octave specification
576 Octaves are specified by adding @code{'} and @code{,} to pitch names.
577 When you copy existing music, it is easy to accidentally put a pitch
578 in the wrong octave and hard to find such an error. The relative
579 octave mode prevents these errors: a single error puts the rest of the
580 piece off by one octave:
582 @cindex @code{\relative}
584 \relative @var{startpitch} @var{musicexpr}
587 The octave of notes that appear in @var{musicexpr} are calculated as
588 follows: If no octave changing marks are used, the basic interval
589 between this and the last note is always taken to be a fourth or less
590 (; this distance is determined without regarding alterations: a
591 @code{fisis} following a @code{ceses} will be put above the
594 The octave changing marks @code{'} and @code{,} can be added to raise
595 or lower the pitch by an extra octave. Upon entering relative mode,
596 an absolute starting pitch must be specified that will act as the
597 predecessor of the first note of @var{musicexpr}.
599 Here is the relative mode shown in action:
600 @lilypond[fragment,singleline,verbatim,center]
606 Octave changing marks are used for intervals greater than a fourth:
607 @lilypond[fragment,verbatim,center]
612 If the preceding item is a chord, the first note of the chord is used
613 to determine the first note of the next chord:
615 @lilypond[fragment,verbatim,center]
622 @cindex @code{\notes}
624 The pitch after the @code{\relative} contains a note name. To parse
625 the pitch as a note name, you have to be in note mode, so there must
626 be a surrounding @code{\notes} keyword (which is not
629 The relative conversion will not affect @code{\transpose},
630 @code{\chords} or @code{\relative} sections in its argument. If you
631 want to use relative within transposed music, you must place an
632 additional @code{\relative} inside the @code{\transpose}.
635 @subsection Octave check
638 Octave checks make octave errors easier to correct: a note may be
639 followed by @code{=}@var{quotes} which indicates what its absolute
640 octave should be. In the following example,
642 \relative c'' @{ c='' b=' d,='' @}
646 the @code{d} will generate a warning, because a @code{d''} is
647 expected, but a @code{d'} is found. In the output, the octave is
648 corrected this and the following notes.
650 There is also a syntax that is separate from the notes.
655 This checks that @var{pitch} (without octave) yields @var{pitch} (with
656 octave) in \relative mode. If not, a warning is printed, and the
657 octave is corrected, for example, the first check is passed
658 successfully. The second check fails with an error message. The
659 octave is adjusted so the following notes are in the correct octave
670 The octave of a note following an octave check is determined with
671 respect to the note preceding it. In the next fragment, the last note
672 is a @code{a'}, above central C. Hence, the @code{\octave} check may
673 be deleted without changing the meaning of the piece.
675 @lilypond[verbatim,fragment]
684 @subsection Bar check
688 @cindex @code{barCheckSynchronize}
691 Bar checks help detect errors in the durations. A bar check is
692 entered using the bar symbol, `@code{|}'. Whenever it is encountered
693 during interpretation, it should fall on a measure boundary. If it
694 does not, a warning is printed. Depending on the value of
695 @code{barCheckSynchronize}, the beginning of the measure will be
698 In the next example, the second bar check will signal an error:
700 \time 3/4 c2 e4 | g2 |
703 Bar checks can also be used in lyrics, for example
708 Twin -- kle | Twin -- kle
713 @cindex skipTypesetting
715 Failed bar checks are caused by entering incorrect
716 durations. Incorrect durations often completely garble up the score,
717 especially if it is polyphonic, so you should start correcting the
718 score by scanning for failed bar checks and incorrect durations. To
719 speed up this process, you can use @code{skipTypesetting}, described
722 @node Skipping corrected music
723 @subsection Skipping corrected music
725 The property @code{Score.skipTypesetting} can be used to switch on and
726 off typesetting completely during the interpretation phase. When
727 typesetting is switched off, the music is processed much more quickly.
728 This can be used to skip over the parts of a score that have already
729 been checked for errors:
731 @lilypond[fragment,singleline,verbatim]
733 \property Score.skipTypesetting = ##t
735 \property Score.skipTypesetting = ##f
739 @node Automatic note splitting
740 @subsection Automatic note splitting
742 Long notes can be converted automatically to tied notes. This is done
743 by replacing the @internalsref{Note_heads_engraver} by the
744 @internalsref{Completion_heads_engraver}:
747 \paper @{ \translator @{
749 \remove "Note_heads_engraver"
750 \consists "Completion_heads_engraver"
754 which will make long notes tied in the following example:
757 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
764 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
766 \paper { \translator {
768 \remove "Note_heads_engraver"
769 \consists "Completion_heads_engraver"
774 This engraver splits all running notes at the bar line, and inserts
775 ties. One of its uses is to debug complex scores: if the measures are
776 not entirely filled, then the ties exactly show how much each measure
781 Not all durations (especially those containing tuplets) can be
782 represented exactly; the engraver will not insert tuplets.
788 @section Staff notation
790 This section describes music notation that occurs on staff level,
791 such as keys, clefs and time signatures.
793 @cindex Staff notation
807 @subsection Staff symbol
809 @cindex adjusting staff symbol
810 @cindex StaffSymbol, using \property
812 Notes, dynamic signs, etc. are grouped
813 with a set of horizontal lines, into a staff (plural `staves'). In our
814 system, these lines are drawn using a separate layout object called
818 @cindex staff lines, setting number of
819 @cindex staff lines, setting thickness of
820 @cindex thickness of staff lines, setting
821 @cindex number of staff lines, setting
825 Internals: @internalsref{StaffSymbol},
827 Examples: @inputfileref{input/test,staff-lines.ly},
828 @inputfileref{input/test,staff-size.ly}
832 If a staff is ended halfway a piece, the staff symbol may not end
833 exactly on the barline.
837 @subsection Key signature
838 @cindex Key signature
842 The key signature indicates the scale in which a piece is played. It
843 is denoted by a set of alterations (flats or sharps) at the start of
848 Setting or changing the key signature is done with the @code{\key}
851 @code{\key} @var{pitch} @var{type}
854 @cindex @code{\minor}
855 @cindex @code{\major}
856 @cindex @code{\minor}
857 @cindex @code{\ionian}
858 @cindex @code{\locrian}
859 @cindex @code{\aeolian}
860 @cindex @code{\mixolydian}
861 @cindex @code{\lydian}
862 @cindex @code{\phrygian}
863 @cindex @code{\dorian}
865 Here, @var{type} should be @code{\major} or @code{\minor} to get
866 @var{pitch}-major or @var{pitch}-minor, respectively.
867 The standard mode names @code{\ionian},
868 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
869 @code{\phrygian}, and @code{\dorian} are also defined.
871 This command sets the context property
872 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
873 can be specified by setting this property directly.
875 Accidentals and key signatures often confuse new users, because
876 unaltered notes get natural signs depending on the keysignature. The
877 tutorial explains why this is so in @ref{More about pitches}.
881 The ordering of a key cancellation is wrong when it is combined with
882 repeat bar lines. The cancellation is also printed after a line break.
886 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
888 @cindex @code{keySignature}
895 The clef indicates which lines of the staff correspond to which
900 The clef can be set or changed with the @code{\clef} command:
901 @lilypond[fragment,verbatim]
902 \key f\major c''2 \clef alto g'2
905 Supported clef-names include:
906 @c Moved standard clefs to the top /MB
910 @item treble, violin, G, G2
923 G clef on 1st line, so-called French violin clef
928 @cindex mezzosoprano clef
931 @cindex baritone clef
934 @cindex varbaritone clef
943 By adding @code{_8} or @code{^8} to the clef name, the clef is
944 transposed one octave down or up, respectively, and @code{_15} and
945 @code{^15} transposes by two octaves. The argument @var{clefname}
946 must be enclosed in quotes when it contains underscores or digits. For
950 @cindex choral tenor clef
951 @lilypond[verbatim,fragment,relative]
955 This command is equivalent to setting @code{clefGlyph},
956 @code{clefPosition} (which controls the Y position of the clef),
957 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
958 when any of these properties are changed.
962 Internals: the object for this symbol is @internalsref{Clef}.
966 @node Ottava brackets
967 @subsection Ottava brackets
969 ``Ottava'' brackets introduce an extra transposition of an octave for
970 the staff. They are created by invoking the function
971 @code{set-octavation}:
977 @lilypond[verbatim,fragment]
986 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
987 (for 15ma) as arguments. Internally the function sets the properties
988 @code{ottavation} (eg. to @code{"8va"}) and
989 @code{centralCPosition}. For overriding the text of the bracket, set
990 @code{ottavation} after invoking @code{set-octavation}, i.e.,
994 \property Staff.ottavation = #"8"
999 Internals: @internalsref{OttavaSpanner}.
1001 Examples: @inputfileref{input/regression,ottava.ly},
1002 @inputfileref{input/regression,ottava-broken.ly}.
1006 @code{set-octavation} will get confused when clef changes happen
1007 during an octavation bracket.
1009 @node Time signature
1010 @subsection Time signature
1011 @cindex Time signature
1013 @cindex @code{\time}
1015 Time signature indicates the metrum of a piece: a regular pattern of
1016 strong and weak beats. It is denoted by a fraction at the start of the
1021 The time signature is set or changed by the @code{\time}
1023 @lilypond[fragment,verbatim]
1024 \time 2/4 c'2 \time 3/4 c'2.
1027 The symbol that is printed can be customized with the @code{style}
1028 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1029 2/2 time. There are many more options for its layout. See
1030 @inputfileref{input/test,time.ly} for more examples.
1033 This command sets the property @code{timeSignatureFraction},
1034 @code{beatLength} and @code{measureLength} in the @code{Timing}
1035 context, which is normally aliased to @internalsref{Score}. The
1036 property @code{measureLength} determines where bar lines should be
1037 inserted, and how automatic beams should be generated. Changing the
1038 value of @code{timeSignatureFraction} also causes the symbol to be
1041 More options are available through the Scheme function
1042 @code{set-time-signature}. In combination with the
1043 @internalsref{Measure_grouping_engraver}, it will create
1044 @internalsref{MeasureGrouping} signs. Such signs ease reading
1045 rhythmically complex modern music. In the following example, the 9/8
1046 measure is subdivided in 2, 2, 2 and 3. This is passed to
1047 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1050 \score { \notes \relative c'' {
1051 #(set-time-signature 9 8 '(2 2 2 3))
1052 g8[ g] d[ d] g[ g] a8[( bes g]) |
1053 #(set-time-signature 5 8 '(3 2))
1058 \translator { \StaffContext
1059 \consists "Measure_grouping_engraver"
1065 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1070 Automatic beaming does not use measure grouping specified with
1071 @code{set-time-signature}.
1073 @node Partial measures
1074 @subsection Partial measures
1077 @cindex partial measure
1078 @cindex measure, partial
1079 @cindex shorten measures
1080 @cindex @code{\partial}
1082 Partial measures, for example in upsteps, are entered using the
1083 @code{\partial} command:
1084 @lilypond[fragment,verbatim,relative 1]
1085 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1088 The syntax for this command is
1090 \partial @var{duration}
1092 This is internally translated into
1094 \property Timing.measurePosition = -@var{length of duration}
1097 The property @code{measurePosition} contains a rational number
1098 indicating how much of the measure has passed at this point.
1100 @node Unmetered music
1101 @subsection Unmetered music
1103 Bar lines and bar numbers are calculated automatically. For unmetered
1104 music (e.g. cadenzas), this is not desirable. By setting
1105 @code{Score.timing} to false, this automatic timing can be switched
1111 @cindex @code{\cadenzaOn}
1113 @cindex @code{\cadenzaOff}
1117 @subsection Bar lines
1121 @cindex measure lines
1125 Bar lines delimit measures, but are also used to indicate repeats.
1126 Normally, they are inserted automatically. Line breaks may only
1132 of barlines can be forced with the @code{\bar} command:
1134 @lilypond[relative=1,fragment,verbatim]
1138 The following bar types are available:
1139 @lilypond[fragment, relative, singleline, verbatim]
1151 For allowing linebreaks, there is a special command,
1155 This will insert an invisible barline, and allow linebreaks at this
1158 In scores with many staves, a @code{\bar} command in one staff is
1159 automatically applied to all staves. The resulting bar lines are
1160 connected between different staves of a @internalsref{StaffGroup}:
1162 @lilypond[fragment, verbatim]
1163 << \context StaffGroup <<
1167 \new Staff { \clef bass c4 g e g } >>
1168 \new Staff { \clef bass c2 c2 } >>
1172 The command @code{\bar @var{bartype}} is a short cut for doing
1173 @code{\property Score.whichBar = @var{bartype}} Whenever
1174 @code{whichBar} is set to a string, a bar line of that type is
1175 created. At the start of a measure it is set to
1176 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1177 to override default measure bars.
1179 Property @code{whichBar} can also be set directly, using @code{\property}
1180 or @code{\bar}. These settings take precedence over the automatic
1181 @code{whichBar} settings.
1184 @cindex repeatCommands
1185 @cindex defaultBarType
1187 You are encouraged to use @code{\repeat} for repetitions. See
1194 In this manual: @ref{Repeats}.
1197 Internals: the bar line objects that are created at
1198 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1199 lines that span staves are @internalsref{SpanBar}s.
1201 @cindex bar lines at start of system
1202 @cindex start of system
1204 The barlines at the start of each system are
1205 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1206 @internalsref{SystemStartBracket}. Only one of these types is created
1207 in every context, and that type is determined by the property
1208 @code{systemStartDelimiter}.
1210 Examples: @inputfileref{input/test,bar-lines.ly},
1216 The easiest way to enter fragments with more than one voice on a staff
1217 is to split chords using the separator @code{\\}. You can use it for
1218 small, short-lived voices or for single chords:
1220 @lilypond[verbatim,fragment]
1221 \context Staff \relative c'' {
1222 c4 << { f d e } \\ { b c2 } >>
1223 c4 << g' \\ b, \\ f' \\ d >>
1227 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1228 voices are sometimes called "layers" other notation packages}
1230 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1231 each of these contexts, vertical direction of slurs, stems, etc. is set
1234 @cindex @code{\voiceOne}
1235 @cindex @code{\voiceFour}
1237 This can also be done by instantiating @internalsref{Voice} contexts
1238 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1239 a stem directions and horizontal shift for each part:
1242 @lilypond[singleline, verbatim]
1244 \context Staff << \new Voice { \voiceOne cis2 b }
1245 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1246 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1250 The command @code{\oneVoice} will revert back to the normal setting.
1251 @cindex @code{\oneVoice}
1254 Normally, note heads with a different number of dots are not merged, but
1255 when the object property @code{merge-differently-dotted} is set in
1256 the @internalsref{NoteCollision} object, they are merged:
1257 @lilypond[verbatim,fragment,singleline]
1258 \relative c'' \context Voice << {
1260 \property Staff.NoteCollision \override
1261 #'merge-differently-dotted = ##t
1263 } \\ { g8.[ f16] g8.[ f16] }
1267 Similarly, you can merge half note heads with eighth notes, by setting
1268 @code{merge-differently-headed}:
1269 @lilypond[fragment, relative=2,verbatim]
1272 \property Staff.NoteCollision
1273 \override #'merge-differently-headed = ##t
1274 c8 c4. } \\ { c2 c2 } >>
1277 LilyPond also vertically shifts rests that are opposite of a stem:
1280 @lilypond[singleline,fragment,verbatim]
1281 \context Voice << c''4 \\ r4 >>
1289 @cindex @code{\oneVoice}
1291 @cindex @code{\voiceOne}
1293 @cindex @code{\voiceTwo}
1295 @cindex @code{\voiceThree}
1297 @cindex @code{\voiceFour}
1301 The following commands specify in what chords of the current voice
1302 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1303 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1306 @cindex @code{\shiftOn}
1308 @cindex @code{\shiftOnn}
1310 @cindex @code{\shiftOnnn}
1312 @cindex @code{\shiftOff}
1319 Internals: the objects responsible for resolving collisions are
1320 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1322 Examples: See also example files
1323 @inputfileref{input/regression,collision-dots.ly},
1324 @inputfileref{input/regression,collision-head-chords.ly},
1325 @inputfileref{input/regression,collision-heads.ly},
1326 @inputfileref{input/regression,collision-mesh.ly}, and
1327 @inputfileref{input/regression,collisions.ly}.
1332 Resolving collisions is a intricate subject, and only a few situations
1333 are handled. When LilyPond cannot cope, the @code{force-hshift}
1334 property of the @internalsref{NoteColumn} object and pitched rests can
1335 be used to override typesetting decisions.
1337 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1338 note, and a downstem half note, the 8th note gets the wrong offset.
1340 There is no support for clusters where the same note occurs with
1341 different accidentals in the same chord. In this case, it is
1342 recommended to use enharmonic transcription, or to use special cluster
1343 notation (see @ref{Clusters}).
1348 Beams are used to group short notes into chunks that are aligned with
1349 the metrum. They are inserted automatically in most cases:
1351 @lilypond[fragment,verbatim, relative=2]
1352 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1355 When these automatic decisions are not good enough, beaming can be
1356 entered explicitly. It is also possible to define beaming patterns
1357 that differ from the defaults.
1361 Internals: @internalsref{Beam}.
1364 @cindex Automatic beams
1365 @subsection Manual beams
1366 @cindex beams, manual
1370 In some cases it may be necessary to override the automatic beaming
1371 algorithm. For example, the auto beamer will not put beams over rests
1372 or bar lines. Such beams are specified by manually: the begin and end
1373 point are marked with @code{[} and @code{]}:
1375 @lilypond[fragment,relative,verbatim]
1377 r4 r8[ g' a r8] r8 g[ | a] r8
1381 @cindex @code{stemLeftBeamCount}
1383 Normally, beaming patterns within a beam are determined automatically.
1384 When this mechanism fouls up, the properties
1385 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1386 be used to control the beam subdivision on a stem. If either property
1387 is set, its value will be used only once, and then it is erased.
1389 @lilypond[fragment,relative,verbatim]
1392 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1395 @cindex @code{stemRightBeamCount}
1398 The property @code{subdivideBeams} can be set in order to subdivide
1399 all 16th or shorter beams at beat positions, as defined by the
1400 @code{beatLength} property . This accomplishes the same effect as
1401 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1402 but it take less typing:
1405 @lilypond[relative=1,verbatim,noindent]
1407 \property Voice.subdivideBeams = ##t
1409 \property Score.beatLength = #(ly:make-moment 1 8)
1412 @cindex subdivideBeams
1414 Kneed beams are inserted automatically, when a large gap is detected
1415 between the note heads. This behavior can be tuned through the object
1416 property @code{auto-knee-gap}.
1418 Normally, line breaks are forbidden when beams cross bar lines. This
1419 behavior can be changed by setting @code{allowBeamBreak}.
1421 @cindex @code{allowBeamBreak}
1422 @cindex beams and line breaks
1424 @cindex beams, kneed
1426 @cindex auto-knee-gap
1432 @cindex Frenched staves
1434 Automatically kneed beams cannot be used together with hidden staves.
1439 * Setting automatic beam behavior::
1443 @no de Beam typography
1444 @sub section Beam typography
1446 One of the strong points of LilyPond is how beams are formatted. Beams
1447 are quantized, meaning that the left and right endpoints beams start
1448 exactly on staff lines. Without quantization, small wedges of white
1449 space appear between the beam and staff line, and this looks untidy.
1451 Beams are also slope-damped: melodies that go up or down should also
1452 have beams that go up or down, but the slope of the beams should be
1453 less than the slope of the notes themselves.
1455 Some beams should be horizontal. These are so-called concave beams.
1457 [TODO: some pictures.]
1461 @node Setting automatic beam behavior
1462 @subsection Setting automatic beam behavior
1464 @cindex @code{autoBeamSettings}
1465 @cindex @code{(end * * * *)}
1466 @cindex @code{(begin * * * *)}
1467 @cindex automatic beams, tuning
1468 @cindex tuning automatic beaming
1470 @c [TODO: use \applycontext]
1472 In normal time signatures, automatic beams can start on any note but can
1473 only end in a few positions within the measure: beams can end on a beat,
1474 or at durations specified by the properties in
1475 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1476 are defined in @file{scm/auto-beam.scm}.
1478 The value of @code{autoBeamSettings} is changed using
1479 @code{\override} and restored with @code{\revert}:
1481 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1482 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1484 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1485 whether the rule applies to begin or end-points. The quantity
1486 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1487 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1488 signature (wildcards, `@code{* *}' may be entered to designate all time
1491 For example, if automatic beams should end on every quarter note, use
1494 \property Voice.autoBeamSettings \override
1495 #'(end * * * *) = #(ly:make-moment 1 4)
1497 Since the duration of a quarter note is 1/4 of a whole note, it is
1498 entered as @code{(ly:make-moment 1 4)}.
1500 The same syntax can be used to specify beam starting points. In this
1501 example, automatic beams can only end on a dotted quarter note:
1503 \property Voice.autoBeamSettings \override
1504 #'(end * * * *) = #(ly:make-moment 3 8)
1506 In 4/4 time signature, this means that automatic beams could end only on
1507 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1508 3/8 has passed within the measure).
1510 Rules can also be restricted to specific time signatures. A rule that
1511 should only be applied in @var{N}/@var{M} time signature is formed by
1512 replacing the second asterisks by @var{N} and @var{M}. For example, a
1513 rule for 6/8 time exclusively looks like
1515 \property Voice.autoBeamSettings \override
1516 #'(begin * * 6 8) = ...
1519 If a rule should be to applied only to certain types of beams, use the
1520 first pair of asterisks. Beams are classified according to the
1521 shortest note they contain. For a beam ending rule that only applies
1522 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1525 If a score ends while an automatic beam has not been ended and is still
1526 accepting notes, this last beam will not be typeset at all.
1528 @cindex automatic beam generation
1530 @cindex @code{Voice.autoBeaming}
1533 For melodies that have lyrics, you may want to switch off
1534 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1539 @cindex @code{\autoBeamOff}
1540 @code{\autoBeamOff},
1541 @cindex @code{\autoBeamOn}
1547 The rules for ending a beam depend on the shortest note in a beam.
1548 So, while it is possible to have different ending rules for eight
1549 beams and sixteenth beams, a beam that contains both eight and
1550 sixteenth notes will use the rules for the sixteenth beam.
1552 In the example below, the autobeamer makes eight beams and sixteenth
1553 end at 3 eights; the third beam can only be corrected by specifying
1556 @lilypond[singleline,fragment,relative,noverbatim,quote]
1557 \property Voice.autoBeamSettings
1558 \override #'(end * * * *) = #(ly:make-moment 3 8)
1559 % rather show case where it goes wrong
1560 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1561 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1563 It is not possible to specify beaming parameters that act differently in
1564 different parts of a measure. This means that it is not possible to use
1565 automatic beaming in irregular meters such as @code{5/8}.
1568 @section Accidentals
1571 This section describes how to change the way that accidentals are
1572 inserted automatically before the running notes.
1576 * Using the predefined accidental variables::
1577 * Customized accidental rules::
1580 @node Using the predefined accidental variables
1581 @subsection Using the predefined accidental variables
1583 The constructs for describing the accidental typesetting rules are
1584 quite hairy, so non-experts should stick to the variables
1585 defined in @file{ly/property-init.ly}.
1586 @cindex @file{property-init.ly}
1588 The variables set properties in the ``@code{Current}'' context (see
1589 @ref{Context properties}). This means that the variables should
1590 normally be added right after the creation of the context in which the
1591 accidental typesetting described by the variable is to take
1592 effect. For example, if you want to use piano-accidentals in a piano
1593 staff then issue @code{\pianoAccidentals} first thing after the
1594 creation of the piano staff:
1597 \notes \relative c'' <<
1598 \new Staff @{ cis4 d e2 @}
1599 \context GrandStaff <<
1601 \new Staff @{ cis4 d e2 @}
1602 \new Staff @{ es2 c @}
1604 \new Staff @{ es2 c @}
1608 @lilypond[singleline]
1610 \notes \relative c'' <<
1611 \new Staff { cis4 d e2 }
1612 \context GrandStaff <<
1614 \new Staff { cis4 d e2 }
1615 \new Staff { es2 c }
1617 \new Staff { es2 c }
1622 minimumVerticalExtent = #'(-4.0 . 4.0)
1630 @item \defaultAccidentals
1631 @cindex @code{\defaultAccidentals}
1632 This is the default typesetting behaviour. It should correspond
1633 to 18th century common practice: Accidentals are
1634 remembered to the end of the measure in which they occur and
1635 only on their own octave.
1637 @item \voiceAccidentals
1638 @cindex @code{\voiceAccidentals}
1640 The normal behaviour is to
1641 remember the accidentals on Staff-level. This variable, however,
1642 typesets accidentals individually for each voice. Apart from that the
1643 rule is similar to @code{\defaultAccidentals}.
1645 This leads to some weird and often unwanted results
1646 because accidentals from one voice do not get cancelled in other
1648 @lilypond[singleline,relative,fragment,verbatim,quote]
1656 Hence you should only use @code{\voiceAccidentals} if the voices
1657 are to be read solely by individual musicians. If the staff is to be
1658 used by one musician (e.g. a conductor) then you use
1659 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1662 @item \modernAccidentals
1663 @cindex @code{\modernAccidentals}
1664 This rule corresponds to the common practice in the 20th
1666 The rule is more complex than @code{\defaultAccidentals}.
1667 You get all the same accidentals, but temporary
1668 accidentals also get cancelled in other octaves. Furthermore,
1669 in the same octave, they also get cancelled in the following measure:
1670 @lilypond[singleline,fragment,verbatim]
1672 cis' c'' cis'2 | c'' c'
1675 @item \modernCautionaries
1676 @cindex @code{\modernCautionaries}
1677 This rule is similar to @code{\modernAccidentals}, but the
1678 ``extra'' accidentals (the ones not typeset by
1679 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1680 They are printed in reduced size or with parentheses:
1681 @lilypond[singleline,fragment,verbatim]
1683 cis' c'' cis'2 | c'' c'
1686 @cindex @code{\modernVoiceAccidentals}
1687 @item \modernVoiceAccidentals
1688 is used for multivoice accidentals to be read both by musicians
1689 playing one voice and musicians playing all voices. Accidentals are
1690 typeset for each voice, but they @emph{are} cancelled across voices in
1691 the same @internalsref{Staff}.
1693 @cindex @code{\modernVoiceCautionaries}
1694 @item \modernVoiceCautionaries
1695 is the same as @code{\modernVoiceAccidentals}, but with the extra
1696 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1697 as cautionaries. Even though all accidentals typeset by
1698 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1699 some of them are typeset as cautionaries.
1701 @item \pianoAccidentals
1702 @cindex @code{\pianoAccidentals}
1703 20th century practice for piano notation. Very similar to
1704 @code{\modernAccidentals} but accidentals also get cancelled
1705 across the staves in the same @internalsref{GrandStaff} or
1706 @internalsref{PianoStaff}.
1708 @item \pianoCautionaries
1709 @cindex @code{\pianoCautionaries}
1710 As @code{\pianoAccidentals} but with the extra accidentals
1711 typeset as cautionaries.
1714 @cindex @code{\noResetKey}
1715 Same as @code{\defaultAccidentals} but with accidentals lasting
1716 ``forever'' and not only until the next measure:
1717 @lilypond[singleline,fragment,verbatim,relative]
1722 @item \forgetAccidentals
1723 @cindex @code{\forgetAccidentals}
1724 This is sort of the opposite of @code{\noResetKey}: Accidentals
1725 are not remembered at all---and hence all accidentals are
1726 typeset relative to the key signature, regardless of what was
1727 before in the music:
1728 @lilypond[singleline,fragment,verbatim,relative]
1730 \key d\major c4 c cis cis d d dis dis
1734 @node Customized accidental rules
1735 @subsection Customized accidental rules
1737 For determining when to print an accidental, several different rules
1738 are tried. The rule that gives the highest number of accidentals is
1739 used. Each rule consists of
1742 In which context is the rule applied. For example, if
1743 @var{context} is @internalsref{Score} then all staves share
1744 accidentals, and if @var{context} is @internalsref{Staff} then all
1745 voices in the same staff share accidentals, but staves do not.
1747 Whether the accidental changes all octaves or only the current
1750 Over how many barlines the accidental lasts.
1751 If @var{lazyness} is @code{-1} then the accidental is forget
1752 immediately, and if @var{lazyness} is @code{#t} then the accidental
1755 @c [TODO: should use +infinity for this case?]
1761 @cindex @code{\defaultAccidentals}
1762 @code{\defaultAccidentals},
1763 @cindex @code{\voiceAccidentals}
1764 @code{\voiceAccidentals},
1765 @cindex @code{\modernAccidentals}
1766 @code{\modernAccidentals},
1767 @cindex @code{\modernCautionaries}
1768 @code{\modernCautionaries},
1769 @cindex @code{\modernVoiceAccidentals}
1770 @code{\modernVoiceAccidentals},
1771 @cindex @code{\modernVoiceCautionaries}
1772 @code{\modernVoiceCautionaries},
1773 @cindex @code{\pianoAccidentals}
1774 @code{\pianoAccidentals},
1775 @cindex @code{\pianoCautionaries}
1776 @code{\pianoCautionaries},
1777 @cindex @code{\noResetKey}
1779 @cindex @code{\forgetAccidentals}
1780 @code{\forgetAccidentals}.
1784 Internals: @internalsref{Accidental_engraver},
1785 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1790 Currently the simultaneous notes are considered to be entered in
1791 sequential mode. This means that in a chord the accidentals are
1792 typeset as if the notes in the chord happened once at a time - in the
1793 order in which they appear in the input file.
1795 This is only a problem when there are simultaneous notes whose
1796 accidentals depend on each other. The problem only occurs when using
1797 non-default accidentals. In the default scheme, accidentals only
1798 depend on other accidentals with the same pitch on the same staff, so
1799 no conflicts possible.
1801 This example shows two examples of the same music giving different
1802 accidentals depending on the order in which the notes occur in the
1805 @lilypond[singleline,fragment,verbatim]
1806 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1807 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1808 | <cis' c''> r | <c'' cis'> r |
1811 This problem can be solved by manually inserting @code{!} and @code{?}
1812 for the problematic notes.
1814 @node Expressive marks
1815 @section Expressive marks
1818 @c todo: should change ordering
1819 @c where to put text spanners, metronome marks,
1828 * Analysis brackets::
1830 * Fingering instructions::
1841 A slur indicates that notes are to be played bound or @emph{legato}.
1845 They are entered using parentheses:
1846 @lilypond[relative 1,fragment,verbatim,center]
1847 f( g)( a) a8 b( a4 g2 f4)
1852 @c TODO: should explain that ^( and _( set directions
1853 @c should set attachments with ^ and _ ?
1855 Slurs avoid crossing stems, and are generally attached to note heads.
1856 However, in some situations with beams, slurs may be attached to stem
1857 ends. If you want to override this layout you can do this through the
1858 object property @code{attachment} of @internalsref{Slur} in
1859 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1860 the attachment type of the left and right end points:
1862 @lilypond[fragment,relative,verbatim]
1864 \property Voice.Stem \set #'length = #5.5
1866 \property Voice.Slur \set #'attachment = #'(stem . stem)
1870 If a slur would strike through a stem or beam, the slur will be moved
1871 away upward or downward. If this happens, attaching the slur to the
1872 stems might look better:
1874 @lilypond[fragment,relative,verbatim]
1877 \property Voice.Slur \set #'attachment = #'(stem . stem)
1884 @cindex @code{\slurUp}
1886 @cindex @code{\slurDown}
1888 @cindex @code{\slurBoth}
1890 @cindex @code{\slurDotted}
1892 @cindex @code{\slurSolid}
1897 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1902 Producing nice slurs is a difficult problem, and LilyPond currently
1903 uses a simple, empiric method to produce slurs. In some cases, its
1907 @cindex Adjusting slurs
1909 @node Phrasing slurs
1910 @subsection Phrasing slurs
1912 @cindex phrasing slurs
1913 @cindex phrasing marks
1915 A phrasing slur (or phrasing mark) connects chords and is used to
1916 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1919 @lilypond[fragment,verbatim,center,relative]
1920 \time 6/4 c'\( d( e) f( e) d\)
1923 Typographically, the phrasing slur behaves almost exactly like a
1924 normal slur. However, they are treated as different objects. A
1925 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1926 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1927 @code{\phrasingSlurBoth}.
1929 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1930 will only affect normal slurs and not phrasing slurs.
1934 @cindex @code{\phrasingSlurUp}
1935 @code{\phrasingSlurUp},
1936 @cindex @code{\phrasingSlurDown}
1937 @code{\phrasingSlurDown},
1938 @cindex @code{\phrasingSlurBoth}
1939 @code{\phrasingSlurBoth},
1943 Internals: see also @internalsref{PhrasingSlur}, and
1944 @internalsref{PhrasingSlurEvent}.
1948 Phrasing slurs have the same limitations in their formatting as normal
1949 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1952 @subsection Breath marks
1954 Breath marks are entered using @code{\breathe}:
1957 @lilypond[fragment,relative,verbatim]
1961 The glyph of the breath mark can be tweaked by overriding the
1962 @code{text} property of the @code{BreathingSign} layout object with
1963 any markup text. For example,
1964 @lilypond[fragment,verbatim,relative]
1966 \property Voice.BreathingSign \override #'text
1967 = #(make-musicglyph-markup "scripts-rvarcomma")
1974 Internals: @internalsref{BreathingSign},
1975 @internalsref{BreathingSignEvent}
1977 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1980 @node Metronome marks
1981 @subsection Metronome marks
1984 @cindex beats per minute
1985 @cindex metronome marking
1987 Metronome settings can be entered as follows:
1989 \tempo @var{duration} = @var{perminute}
1992 In the MIDI output, they are interpreted as a tempo change, and in the
1993 paper output, a metronome marking is printed:
1994 @cindex @code{\tempo}
1995 @lilypond[fragment,verbatim]
2001 Internals: @internalsref{MetronomeChangeEvent}.
2006 @subsection Text spanners
2007 @cindex Text spanners
2009 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2010 are written as texts, and extended over many measures with dotted
2011 lines. You can create such texts using text spanners: attach
2012 @code{\startTextSpan} and @code{\stopTextSpan} to the
2013 start and ending note of the spanner.
2015 The string to be printed, as well as the style, is set through object
2018 @lilypond[fragment,relative,verbatim]
2020 \property Voice.TextSpanner \set #'direction = #-1
2021 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
2022 c2\startTextSpan b c\stopTextSpan a }
2028 Internals @internalsref{TextSpanEvent},
2029 @internalsref{TextSpanner}.
2031 Examples: @inputfileref{input/regression,text-spanner.ly}.
2034 @node Analysis brackets
2035 @subsection Analysis brackets
2037 @cindex phrasing brackets
2038 @cindex musicological analysis
2039 @cindex note grouping bracket
2041 Brackets are used in musical analysis to indicate structure in musical
2042 pieces. LilyPond supports a simple form of nested horizontal brackets.
2043 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2044 @internalsref{Staff} context. A bracket is started with
2045 @code{\startGroup} and closed with @code{\stopGroup}:
2047 @lilypond[singleline,verbatim]
2048 \score { \notes \relative c'' {
2049 c4\startGroup\startGroup
2052 c4\stopGroup\stopGroup
2054 \paper { \translator {
2055 \StaffContext \consists "Horizontal_bracket_engraver"
2061 Internals: @internalsref{HorizontalBracket},
2062 @internalsref{NoteGroupingEvent}
2064 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2068 @subsection Articulations
2069 @cindex Articulations
2071 @cindex articulations
2075 A variety of symbols can appear above and below notes to indicate
2076 different characteristics of the performance. They are added to a note
2077 by adding a dash and the character signifying the
2078 articulation. They are demonstrated here:
2080 @lilypondfile[notexidoc]{script-abbreviations.ly}
2082 The meanings of these shorthands can be changed: see
2083 @file{ly/script-init.ly} for examples.
2086 The script is automatically placed, but if you need to force
2087 directions, you can use @code{_} to force them down, or @code{^} to
2089 @lilypond[fragment, verbatim]
2093 Other symbols can be added using the syntax
2094 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2095 can be forced up or down using @code{^} and @code{_},
2098 @lilypond[verbatim,fragment,relative 2]
2099 c\fermata c^\fermata c_\fermata
2106 @cindex staccatissimo
2115 @cindex organ pedal marks
2124 @cindex prallmordent
2128 @cindex thumb marking
2133 @lilypondfile[notexidoc]{script-chart.ly}
2138 @cindex @code{\scriptUp}
2140 @cindex @code{\scriptDown}
2142 @cindex @code{\scriptBoth}
2147 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2151 These note ornaments appear in the printed output but have no
2152 effect on the MIDI rendering of the music.
2155 @node Fingering instructions
2156 @subsection Fingering instructions
2160 Fingering instructions can be entered using
2162 @var{note}-@var{digit}
2164 For finger changes, use markup texts:
2166 @lilypond[verbatim, singleline, fragment]
2167 c'4-1 c'4-2 c'4-3 c'4-4
2168 c'^\markup { \fontsize #-3 \number "2-3" }
2171 @cindex finger change
2176 You can use the thumb-script to indicate that a note should be
2177 played with your thumb (used in cello music):
2179 @lilypond[verbatim, singleline, fragment]
2180 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2181 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2184 Fingerings for chords can also be added to individual notes
2185 of the chord by adding them after the pitches:
2186 @lilypond[verbatim,singleline,fragment,relative=1]
2187 < c-1 e-2 g-3 b-5 > 4
2190 Setting @code{fingeringOrientations} will put fingerings next
2193 @lilypond[verbatim,singleline,fragment,relative=1]
2194 \property Voice.fingeringOrientations = #'(left down)
2195 <c-1 es-2 g-4 bes-5 > 4
2196 \property Voice.fingeringOrientations = #'(up right down)
2197 <c-1 es-2 g-4 bes-5 > 4
2202 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2206 @subsection Text scripts
2207 @cindex Text scripts
2209 @cindex text items, non-empty
2210 @cindex non-empty texts
2212 It is possible to place arbitrary strings of text or markup text (see
2213 @ref{Text markup}) above or below notes by using a string:
2214 @code{c^"text"}. By default, these indications do not influence the
2215 note spacing, but by using the command @code{\fatText}, the widths
2216 will be taken into account:
2218 @lilypond[fragment,singleline,verbatim] \relative c' {
2219 c4^"longtext" \fatText c4_"longlongtext" c4 }
2222 It is possible to use @TeX{} commands in the strings, but this should
2223 be avoided because the exact dimensions of the string can then no
2228 @refcommand{fatText}, @refcommand{emptyText}.
2233 In this manual: @ref{Text markup}.
2235 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2241 @subsection Grace notes
2244 @c should have blurb about accaciatura / appogiatura
2246 @cindex @code{\grace}
2250 Grace notes are ornaments that are written out. The most common ones
2251 are acciaccatura, which should be played as very short. It is denoted
2252 by a slurred small note with a slashed stem. The appoggiatura is a
2253 grace note that takes a fixed fraction of the main note, is and
2254 denoted as a slurred note in small print without a slash.
2255 They are entered with the commands @code{\acciaccatura} and
2256 @code{\appoggiatura}, as demonstrated in the following example:
2259 @cindex appoggiatura
2260 @cindex acciaccatura
2262 @lilypond[relative=2,verbatim,fragment]
2263 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2264 \acciaccatura { g16[ f] } e4
2267 Both are special forms of the @code{\grace} command. By prefixing this
2268 keyword to a music expression, a new one is formed, which will be
2269 printed in a smaller font and takes up no logical time in a measure.
2270 @lilypond[relative=2,verbatim,fragment]
2272 \grace { c16[ d16] } c2 c4
2276 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2277 @code{\grace} command does not start a slur.
2279 Internally, timing for grace notes is done using a second, `grace'
2280 time. Every point in time consists of two rational numbers: one
2281 denotes the logical time, one denotes the grace timing. The above
2282 example is shown here with timing tuples:
2284 @lilypond[singleline]
2287 c4 \grace c16 c4 \grace {
2290 \new Lyrics \lyrics {
2293 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2294 \markup { (\fraction 1 4 , 0 ) } 4
2296 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2297 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2299 \markup { ( \fraction 2 4 , 0 ) }
2304 The placement of grace notes is synchronized between different staves.
2305 In the following example, there are two sixteenth graces notes for
2306 every eighth grace note:
2308 @lilypond[relative=2,verbatim,fragment]
2309 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2310 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2315 If you want to end a note with a grace, then the standard trick
2316 is to put the grace notes after a ``space note'', e.g.
2317 @lilypond[fragment,verbatim, relative=2]
2320 { s2 \grace { c16[ d] } } >>
2326 By adjusting the duration of the skip note (here it is a half-note),
2327 the space between the main-note and the grace is adjusted.
2330 A @code{\grace} section will introduce special typesetting settings,
2331 for example, to produce smaller type, and set directions. Hence, when
2332 introducing layout tweaks, they should be inside the grace section,
2334 @lilypond[fragment,verbatim,relative 1]
2337 \property Voice.Stem \override #'direction = #-1
2339 \property Voice.Stem \revert #'direction
2346 The overrides should also be reverted inside the grace section.
2348 If the layout of grace sections must be changed throughout the music,
2349 then this can be accomplished through the function
2350 @code{add-grace-property}. The following example
2351 undefines the Stem direction grace section, so stems do not always
2356 #(add-grace-property "Voice" Stem direction '())
2362 Another option is to change the variables @code{startGraceMusic},
2363 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2364 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2365 @code{stopAppoggiaturaMstuic}. More information is in the file
2366 @file{ly/grace-init.ly}
2371 Internals: @internalsref{GraceMusic}.
2375 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2377 A score that starts with an @code{\grace} section needs an explicit
2378 @code{\context Voice} declaration, otherwise the main note and grace
2379 note end up on different staves.
2381 Grace note synchronization can also lead to surprises. Staff notation,
2382 such as key signatures, barlines, etc. are also synchronized. Take
2383 care when you mix staves with grace notes and staves without, for example,
2385 @lilypond[relative=2,verbatim,fragment]
2386 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2387 \new Staff { c4 \bar "|:" d4 } >>
2390 Grace sections should only be used within sequential music
2391 expressions. Nesting or juxtaposing grace sections is not supported,
2392 and might produce crashes or other errors.
2394 Overriding settings cannot be done in separate styles for appoggiatura
2399 @subsection Glissando
2402 @cindex @code{\glissando}
2404 A glissando is a smooth change in pitch. It is denoted by a line or a
2405 wavy line between two notes.
2409 A glissando line can be requested by attaching a @code{\glissando} to
2412 @lilypond[fragment,relative,verbatim]
2418 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2423 Adding additional texts (such as @emph{gliss.}) is not supported.
2427 @subsection Dynamics
2440 @cindex @code{\ffff}
2450 Absolute dynamic marks are specified using an variable after a
2451 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2452 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2453 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2454 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2456 @lilypond[verbatim,singleline,fragment,relative]
2457 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2463 @cindex @code{\decr}
2464 @cindex @code{\rced}
2471 A crescendo mark is started with @code{\<} and terminated with
2472 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2473 with @code{\!}. Because these marks are bound to notes, if you must
2474 use spacer notes if multiple marks during one note are needed:
2476 @lilypond[fragment,verbatim,center,quote]
2477 c''\< c''\! d''\decr e''\rced
2478 << f''1 { s4 s4\< s4\! \> s4\! } >>
2480 This may give rise to very short hairpins. Use @code{minimum-length}
2481 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2485 \property Staff.Hairpin \override #'minimum-length = #5
2488 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2489 is an example how to do it:
2491 @lilypond[fragment,relative=2,verbatim]
2492 c4 \cresc c4 c c c \endcresc c4
2498 You can also supply your own texts:
2499 @lilypond[fragment,relative,verbatim]
2501 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2502 \property Voice.crescendoSpanner = #'dashed-line
2512 @cindex @code{\dynamicUp}
2514 @cindex @code{\dynamicDown}
2515 @code{\dynamicDown},
2516 @cindex @code{\dynamicBoth}
2517 @code{\dynamicBoth}.
2519 @cindex direction, of dynamics
2523 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2524 @internalsref{AbsoluteDynamicEvent}.
2526 Dynamics are objects of @internalsref{DynamicText} and
2527 @internalsref{Hairpin}. Vertical positioning of these symbols is
2528 handled by the @internalsref{DynamicLineSpanner} object.
2530 If you want to adjust padding or vertical direction of the dynamics, you
2531 must set properties for the @internalsref{DynamicLineSpanner} object.
2539 @cindex @code{\repeat}
2542 Repetition is a central concept in music, and multiple notations exist
2543 for repetitions. In LilyPond, most of these notations can be captured
2544 in a uniform syntax. One of the advantages is that they can be
2545 rendered in MIDI accurately.
2547 The following types of repetition are supported:
2551 Repeated music is fully written (played) out. Useful for MIDI
2552 output, and entering repetitive music.
2555 This is the normal notation: Repeats are not written out, but
2556 alternative endings (voltas) are printed, left to right.
2560 Alternative endings are written stacked. This has limited use but may be
2561 used to typeset two lines of lyrics in songs with repeats, see
2562 @inputfileref{input,star-spangled-banner.ly}.
2570 Make beat or measure repeats. These look like percent signs.
2576 * Repeats and MIDI::
2577 * Manual repeat commands::
2579 * Tremolo subdivisions::
2584 @subsection Repeat syntax
2588 LilyPond has one syntactic construct for specifying different types of
2589 repeats. The syntax is
2592 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2595 If you have alternative endings, you may add
2596 @cindex @code{\alternative}
2598 \alternative @code{@{} @var{alternative1}
2600 @var{alternative3} @dots{} @code{@}}
2602 where each @var{alternative} is a music expression. If you do not
2603 give enough alternatives for all of the repeats, then the first
2604 alternative is assumed to be played more than once.
2606 Normal notation repeats are used like this:
2607 @lilypond[fragment,verbatim,relative 1]
2609 \repeat volta 2 { c4 d e f }
2610 \repeat volta 2 { f e d c }
2613 With alternative endings:
2614 @lilypond[fragment,verbatim,relative 1]
2616 \repeat volta 2 {c4 d e f}
2617 \alternative { {d2 d} {f f,} }
2621 @lilypond[fragment,verbatim,relative 1]
2624 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2625 \alternative { { g4 g g } { a | a a a a | b2. } }
2631 If you do a nested repeat like
2640 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2641 belongs. This ambiguity is resolved by always having the
2642 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2643 it is advisable to use braces in such situations.
2646 @node Repeats and MIDI
2647 @subsection Repeats and MIDI
2649 @cindex expanding repeats
2651 For instructions on how to unfold repeats for MIDI output, see the
2652 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2657 Timing information is not remembered at the start of an alternative,
2658 so after a repeat timing information must be reset by hand, for
2659 example by setting @code{Score.measurePosition} or entering
2660 @code{\partial}. Similarly, slurs or ties are also not repeated.
2663 @node Manual repeat commands
2664 @subsection Manual repeat commands
2666 @cindex @code{repeatCommands}
2668 The property @code{repeatCommands} can be used to control the layout of
2669 repeats. Its value is a Scheme list of repeat commands, where each repeat
2673 @item the symbol @code{start-repeat},
2674 which prints a @code{|:} bar line,
2675 @item the symbol @code{end-repeat},
2676 which prints a @code{:|} bar line,
2677 @item the list @code{(volta @var{text})},
2678 which prints a volta bracket saying @var{text}: The text can be specified as
2679 a text string or as a markup text, see @ref{Text markup}. Do not
2680 forget to change the font, as the default number font does not contain
2681 alphabetic characters. Or,
2682 @item the list @code{(volta #f)}, which
2683 stops a running volta bracket:
2686 @lilypond[verbatim, fragment,relative 2]
2688 \property Score.repeatCommands = #'((volta "93") end-repeat)
2690 \property Score.repeatCommands = #'((volta #f))
2697 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2698 @internalsref{VoltaRepeatedMusic},
2699 @internalsref{UnfoldedRepeatedMusic}, and
2700 @internalsref{FoldedRepeatedMusic}.
2702 @node Tremolo repeats
2703 @subsection Tremolo repeats
2704 @cindex tremolo beams
2706 To place tremolo marks between notes, use @code{\repeat} with tremolo
2708 @lilypond[verbatim,singleline]
2710 \context Voice \notes\relative c' {
2711 \repeat "tremolo" 8 { c16 d16 }
2712 \repeat "tremolo" 4 { c16 d16 }
2713 \repeat "tremolo" 2 { c16 d16 }
2718 Tremolo marks can also be put on a single note. In this case, the
2719 note should not be surrounded by braces.
2720 @lilypond[verbatim,singleline]
2721 \repeat "tremolo" 4 c16
2724 A similar mechanism is the tremolo subdivision, described in
2725 @ref{Tremolo subdivisions}.
2729 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2731 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2732 tremolos are @internalsref{StemTremolo}s. The music expression is
2733 @internalsref{TremoloEvent},
2735 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2736 @inputfileref{input/regression,stem-tremolo.ly}.
2738 @node Tremolo subdivisions
2739 @subsection Tremolo subdivisions
2740 @cindex tremolo marks
2741 @cindex @code{tremoloFlags}
2743 Tremolo marks can be printed on a single note by adding
2744 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2745 A @var{length} value of 8 gives one line across the note stem. If the
2746 length is omitted, then then the last value (stored in
2747 @code{Voice.tremoloFlags}) is used:
2749 @lilypond[verbatim,fragment,center]
2750 c'2:8 c':32 | c': c': |
2753 @c [TODO : stok is te kort bij 32en]
2757 Tremolos in this style do not carry over into the MIDI output.
2761 In this manual: @ref{Tremolo repeats}.
2763 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2765 @node Measure repeats
2766 @subsection Measure repeats
2768 @cindex percent repeats
2769 @cindex measure repeats
2771 In the @code{percent} style, a note pattern can be repeated. It is
2772 printed once, and then the pattern is replaced with a special sign.
2773 Patterns of a one and two measures are replaced by percent-like signs,
2774 patterns that divide the measure length are replaced by slashes:
2776 @lilypond[verbatim,singleline]
2777 \context Voice { \repeat "percent" 4 { c'4 }
2778 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2784 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2785 @internalsref{PercentRepeatedMusic}, and
2786 @internalsref{DoublePercentRepeat}.
2790 @node Rhythmic music
2791 @section Rhythmic music
2793 Sometimes you might want to show only the rhythm of a melody. This
2794 can be done with the rhythmic staff. All pitches of notes on such a
2795 staff are squashed, and the staff itself has a single line:
2797 @lilypond[fragment,relative,verbatim]
2798 \context RhythmicStaff {
2800 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2806 Internals: @internalsref{RhythmicStaff}.
2808 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2812 * Percussion staves::
2813 * Percussion MIDI output::
2816 @node Percussion staves
2817 @subsection Percussion staves
2821 A percussion part for more than one instrument typically uses a
2822 multiline staff where each position in the staff refers to one piece
2827 Percussion staves are typeset with help of a set of Scheme
2828 functions. The system is based on the general MIDI drum-pitches.
2829 Include @file{drumpitch-init.ly} to use drum pitches. This file
2830 defines the pitches from the Scheme variable @code{drum-pitch-names},
2831 the definition of which can be read in @file{scm/drums.scm}. Each
2832 piece of percussion has a full name and an abbreviated name, and either
2833 the full name or the abbreviation may be used in input files.
2835 To typeset the music on a staff apply the function @code{drums->paper}
2836 to the percussion music. This function takes a list of percussion
2837 instrument names, notehead scripts and staff positions (that is:
2838 pitches relative to the C-clef) and transforms the input
2839 music by moving the pitch, changing the notehead and (optionally)
2842 @lilypond[singleline,verbatim,quote]
2843 \include "drumpitch-init.ly"
2844 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2845 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2847 \apply #(drums->paper 'drums) \context Staff <<
2849 \new Voice { \voiceOne \up }
2850 \new Voice { \voiceTwo \down }
2855 In the above example the music was transformed using the list @code{'drums}.
2856 The following lists are defined in @file{scm/drums.scm}:
2859 to typeset a typical drum kit on a five-line staff:
2862 \include "drumpitch-init.ly"
2863 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2864 bd sn ss tomh tommh tomml toml tomfh tomfl }
2865 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2866 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2869 \apply #(drums->paper 'drums) \context Staff <<
2873 \context Lyrics \nam
2876 linewidth = 100.0\mm
2879 \remove Bar_engraver
2880 \remove Time_signature_engraver
2881 minimumVerticalExtent = #'(-4.0 . 5.0)
2885 \remove Stem_engraver
2891 The drum scheme supports six different toms. When there fewer toms, simply
2892 select the toms that produce the desired result, i.e. to get toms on
2893 the three middle lines you use @code{tommh}, @code{tomml} and
2896 Because general MIDI does not contain rimshots the sidestick is used
2897 for this purpose instead.
2899 to typeset timbales on a two line staff:
2901 @lilypond[singleline]
2902 \include "drumpitch-init.ly"
2903 nam = \lyrics { timh ssh timl ssl cb }
2904 mus = \notes { timh ssh timl ssl cb s16 }
2907 \apply #(drums->paper 'timbales) \context Staff <<
2911 \context Lyrics \nam
2916 \remove Bar_engraver
2917 \remove Time_signature_engraver
2918 StaffSymbol \override #'line-count = #2
2919 StaffSymbol \override #'staff-space = #2
2920 minimumVerticalExtent = #'(-3.0 . 4.0)
2924 \remove Stem_engraver
2931 to typeset congas on a two line staff:
2933 @lilypond[singleline]
2934 \include "drumpitch-init.ly"
2935 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2936 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2939 \apply #(drums->paper 'congas) \context Staff <<
2943 \context Lyrics \nam
2948 \remove Bar_engraver
2949 \remove Time_signature_engraver
2950 StaffSymbol \override #'line-count = #2
2951 StaffSymbol \override #'staff-space = #2
2952 minimumVerticalExtent = #'(-3.0 . 4.0)
2956 \remove Stem_engraver
2962 to typeset bongos on a two line staff:
2964 @lilypond[singleline]
2965 \include "drumpitch-init.ly"
2966 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2967 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2970 \apply #(drums->paper 'bongos) \context Staff <<
2974 \context Lyrics \nam
2979 \remove Bar_engraver
2980 \remove Time_signature_engraver
2981 StaffSymbol \override #'line-count = #2
2982 StaffSymbol \override #'staff-space = #2
2983 minimumVerticalExtent = #'(-3.0 . 4.0)
2987 \remove Stem_engraver
2993 to typeset all kinds of simple percussion on one line staves:
2994 @lilypond[singleline]
2995 \include "drumpitch-init.ly"
2996 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2997 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3000 \apply #(drums->paper 'percussion) \context Staff <<
3004 \context Lyrics \nam
3009 \remove Bar_engraver
3010 \remove Time_signature_engraver
3011 StaffSymbol \override #'line-count = #1
3012 minimumVerticalExtent = #'(-2.0 . 3.0)
3016 \remove Stem_engraver
3023 If you do not like any of the predefined lists you can define your own
3024 list at the top of your file:
3026 @lilypond[singleline, verbatim]
3027 #(set-drum-kit 'mydrums `(
3028 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3029 (snare default #f ,(ly:make-pitch 0 1 0))
3030 (hihat cross #f ,(ly:make-pitch 0 5 0))
3031 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
3032 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3034 \include "drumpitch-init.ly"
3035 up = \notes { hh8 hh hh hh hhp4 hhp }
3036 down = \notes { bd4 sn bd toml8 toml }
3038 \apply #(drums->paper 'mydrums) \context Staff <<
3040 \new Voice { \voiceOne \up }
3041 \new Voice { \voiceTwo \down }
3046 To use a modified existing list, one can prepend modifications to the
3050 #(set-drum-kit 'mydrums (append `(
3051 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3052 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3053 ) (get-drum-kit 'drums)))
3056 You can easily combine percussion notation with pitched notation.
3057 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3058 names, so you will have to reinclude @file{nederlands.ly} after the
3059 drum-pattern-definitions to enter normal notes:
3061 @lilypond[singleline,verbatim]
3062 \include "drumpitch-init.ly"
3063 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3064 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3065 \include "nederlands.ly"
3066 bass = \notes \transpose c c,, { a4. e8 r e g e }
3069 \apply #(drums->paper 'drums) \new Staff <<
3071 \new Voice { \voiceOne \up }
3072 \new Voice { \voiceTwo \down }
3074 \new Staff { \clef "F_8" \bass }
3079 @node Percussion MIDI output
3080 @subsection Percussion MIDI output
3082 In order to produce correct MIDI output you need to produce two score
3083 blocks---one for the paper and one for the MIDI output. To use the
3084 percussion channel you set the property @code{instrument} to
3085 @code{'drums}. Because the drum-pitches themselves are similar to the
3086 general MIDI pitches all you have to do is to insert the voices with
3087 none of the scheme functions to get the correct MIDI output:
3091 \apply #(drums->paper 'mydrums) \context Staff <<
3100 \property Staff.instrument = #'drums
3110 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3111 temporary implementation.
3115 @section Piano music
3117 Piano staves are two normal staves coupled with a brace. The staves
3118 are largely independent, but sometimes voices can cross between the
3119 two staves. The same notation is also used for harps and other key
3120 instruments. The @internalsref{PianoStaff} is especially built to
3121 handle this cross-staffing behavior. In this section we discuss the
3122 @internalsref{PianoStaff} and some other pianistic peculiarities.
3126 * Automatic staff changes::
3127 * Manual staff switches::
3130 * Staff switch lines::
3135 There is no support for putting chords across staves. You can get
3136 this result by increasing the length of the stem in the lower stave so
3137 it reaches the stem in the upper stave, or vice versa. An example is
3138 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3140 Dynamics are not centered, but kludges do exist. See
3141 @inputfileref{input/template,piano-dynamics.ly}.
3143 @cindex cross staff stem
3144 @cindex stem, cross staff
3147 @c fixme: should have hyperlinks as well.
3153 @node Automatic staff changes
3154 @subsection Automatic staff changes
3155 @cindex Automatic staff changes
3157 Voices can switch automatically between the top and the bottom
3158 staff. The syntax for this is
3160 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3162 The two staffs of the piano staff must be named @code{up} and
3165 The autochanger switches on basis of pitch (central C is the turning
3166 point), and it looks ahead skipping over rests to switch in
3167 advance. Here is a practical example:
3169 @lilypond[verbatim,singleline,quote]
3170 \score { \notes \context PianoStaff <<
3171 \context Staff = "up" {
3172 \autochange Staff \context Voice = VA << \relative c' {
3173 g4 a b c d r4 a g } >> }
3174 \context Staff = "down" {
3181 In this example, spacer rests are used to prevent the bottom staff from
3182 terminating too soon.
3187 In this manual: @ref{Manual staff switches}
3189 Internals: @internalsref{AutoChangeMusic}.
3195 The staff switches often do not end up in optimal places. For high
3196 quality output, staff switches should be specified manually.
3199 @node Manual staff switches
3200 @subsection Manual staff switches
3202 @cindex manual staff switches
3203 @cindex staff switch, manual
3205 Voices can be switched between staves manually, using the following command:
3207 \change Staff = @var{staffname} @var{music}
3211 The string @var{staffname} is the name of the staff. It switches the
3212 current voice from its current staff to the Staff called
3213 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3222 Pianos have pedals that alter the way sound are produced. Generally, a
3223 piano has three pedals, sustain, una corda, and sostenuto.
3227 Piano pedal instruction can be expressed by attaching
3228 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3229 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3232 @lilypond[fragment,verbatim]
3233 c'4\sustainDown c'4\sustainUp
3236 What is printed can be modified by setting @code{pedal@var{X}Strings},
3237 where @var{X} is one of the pedal types: @code{Sustain},
3238 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3239 documentation of @internalsref{SustainPedal} for more information.
3241 Pedals can also be indicated by a sequence of brackets, by setting the
3242 @code{pedalSustainStyle} property to @code{bracket} objects:
3244 @lilypond[fragment,verbatim]
3245 \property Staff.pedalSustainStyle = #'bracket
3246 c''4\sustainDown d''4 e''4
3247 a'4\sustainUp\sustainDown
3248 f'4 g'4 a'4\sustainUp
3251 A third style of pedal notation is a mixture of text and brackets,
3252 obtained by setting @code{pedal-type} to @code{mixed}:
3254 @lilypond[fragment,verbatim]
3255 \property Staff.pedalSustainStyle = #'mixed
3256 c''4\sustainDown d''4 e''4
3257 c'4\sustainUp\sustainDown
3258 f'4 g'4 a'4\sustainUp
3261 The default `*Ped' style for sustain and damper pedals corresponds to
3262 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3263 for a sostenuto pedal:
3265 @lilypond[fragment,verbatim]
3266 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3269 For fine-tuning of the appearance of a pedal bracket, the properties
3270 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3271 @code{PianoPedalBracket} objects (see
3272 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3273 bracket may be extended to the end of the note head:
3275 @lilypond[fragment,verbatim]
3276 \property Staff.PianoPedalBracket \override
3277 #'shorten-pair = #'(0 . -1.0)
3278 c''4\sostenutoDown d''4 e''4 c'4
3279 f'4 g'4 a'4\sostenutoUp
3283 @subsection Arpeggio
3286 @cindex broken arpeggio
3287 @cindex @code{\arpeggio}
3289 You can specify an arpeggio sign on a chord by attaching an
3290 @code{\arpeggio} to a chord:
3293 @lilypond[fragment,relative,verbatim]
3297 When an arpeggio crosses staves, you attach an arpeggio to the chords
3298 in both staves, and set
3299 @internalsref{PianoStaff}.@code{connectArpeggios}:
3301 @lilypond[fragment,relative,verbatim]
3302 \context PianoStaff <<
3303 \property PianoStaff.connectArpeggios = ##t
3304 \new Staff { <c' e g c>\arpeggio }
3305 \new Staff { \clef bass <c,, e g>\arpeggio }
3309 The direction of the arpeggio is sometimes denoted by adding an
3310 arrowhead to the wiggly line. This can be typeset by setting
3311 @code{arpeggio-direction}:
3313 @lilypond[fragment,relative,verbatim]
3315 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3317 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3322 A square bracket on the left indicates that the player should not
3323 arpeggiate the chord. To draw these brackets, set the
3324 @code{molecule-callback} property of @code{Arpeggio} or
3325 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3326 @code{\arpeggio} statements within the chords as before:
3328 @lilypond[fragment,relative,verbatim]
3329 \property PianoStaff.Arpeggio \override
3330 #'molecule-callback = \arpeggioBracket
3336 @cindex @code{\arpeggioBracket}
3337 @code{\arpeggioBracket},
3338 @cindex @code{\arpeggio}
3343 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3344 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3345 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3349 It is not possible to mix connected arpeggios and unconnected
3350 arpeggios in one @internalsref{PianoStaff} at the same time.
3352 @node Staff switch lines
3353 @subsection Staff switch lines
3356 @cindex follow voice
3357 @cindex staff switching
3360 @cindex @code{followVoice}
3362 Whenever a voice switches to another staff a line connecting the notes
3363 can be printed automatically. This is enabled if the property
3364 @code{PianoStaff.followVoice} is set to true:
3366 @lilypond[fragment,relative,verbatim]
3367 \context PianoStaff <<
3368 \property PianoStaff.followVoice = ##t
3369 \context Staff \context Voice {
3374 \context Staff=two { \clef bass \skip 1*2 }
3378 The associated object is @internalsref{VoiceFollower}.
3382 @cindex @code{\showStaffSwitch}
3383 @code{\showStaffSwitch},
3384 @cindex @code{\hideStaffSwitch}
3385 @code{\hideStaffSwitch}.
3389 @section Vocal music
3391 This section discusses how to enter and print lyrics.
3395 * The Lyrics context::
3400 @node Entering lyrics
3401 @subsection Entering lyrics
3405 @cindex @code{\lyrics}
3408 Lyrics are entered in a special input mode. This mode is is introduced
3409 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3410 punctuation and accents without any hassle. Syllables are entered like
3411 notes, but with pitches replaced by text. For example,
3413 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3416 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3417 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3418 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3419 any 8-bit character with ASCII code over 127, or a two-character
3420 combination of a backslash followed by one of @code{`}, @code{'},
3421 @code{"}, or @code{^}.
3423 Subsequent characters of a word can be any character that is not a digit
3424 and not white space. One important consequence of this is that a word
3425 can end with @code{@}}. The following example is usually a bug. The
3426 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3428 \lyrics @{ twinkle@}
3431 @cindex @code{\property}, in @code{\lyrics}
3432 Similarly, a period following a alphabetic sequence, is included in the
3433 resulting string. As a consequence, spaces must be inserted around
3434 @code{\property} commands:
3436 \property Lyrics . LyricText \set #'font-shape = #'italic
3440 @cindex spaces, in lyrics
3441 @cindex quotes, in lyrics
3443 Any @code{_} character which appears in an unquoted word is converted
3444 to a space. This provides a mechanism for introducing spaces into words
3445 without using quotes. Quoted words can also be used in Lyrics mode to
3446 specify words that cannot be written with the above rules:
3449 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3453 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3458 These will be attached to the end of the first syllable.
3460 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3461 as a separate word between syllables. The hyphen will have variable
3462 length depending on the space between the syllables and it will be
3463 centered between the syllables.
3468 When a lyric is sung over many notes (this is called a melisma), this is
3469 indicated with a horizontal line centered between a syllable and the
3470 next one. Such a line is called an extender line, and it is entered as
3475 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3476 @internalsref{ExtenderEvent}.
3480 The definition of lyrics mode is too complex.
3482 @node The Lyrics context
3483 @subsection The Lyrics context
3485 Lyrics are printed by interpreting them in @internalsref{LyricsVoice} context:
3487 \context LyricsVoice \lyrics @dots{}
3490 @cindex automatic syllable durations
3491 @cindex @code{\lyricsto}
3492 @cindex lyrics and melodies
3494 This will place the lyrics according to the durations that were
3495 entered. The lyrics can also be aligned under a given melody
3496 automatically. In this case, it is no longer necessary to enter the
3497 correct duration for each syllable. This is achieved by combining the
3498 melody and the lyrics with the @code{\lyricsto} expression:
3500 \lyricsto @var{name} \new LyricsVoice @dots{}
3503 This aligns the lyrics to the notes of the @internalsref{Voice}
3504 context called @var{name}, which has to exist. Therefore, normally
3505 the @code{Voice} is specified first, and then the lyrics are specified
3506 with @code{\lyricsto}.
3508 For different or more complex orderings, the best way is to setup the
3509 hierarchy of staves and lyrics first, e.g.
3511 \context ChoirStaff \notes <<
3512 \context LyricsVoice = sopranoLyrics @{ s1 @}
3513 \context Voice = soprano @{ @emph{music} @}
3514 \context LyricsVoice = tenor @{ s1 @}
3515 \context Voice = tenorLyrics @{ @emph{music} @}
3518 and then combine the appropriate melodies and lyric lines:
3520 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3523 An example is in @inputfileref{input/template,satb.ly}.
3525 When multiple stanzas are put on the same melody, it can happen that
3526 two stanzas have melismata in different locations. This can be
3527 remedied by switching off melismata for one
3528 @internalsref{LyricsVoice}. This is achieved by setting
3529 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3530 in @inputfileref{input/regression,lyric-combine-new.ly}.
3534 @cindex choral score
3536 A complete example of a SATB score setup is in the file
3537 @inputfileref{input/template,satb.ly}.
3541 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
3543 Examples: @inputfileref{input/template,satb.ly},
3544 @inputfileref{input/regression,lyric-combine-new.ly}.
3548 @code{\lyricsto} is not automatic enough: melismata are not detected
3549 automatically, and melismata are not stopped when they hit a rest.
3553 @subsection More stanzas
3555 @cindex phrasing, in lyrics
3558 The lyrics should be aligned with the note heads of the melody. To
3559 achieve this, each line of lyrics should be marked to correspond with
3562 To this end, give the @internalsref{Voice} context an identity:
3564 \context Voice = duet @{
3569 Then set the @internalsref{LyricsVoice} contexts to names starting with
3570 that identity followed by a dash. In the preceding example, the
3571 @internalsref{Voice} identity is @code{duet}, so the identities of the
3572 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3574 \context LyricsVoice = "duet-1" @{
3575 Hi, my name is bert. @}
3576 \context LyricsVoice = "duet-2" @{
3577 Ooooo, ch\'e -- ri, je t'aime. @}
3580 The complete example is shown here:
3581 @lilypond[singleline,verbatim]
3583 << \notes \relative c'' \context Voice = duet { \time 3/4
3585 \lyrics << \lyricsto "duet" \new LyricsVoice {
3586 \property LyricsVoice . stanza = "1"
3587 Hi, my name is bert. }
3588 \lyricsto "duet" \new LyricsVoice {
3589 \property LyricsVoice . stanza = "2"
3590 Ooooo, ch\'e -- ri, je t'aime. }
3595 @cindex stanza number
3596 @cindex singer's names
3597 @cindex name of singer
3599 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3602 \property LyricsVoice . stanza = "Bert"
3604 \property LyricsVoice . stanza = "Ernie"
3607 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3608 prevent @code{LyricsVoice.stanza} being interpreted as a single
3611 Names of the singers should be added using @code{LyricsVoice
3612 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3613 annotations for staves.
3615 To make empty spaces in lyrics, use @code{\skip}.
3623 Input for lyrics introduces a syntactical ambiguity:
3630 is interpreted as assigning a string identifier @code{\foo} such that
3631 it contains @code{"bar"}. However, it could also be interpreted as
3632 making or a music identifier @code{\foo} containing the syllable
3633 `bar'. The force the latter interpretation, use
3643 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3644 for a given voice in a part of music. It also may denote the pitch
3645 range that a musical instrument is capable of playing. Most musical
3646 instruments have their ambitus standardized (or at least there is
3647 agreement upon the minimal ambitus of a particular type of
3648 instrument), such that a composer or arranger of a piece of music can
3649 easily meet the ambitus constraints of the targeted instrument.
3650 However, the ambitus of the human voice depends on individual
3651 physiological state, including education and training of the voice.
3652 Therefore, a singer potentially has to check for each piece of music
3653 if the ambitus of that piece meets his individual capabilities. This
3654 is why the ambitus of a piece may be of particular value to vocal
3657 The ambitus is typically notated on a per-voice basis at the very
3658 beginning of a piece, e.g. nearby the initial clef or time signature of
3659 each staff. The range is graphically specified by two noteheads, that
3660 represent the minimum and maximum pitch. Some publishers use a textual
3661 notation: they put the range in words in front of the corresponding
3662 staff. LilyPond only supports the graphical ambitus notation.
3664 To apply, add the @internalsref{Ambitus_engraver} to the
3665 @internalsref{Voice} context, i.e.
3671 \consists Ambitus_engraver
3676 This results in the following output:
3677 @lilypond[singleline]
3678 upper = \notes \relative c {
3681 as'' c e2 bes f cis d4 e f2 g
3683 lower = \notes \relative c {
3686 e'4 b g a c es fis a cis b a g f e d2
3689 \context ChoirStaff {
3691 \new Staff { \upper }
3692 \new Staff { \lower }
3698 \consists Ambitus_engraver
3704 If you have multiple voices in a single staff, and you want a single
3705 ambitus per staff rather than per each voice, then add the
3706 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3707 rather than to the @internalsref{Voice} context.
3709 It is possible to tune individual ambituses for multiple voices on a
3710 single staff, for example by erasing or shifting them horizontally. An
3711 example is in @inputfileref{input/test,ambitus-mixed.ly}
3715 Internals: @internalsref{Ambitus}
3717 Examples: @inputfileref{input/regression,ambitus.ly},
3718 @inputfileref{input/test,ambitus-mixed.ly}.
3722 There is no collision handling in the case of multiple per-voice
3728 Tablature notation is used for notating music for plucked string
3729 instruments. It notates pitches not by using note heads, but by
3730 indicating on which string and fret a note must be played. LilyPond
3731 offers limited support for tablature.
3734 * Tablatures basic::
3735 * Non-guitar tablatures::
3738 @node Tablatures basic
3739 @subsection Tablatures basic
3740 @cindex Tablatures basic
3742 The string number associated to a note is given as a backslash
3743 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3744 string. By default, string 1 is the highest one, and the tuning
3745 defaults to the standard guitar tuning (with 6 strings). The notes
3746 are printed as tablature, by using @internalsref{TabStaff} and
3747 @internalsref{TabVoice} contexts:
3749 @lilypond[fragment,verbatim]
3750 \notes \context TabStaff {
3758 When no string is specified, the first string that does not give a
3759 fret number less than @code{minimumFret} is selected. The default
3760 value for @code{minimumFret} is 0:
3764 e8 fis gis a b cis' dis' e'
3765 \property TabStaff.minimumFret = #8
3766 e8 fis gis a b cis' dis' e'
3771 e8 fis gis a b cis' dis' e'
3772 \property TabStaff.minimumFret = #8
3773 e8 fis gis a b cis' dis' e'
3776 \context StaffGroup <<
3777 \context Staff { \clef "G_8" \frag }
3778 \context TabStaff { \frag }
3785 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3786 @internalsref{StringNumberEvent}.
3790 Chords are not handled in a special way, and hence the automatic
3791 string selector may easily select the same string to two notes in a
3795 @node Non-guitar tablatures
3796 @subsection Non-guitar tablatures
3797 @cindex Non-guitar tablatures
3799 You can change the number of strings, by setting the number of lines
3800 in the @internalsref{TabStaff}.
3802 You can change the tuning of the strings. A string tuning is given as
3803 a Scheme list with one integer number for each string, the number
3804 being the pitch (measured in semitones relative to central C) of an
3805 open string. The numbers specified for @code{stringTuning} are the
3806 numbers of semitones to subtract or add, starting the specified pitch
3807 by default middle C, in string order. Thus, the notes are e, a, d, and
3810 @lilypond[fragment,verbatim]
3811 \context TabStaff <<
3812 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3815 a,4 c' a e' e c' a e'
3820 It is possible to change the Scheme function to format the tablature
3821 note text. The default is @code{fret-number-tablature-format}, which
3822 uses the fret number. For instruments that do not use this notation,
3823 you can create a special tablature formatting function. This function
3824 takes three argument: string number, string tuning and note pitch.
3828 No guitar special effects have been implemented.
3833 @section Chord names
3836 LilyPond has support for both printing chord names. Chords may be
3837 entered in musical chord notation, i.e. @code{< .. >}, but they can
3838 also be entered by name. Internally, the chords are represented as a
3839 set of pitches, so they can be transposed:
3842 @lilypond[verbatim,singleline]
3843 twoWays = \notes \transpose c c' {
3853 << \context ChordNames \twoWays
3854 \context Voice \twoWays >> }
3857 This example also shows that the chord printing routines do not try to
3858 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3864 * Printing chord names::
3869 @subsection Chords mode
3872 Chord mode is a mode where you can input sets of pitches using common
3873 names. It is introduced by the keyword @code{\chords}.
3874 In chords mode, a chord is entered by the root, which is entered
3875 like a common pitch:
3876 @lilypond[fragment,verbatim,quote, relative=1]
3877 \chords { es4. d8 c2 }
3882 Other chords may be entered by suffixing a colon, and introducing a
3883 modifier, and optionally, a number:
3885 @lilypond[fragment,verbatim,quote]
3886 \chords { e1:m e1:7 e1:m7 }
3888 The first number following the root is taken to be the `type' of the
3889 chord, thirds are added to the root until it reaches the specified
3891 @lilypond[fragment,verbatim]
3892 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3895 @cindex root of chord
3896 @cindex additions, in chords
3897 @cindex removals, in chords
3899 More complex chords may also be constructed adding separate steps
3900 to a chord. Additions are added after the number following
3901 the colon, and are separated by dots:
3903 @lilypond[verbatim,fragment,quote]
3904 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3906 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3908 @lilypond[verbatim,fragment,quote]
3909 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3911 Removals are specified similarly, and are introduced by a caret. They
3912 must come after the additions:
3913 @lilypond[verbatim,fragment]
3914 \chords { c^3 c:7^5 c:9^3.5 }
3917 Modifiers can be used to change pitches. The following modifiers are
3921 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3923 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3926 is the augmented chord. This modifier raises the 5th step.
3928 is the major 7th chord. This modifier raises the 7th step if present.
3930 is the suspended 4th or 2nd. This modifier removes the 3rd
3931 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3934 Modifiers can be mixed with additions:
3935 @lilypond[verbatim,fragment]
3936 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3939 @cindex modifiers, in chords.
3946 Since an unaltered 11 does not sound good when combined with an
3947 unaltered 13, the 11 is removed in this case (unless it is added
3950 @lilypond[fragment,verbatim]
3951 \chords { c:13 c:13.11 c:m13 }
3956 An inversion (putting one pitch of the chord on the bottom), as well
3957 as bass notes, can be specified by appending
3958 @code{/}@var{pitch} to the chord:
3959 @lilypond[fragment,verbatim,center]
3960 \chords { c1 c/g c/f }
3964 A bass note can be added instead of transposed out of the chord,
3965 by using @code{/+}@var{pitch}.
3967 @lilypond[fragment,verbatim,center]
3968 \chords { c1 c/+g c/+f }
3971 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3972 of the commands continue to work, for example, @code{r} and
3973 @code{\skip} can be used to insert rests and spaces, and
3974 @code{\property} may be used to change various settings.
3980 Each step can only be present in a chord once. The following
3981 simply produces the augmented chord, since @code{5+} is interpreted
3984 @lilypond[verbatim,fragment]
3985 \chords { c:5.5-.5+ }
3989 @node Printing chord names
3990 @subsection Printing chord names
3992 @cindex printing chord names
3996 For displaying printed chord names, use the @internalsref{ChordNames} context.
3997 The chords may be entered either using the notation
3998 described above, or directly using @code{<} and @code{>}:
4000 @lilypond[verbatim,singleline]
4002 \chords {a1 b c} <d' f' a'> <e' g' b'>
4006 \context ChordNames \scheme
4007 \context Staff \scheme
4012 You can make the chord changes stand out by setting
4013 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4014 display chord names when there is a change in the chords scheme and at
4015 the start of a new line:
4017 @lilypond[verbatim, linewidth=9cm]
4019 c1:m c:m \break c:m c:m d
4023 \context ChordNames {
4024 \property ChordNames.chordChanges = ##t
4026 \context Staff \transpose c c' \scheme
4031 The default chord name layout is a system for Jazz music, proposed by
4032 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4033 following properties:
4036 @cindex chordNameExceptions
4037 @item chordNameExceptions
4038 This is a list that contains the chords that have special formatting.
4040 @inputfileref{input/regression,chord-name-exceptions.ly}.
4041 @cindex exceptions, chord names.
4044 @cindex majorSevenSymbol
4045 @item majorSevenSymbol
4046 This property contains the markup object used for the 7th step, when
4047 it is major. Predefined options are @code{whiteTriangleMarkup} and
4048 @code{blackTriangleMarkup}. See
4049 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4051 @cindex chordNameSeparator
4052 @item chordNameSeparator
4053 Different parts of a chord name are normally separated by a
4054 slash. By setting @code{chordNameSeparator}, you can specify other
4056 @lilypond[fragment,verbatim]
4057 \context ChordNames \chords {
4059 \property ChordNames.chordNameSeparator
4060 = \markup { \typewriter "|" }
4064 @cindex chordRootNamer
4065 @item chordRootNamer
4066 The root of a chord is usually printed as a letter with an optional
4067 alteration. The transformation from pitch to letter is done by this
4068 function. Special note names (for example, the German ``H'' for a
4069 B-chord) can be produced by storing a new function in this property.
4071 The pre-defined variables @code{\germanChords},
4072 @code{\semiGermanChords} set these variables.
4075 @cindex chordNoteNamer
4076 @item chordNoteNamer
4077 The default is to print single pitch, e.g. the bass note, using the
4078 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4079 to a specialized function to change this behavior. For example, the
4080 base can be printed in lower case.
4085 There are also two other chord name schemes implemented: an alternate
4086 Jazz chord notation, and a systematic scheme called Banter chords. The
4087 alternate jazz notation is also shown on the chart in @ref{Chord name
4088 chart}. Turning on these styles is described in the input file
4089 @inputfileref{input/test,chord-names-jazz.ly}.
4093 @cindex chords, jazz
4098 @cindex @code{\germanChords}
4099 @code{\germanChords},
4100 @cindex @code{\semiGermanChords}
4101 @code{\semiGermanChords}.
4108 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4109 @inputfileref{input/regression,chord-name-exceptions.ly},
4110 @inputfileref{input/test,chord-names-jazz.ly},
4111 @inputfileref{input/test,chord-names-german.ly}.
4113 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4118 Chord names are determined solely from the list of pitches. Chord
4119 inversions are not identified, and neither are added bass notes. This
4120 may result in strange chord names when chords are entered with the
4121 @code{< .. >} syntax.
4126 @node Orchestral music
4127 @section Orchestral music
4129 @cindex Writing parts
4131 Orchestral music involves some special notation, both in the full
4132 score and the individual parts. This section explains how to tackle
4133 some common problems in orchestral music.
4138 * Multiple staff contexts::
4141 * Instrument names::
4143 * Multi measure rests::
4144 * Automatic part combining::
4146 * Different editions from one source::
4147 * Sound output for transposing instruments::
4150 @node Multiple staff contexts
4151 @subsection Multiple staff contexts
4153 Polyphonic scores consist of many staves. These staves can be
4154 constructed in three different ways:
4156 @item The group is started with a brace at the left. This is done with the
4157 @internalsref{GrandStaff} context.
4158 @item The group is started with a bracket. This is done with the
4159 @internalsref{StaffGroup} context
4160 @item The group is started with a vertical line. This is the default
4164 @cindex Staff, multiple
4165 @cindex bracket, vertical
4166 @cindex brace, vertical
4173 @node Rehearsal marks
4174 @subsection Rehearsal marks
4175 @cindex Rehearsal marks
4177 @cindex @code{\mark}
4179 To print a rehearsal mark, use the @code{\mark} command:
4180 @lilypond[fragment,verbatim]
4190 The mark is incremented automatically if you use @code{\mark
4191 \default}. The value to use is stored in the property
4192 @code{rehearsalMark} is used and automatically incremented.
4194 @cindex coda on bar line
4195 @cindex segno on bar line
4196 @cindex fermata on bar line
4197 @cindex bar lines, symbols on
4199 The @code{\mark} command can also be used to put signs like coda,
4200 segno and fermatas on a barline. Use @code{\markup} to
4201 to access the appropriate symbol:
4203 @lilypond[fragment,verbatim,relative=1]
4204 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4208 In this case, during line breaks,
4209 marks must also be printed at the end of the line, and not at the
4210 beginning. Use the following to force that behavior:
4212 \property Score.RehearsalMark \override
4213 #'break-visibility = #begin-of-line-invisible
4216 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4222 @cindex barlines, putting symbols on
4226 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4228 Examples: @inputfileref{input/test,boxed-molecule.ly}.
4232 @subsection Bar numbers
4236 @cindex measure numbers
4237 @cindex currentBarNumber
4239 Bar numbers are printed by default at the start of the line. The
4240 number itself is stored in the
4241 @code{currentBarNumber} property,
4242 which is normally updated automatically for every measure.
4244 Bar numbers can be typeset at regular intervals instead of at the
4245 beginning of each line. This is illustrated in the following example,
4246 whose source is available as
4247 @inputfileref{input/test,bar-number-regular-interval.ly}:
4249 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4254 Internals: @internalsref{BarNumber}.
4256 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4257 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4261 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4262 there is one at the top. To solve this, the
4263 @code{padding} property of @internalsref{BarNumber} can be
4264 used to position the number correctly.
4266 @node Instrument names
4267 @subsection Instrument names
4269 In an orchestral score, instrument names are printed left side of the
4272 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4273 and @internalsref{Staff}.@code{instr}. This will print a string before
4274 the start of the staff. For the first start, @code{instrument} is
4275 used, for the next ones @code{instr} is used:
4278 @lilypond[verbatim,singleline]
4279 \property Staff.instrument = "ploink " { c''4 }
4283 You can also use markup texts to construct more complicated instrument
4287 @lilypond[fragment,verbatim,singleline]
4289 \property Staff.instrument = \markup {
4290 \column < "Clarinetti"
4292 \smaller \musicglyph #"accidentals--1"
4303 Internals: @internalsref{InstrumentName}.
4307 When you put a name on a grand staff or piano staff the width of the
4308 brace is not taken into account. You must add extra spaces to the end of
4309 the name to avoid a collision.
4312 @subsection Transpose
4314 @cindex transposition of pitches
4315 @cindex @code{\transpose}
4317 A music expression can be transposed with @code{\transpose}. The syntax
4320 \transpose @var{from} @var{to} @var{musicexpr}
4323 This means that @var{musicexpr} is transposed by the interval
4324 between the pitches @var{from} and @var{to}.
4325 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4326 inside a @code{\notes} section.
4328 @code{\transpose} distinguishes between enharmonic pitches: both
4329 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4330 half a tone. The first version will print sharps and the second
4331 version will print flats:
4333 @lilypond[singleline, verbatim]
4334 mus =\notes { \key d \major cis d fis g }
4335 \score { \notes \context Staff {
4338 \transpose c g' \mus
4339 \transpose c f' \mus
4346 Internals: @internalsref{TransposedMusic}, and
4347 @internalsref{UntransposableMusic}.
4351 If you want to use both @code{\transpose} and @code{\relative}, then
4352 you must put @code{\transpose} outside of @code{\relative}, since
4353 @code{\relative} will have no effect music that appears inside a
4359 @node Multi measure rests
4360 @subsection Multi measure rests
4361 @cindex multi measure rests
4362 @cindex Rests, multi measure
4366 Multi measure rests are entered using `@code{R}'. It is specifically
4367 meant for full bar rests and for entering parts: the rest can expand
4368 to fill a score with rests, or it can be printed as a single
4369 multimeasure rest. This expansion is controlled by the property
4370 @code{Score.skipBars}. If this is set to true, empty measures will not
4371 be expanded, and the appropriate number is added automatically:
4373 @lilypond[fragment,verbatim]
4374 \time 4/4 r1 | R1 | R1*2
4375 \property Score.skipBars = ##t R1*17 R1*4
4378 The @code{1} in @code{R1} is similar to the duration notation used for
4379 notes. Hence, for time signatures other than 4/4, you must enter other
4380 durations. This can be done with augmentation dots or fractions:
4382 @lilypond[fragment,verbatim]
4383 \property Score.skipBars = ##t
4391 An @code{R} spanning a single measure is printed as either a whole rest
4392 or a breve, centered in the measure regardless of the time signature.
4394 @cindex text on multi-measure rest
4395 @cindex script on multi-measure rest
4396 @cindex fermata on multi-measure rest
4398 Texts can be added to multi-measure rests by using the
4399 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4400 replaced. If you need both texts and the number, you must add the
4401 number by hand. A variable (@code{\fermataMarkup}) is provided for
4405 @lilypond[verbatim,fragment]
4407 R2._\markup { "Ad lib" }
4411 If you want to have a text on the left end of a multi-measure rest,
4412 attach the text to a zero-length skip note, i.e.
4420 @cindex whole rests for a full measure
4424 Internals: @internalsref{MultiMeasureRestEvent},
4425 @internalsref{MultiMeasureTextEvent},
4426 @internalsref{MultiMeasureRestMusicGroup}, and
4427 @internalsref{MultiMeasureRest}.
4429 The layout object @internalsref{MultiMeasureRestNumber} is for the
4430 default number, and @internalsref{MultiMeasureRestText} for user
4435 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4436 over multi-measure rests.
4438 @cindex condensing rests
4440 There is no way to automatically condense multiple rests into a single
4441 multimeasure rest. Multi measure rests do not take part in rest
4444 Be careful when entering multimeasure rests followed by whole
4445 notes. The following will enter two notes lasting four measures each:
4449 When @code{skipBars} is set, then the result will look OK, but the
4450 bar numbering will be off.
4452 @node Automatic part combining
4453 @subsection Automatic part combining
4454 @cindex automatic part combining
4455 @cindex part combiner
4458 Automatic part combining is used to merge two parts of music onto a
4459 staff. It is aimed at typesetting orchestral scores. When the two
4460 parts are identical for a period of time, only one is shown. In
4461 places where the two parts differ, they are typeset as separate
4462 voices, and stem directions are set automatically. Also, solo and
4463 @emph{a due} parts are identified and can be marked.
4467 The syntax for part combining is
4470 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4472 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4473 combined into one context of type @var{context}. The music expressions
4474 must be interpreted by contexts whose names should start with @code{one}
4477 The following example demonstrates the basic functionality of the part
4478 combiner: putting parts on one staff, and setting stem directions and
4481 @lilypond[verbatim,singleline,fragment]
4483 \context Voice=one \partcombine Voice
4484 \context Thread=one \relative c'' {
4487 \context Thread=two \relative c'' {
4493 The first @code{g} appears only once, although it was
4494 specified twice (once in each part). Stem, slur and tie directions are
4495 set automatically, depending whether there is a solo or unisono. The
4496 first part (with context called @code{one}) always gets up stems, and
4497 `solo', while the second (called @code{two}) always gets down stems and
4500 If you just want the merging parts, and not the textual markings, you
4501 may set the property @var{soloADue} to false:
4503 @lilypond[verbatim,singleline,fragment]
4505 \property Staff.soloADue = ##f
4506 \context Voice=one \partcombine Voice
4507 \context Thread=one \relative c'' {
4510 \context Thread=two \relative c'' {
4518 Internals: @internalsref{PartCombineMusic},
4519 @internalsref{Thread_devnull_engraver}, and
4520 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4524 The syntax for naming contexts in inconsistent with the syntax for
4527 In @code{soloADue} mode, when the two voices play the same notes on and
4528 off, the part combiner may typeset @code{a2} more than once in a
4531 @lilypond[fragment,singleline]
4533 \context Voice=one \partcombine Voice
4534 \context Thread=one \relative c'' {
4537 \context Thread=two \relative c'' {
4543 The part combiner is rather buggy, and it will be replaced by a better
4544 mechanism in the near future.
4546 @cindex @code{Thread_devnull_engraver}
4547 @cindex @code{Voice_engraver}
4548 @cindex @code{A2_engraver}
4551 @subsection Hiding staves
4553 @cindex Frenched scores
4554 @cindex Hiding staves
4556 In orchestral scores, staff lines that only have rests are usually
4557 removed. This saves some space. This style is called `French Score'.
4558 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4559 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4560 switched on by default. When these line of these contexts turn out
4561 empty after the line-breaking process, they are removed.
4563 For normal staves, a specialized @internalsref{Staff} context is
4564 available, which does the same: staves containing nothing (or only
4565 multi measure rests) are removed. The context definition is stored in
4566 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4567 in this example disappears in the second line:
4572 \notes \relative c' <<
4573 \new Staff { e4 f g a \break c1 }
4574 \new Staff { c4 d e f \break R1 }
4578 \translator { \RemoveEmptyStaffContext }
4583 The first page shows all staffs in full. If they should be removed
4584 from the first page too, set @code{remove-first} to false
4585 in @internalsref{RemoveEmptyVerticalGroup}.
4587 @node Different editions from one source
4588 @subsection Different editions from one source
4590 The @code{\tag} command marks music expressions with a name. These
4591 tagged expressions can be filtered out later. With this mechanism it
4592 is possible to make different versions of the same music source.
4594 In the following example, we see two versions of a piece of music, one
4595 for the full score, and one with cue notes for the instrumental part:
4603 \property Voice.fontSize = #-1
4611 The same can be applied to articulations, texts, etc.: they are
4614 -\tag #@var{your-tag}
4616 to an articulation, for example,
4621 This defines a note with a conditional fingering indication.
4623 By applying the @code{remove-tag} function, tagged expressions can be
4624 filtered. For example,
4628 \apply #(remove-tag 'score) @var{the music}
4629 \apply #(remove-tag 'part) @var{the music}
4634 @lilypondfile[notexidoc]{tag-filter.ly}
4636 The argument of the @code{\tag} command should be a symbol, or a list
4637 of symbols, for example,
4639 \tag #'(original-part transposed-part) @dots{}
4644 Examples: @inputfileref{input/regression,tag-filter.ly}
4647 @node Sound output for transposing instruments
4648 @subsection Sound output for transposing instruments
4650 When you want to make a MIDI file from a score containing transposed
4651 and untransposed instruments, you have to instruct LilyPond the pitch
4652 offset (in semitones) for the transposed instruments. This is done
4653 using the @code{transposing} property. It does not affect printed
4656 @cindex @code{transposing}
4659 \property Staff.instrument = #"Cl. in B-flat"
4660 \property Staff.transposing = #-2
4664 @node Ancient notation
4665 @section Ancient notation
4667 @cindex Vaticana, Editio
4668 @cindex Medicaea, Editio
4673 @c [TODO: write more comprehensive introduction on ancient notation]
4675 Support for ancient notation is still under heavy development.
4676 Regardless of all of the current limitations (see the bugs section
4677 below for details), it includes features for mensural
4678 notation and Gregorian Chant notation. There is also limited support
4679 for figured bass notation.
4681 Many graphical objects provide a @code{style} property, see
4682 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4683 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4684 signatures}. By manipulating such a grob property, the typographical
4685 appearance of the affected graphical objects can be accomodated for a
4686 specific notation flavour without need for introducing any new
4690 Other aspects of ancient notation can not that easily be expressed as
4691 in terms of just changing a style property of a graphical object.
4692 Therefore, some notational concepts are introduced specifically for
4693 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4694 @ref{Ligatures}, and @ref{Figured bass}.
4698 * Ancient note heads::
4699 * Ancient accidentals::
4703 * Ancient time signatures::
4708 * Vaticana style contexts::
4711 If this all is way too much of documentation for you, and you just
4712 want to dive into typesetting without worrying too much about the
4713 details on how to customize a context, then you may have a look at the
4714 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4715 set up predefined style-specific voice and staff contexts, and
4716 directly go ahead with the note entry.
4720 Ligatures need special spacing that has not yet been implemented. As
4721 a result, there is too much space between ligatures most of the time,
4722 and line breaking often is unsatisfactory. Also, lyrics do not
4723 correctly align with ligatures.
4725 Accidentals must not be printed within a ligature, but instead need to
4726 be collected and printed in front of it.
4728 Augmentum dots within ligatures are not handled correctly.
4731 @node Ancient note heads
4732 @subsection Ancient note heads
4738 For ancient notation, a note head style other than the @code{default}
4739 style may be chosen. This is accomplished by setting the @code{style}
4740 property of the NoteHead object to the desired value (@code{baroque},
4741 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4742 differs from the @code{default} style only in using a square shape for
4743 @code{\breve} note heads. The @code{neo_mensural} style differs from
4744 the @code{baroque} style in that it uses rhomboidal heads for whole
4745 notes and all smaller durations. Stems are centered on the note
4746 heads. This style is in particular useful when transcribing mensural
4747 music, e.g. for the incipit. The @code{mensural} style finally
4748 produces note heads that mimick the look of note heads in historic
4749 printings of the 16th century.
4751 The following example demonstrates the @code{neo_mensural} style:
4753 @lilypond[fragment,singleline,verbatim]
4754 \property Voice.NoteHead \set #'style = #'neo_mensural
4755 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4758 When typesetting a piece in Gregorian Chant notation, a Gregorian
4759 ligature engraver will automatically select the proper note heads,
4760 such there is no need to explicitly set the note head style. Still,
4761 the note head style can be set e.g. to @code{vaticana_punctum} to
4762 produce punctum neumes. Similarly, a mensural ligature engraver is
4763 used to automatically assemble mensural ligatures. See
4764 @ref{Ligatures} for how ligature engravers work.
4769 @ref{Percussion staves} use note head styles of their own that are
4770 frequently used in contemporary music notation.
4772 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4773 overview over all available note head styles.
4776 @node Ancient accidentals
4777 @subsection Ancient accidentals
4783 Use the @code{style} property of grob @internalsref{Accidental} to
4784 select ancient accidentals. Supported styles are
4785 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4787 @lilypond[singleline,26pt]
4795 { " " \musicglyph #"accidentals-vaticana-1"
4796 " " \musicglyph #"accidentals-vaticana0" }
4800 { " " \musicglyph #"accidentals-medicaea-1" }
4804 { " " \musicglyph #"accidentals-hufnagel-1" }
4808 { " " \musicglyph #"accidentals-mensural-1"
4809 " " \musicglyph #"accidentals-mensural1" }
4818 \remove "Bar_number_engraver"
4822 \remove "Clef_engraver"
4823 \remove "Key_engraver"
4824 \remove "Time_signature_engraver"
4825 \remove "Staff_symbol_engraver"
4826 minimumVerticalExtent = ##f
4832 As shown, not all accidentals are supported by each style. When
4833 trying to access an unsupported accidental, LilyPond will switch to a
4834 different style, as demonstrated in
4835 @inputfileref{input/test,ancient-accidentals.ly}.
4837 Similarly to local accidentals, the style of the key signature can be
4838 controlled by the @code{style} property of the
4839 @internalsref{KeySignature} grob.
4843 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4844 @ref{Accidentals} give a general introduction into the use of
4845 accidentals. @ref{Key signature} gives a general introduction into
4846 the use of key signatures.
4848 Internals: @internalsref{KeySignature}
4850 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4853 @subsection Ancient rests
4859 Use the @code{style} property of grob @internalsref{Rest} to select
4860 ancient accidentals. Supported styles are @code{classical},
4861 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4862 from the @code{default} style only in that the quarter rest looks like
4863 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4864 well for e.g. the incipit of a transcribed mensural piece of music.
4865 The @code{mensural} style finally mimicks the appearance of rests as
4866 in historic prints of the 16th century.
4868 The following example demonstrates the @code{neo_mensural} style:
4870 @lilypond[fragment,singleline,verbatim]
4871 \property Voice.Rest \set #'style = #'neo_mensural
4872 r\longa r\breve r1 r2 r4 r8 r16
4875 There are no 32th and 64th rests specifically for the mensural or
4876 neo-mensural style. Instead, the rests from the default style will be
4877 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4880 There are no rests in Gregorian Chant notation; instead, it uses
4885 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4889 @subsection Ancient clefs
4895 LilyPond supports a variety of clefs, many of them ancient.
4897 The following table shows all ancient clefs that are supported via the
4898 @code{\clef} command. Some of the clefs use the same glyph, but
4899 differ only with respect to the line they are printed on. In such
4900 cases, a trailing number in the name is used to enumerate these clefs.
4901 Still, you can manually force a clef glyph to be typeset on an
4902 arbitrary line, as described in @ref{Clef}. The note printed to the
4903 right side of each clef in the example column denotes the @code{c'}
4904 with respect to that clef.
4906 @multitable @columnfractions .3 .3 .3 .1
4910 @b{Description} @tab
4911 @b{Supported Clefs} @tab
4915 @code{clefs-neo_mensural_c} @tab
4916 modern style mensural C clef @tab
4917 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4918 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4919 @lilypond[relative 0, notime]
4920 \property Staff.TimeSignature \set #'transparent = ##t
4921 \clef "neo_mensural_c2" c
4925 @code{clefs-petrucci_c1}
4926 @code{clefs-petrucci_c2}
4927 @code{clefs-petrucci_c3}
4928 @code{clefs-petrucci_c4}
4929 @code{clefs-petrucci_c5}
4932 petrucci style mensural C clefs, for use on different stafflines
4933 (the examples shows the 2nd staffline C clef).
4943 @lilypond[relative 0, notime]
4944 \property Staff.TimeSignature \set #'transparent = ##t
4945 \clef "petrucci_c2" c
4949 @code{clefs-petrucci_f} @tab
4950 petrucci style mensural F clef @tab
4951 @code{petrucci_f} @tab
4952 @lilypond[relative 0, notime]
4953 \property Staff.TimeSignature \set #'transparent = ##t
4954 \clef "petrucci_f" c
4958 @code{clefs-petrucci_g} @tab
4959 petrucci style mensural G clef @tab
4960 @code{petrucci_g} @tab
4961 @lilypond[relative 0, notime]
4962 \property Staff.TimeSignature \set #'transparent = ##t
4963 \clef "petrucci_g" c
4967 @code{clefs-mensural_c} @tab
4968 historic style mensural C clef @tab
4969 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4970 @code{mensural_c4} @tab
4971 @lilypond[relative 0, notime]
4972 \property Staff.TimeSignature \set #'transparent = ##t
4973 \clef "mensural_c2" c
4977 @code{clefs-mensural_f} @tab
4978 historic style mensural F clef @tab
4979 @code{mensural_f} @tab
4980 @lilypond[relative 0, notime]
4981 \property Staff.TimeSignature \set #'transparent = ##t
4982 \clef "mensural_f" c
4986 @code{clefs-mensural_g} @tab
4987 historic style mensural G clef @tab
4988 @code{mensural_g} @tab
4989 @lilypond[relative 0, notime]
4990 \property Staff.TimeSignature \set #'transparent = ##t
4991 \clef "mensural_g" c
4995 @code{clefs-vaticana_do} @tab
4996 Editio Vaticana style do clef @tab
4997 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4998 @lilypond[relative 0, notime]
4999 \property Staff.StaffSymbol \set #'line-count = #4
5000 \property Staff.TimeSignature \set #'transparent = ##t
5001 \clef "vaticana_do2" c
5005 @code{clefs-vaticana_fa} @tab
5006 Editio Vaticana style fa clef @tab
5007 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5008 @lilypond[relative 0, notime]
5009 \property Staff.StaffSymbol \set #'line-count = #4
5010 \property Staff.TimeSignature \set #'transparent = ##t
5011 \clef "vaticana_fa2" c
5015 @code{clefs-medicaea_do} @tab
5016 Editio Medicaea style do clef @tab
5017 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5018 @lilypond[relative 0, notime]
5019 \property Staff.StaffSymbol \set #'line-count = #4
5020 \property Staff.TimeSignature \set #'transparent = ##t
5021 \clef "medicaea_do2" c
5025 @code{clefs-medicaea_fa} @tab
5026 Editio Medicaea style fa clef @tab
5027 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5028 @lilypond[relative 0, notime]
5029 \property Staff.StaffSymbol \set #'line-count = #4
5030 \property Staff.TimeSignature \set #'transparent = ##t
5031 \clef "medicaea_fa2" c
5035 @code{clefs-hufnagel_do} @tab
5036 historic style hufnagel do clef @tab
5037 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5038 @lilypond[relative 0, notime]
5039 \property Staff.StaffSymbol \set #'line-count = #4
5040 \property Staff.TimeSignature \set #'transparent = ##t
5041 \clef "hufnagel_do2" c
5045 @code{clefs-hufnagel_fa} @tab
5046 historic style hufnagel fa clef @tab
5047 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5048 @lilypond[relative 0, notime]
5049 \property Staff.StaffSymbol \set #'line-count = #4
5050 \property Staff.TimeSignature \set #'transparent = ##t
5051 \clef "hufnagel_fa2" c
5055 @code{clefs-hufnagel_do_fa} @tab
5056 historic style hufnagel combined do/fa clef @tab
5057 @code{hufnagel_do_fa} @tab
5058 @lilypond[relative 0, notime]
5059 \property Staff.TimeSignature \set #'transparent = ##t
5060 \clef "hufnagel_do_fa" c
5065 @c --- This should go somewhere else: ---
5066 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5069 @c @code{percussion}
5071 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5073 @c @item modern style tab clef (glyph: @code{clefs-tab})
5078 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5080 @emph{Modern style} means ``as is typeset in contemporary editions of
5081 transcribed mensural music''.
5083 @emph{Petrucci style} means ``inspired by printings published by the
5084 famous engraver Petrucci (1466-1539)''.
5086 @emph{Historic style} means ``as was typeset or written in historic
5087 editions (other than those of Petrucci)''.
5089 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5091 Petrucci used C clefs with differently balanced left-side vertical
5092 beams, depending on which staffline it is printed.
5096 In this manual: for the percussion clef, see @ref{Percussion staves}.
5097 For the @code{TAB} clef, see @ref{Tablatures}.
5099 Internals: for modern clefs, see @ref{Clef}.
5104 @subsection Ancient flags
5110 Use the @code{flag-style} property of grob @internalsref{Stem} to
5111 select ancient flags. Besides the @code{default} flag style,
5112 only @code{mensural} style is supported:
5114 @lilypond[fragment,singleline,verbatim]
5115 \property Voice.Stem \set #'flag-style = #'mensural
5116 \property Voice.Stem \set #'thickness = #1.0
5117 \property Voice.NoteHead \set #'style = #'mensural
5119 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5120 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5123 Note that the innermost flare of each mensural flag always is
5124 vertically aligned with a staff line. If you do not like this
5125 behaviour, you can set the @code{adjust-if-on-staffline} property of
5126 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5127 of the end of each flare is different between notes on staff lines and
5128 notes between staff lines:
5130 @lilypond[fragment,singleline]
5131 \property Voice.Stem \set #'flag-style = #'mensural
5132 \property Voice.Stem \set #'thickness = #1.0
5133 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5134 \property Voice.NoteHead \set #'style = #'mensural
5136 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5137 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5140 There is no particular flag style for neo-mensural notation. Hence,
5141 when typesetting e.g. the incipit of a transcibed piece of mensural
5142 music, the default flag style should be used. There are no flags in
5143 Gregorian Chant notation.
5146 @node Ancient time signatures
5147 @subsection Ancient time signatures
5149 @cindex time signatures
5153 There is limited support for mensural time signatures. The
5154 glyphs are hard-wired to particular time fractions. In other words,
5155 to get a particular mensural signature glyph with the @code{\time n/m}
5156 command, @code{n} and @code{m} have to be chosen according to the
5162 \property Score.timing = ##f
5163 \property Score.barAlways = ##t
5164 s_\markup { "$\\backslash$time 4/4" }
5165 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5167 s_\markup { "$\\backslash$time 2/2" }
5168 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5170 s_\markup { "$\\backslash$time 6/4" }
5171 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5173 s_\markup { "$\\backslash$time 6/8" }
5174 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5176 s_\markup { "$\\backslash$time 3/2" }
5177 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5179 s_\markup { "$\\backslash$time 3/4" }
5180 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5182 s_\markup { "$\\backslash$time 9/4" }
5183 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5185 s_\markup { "$\\backslash$time 9/8" }
5186 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5188 s_\markup { "$\\backslash$time 4/8" }
5189 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5191 s_\markup { "$\\backslash$time 2/4" }
5192 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5200 \remove Staff_symbol_engraver
5201 \remove Clef_engraver
5202 \remove Time_signature_engraver
5208 Use the @code{style} property of grob @internalsref{TimeSignature} to
5209 select ancient time signatures. Supported styles are
5210 @code{neo_mensural} and @code{mensural}. The above table uses the
5211 @code{neo_mensural} style. This style is appropriate e.g. for the
5212 incipit of transcriptions of mensural pieces. The @code{mensural}
5213 style mimicks the look of historical printings of the 16th century.
5215 @inputfileref{input/test,time.ly} gives an overview over all available
5216 ancient and modern styles.
5220 Internals: @ref{Time signature} gives a general introduction into the use of time
5225 Mensural signature glyphs are mapped to time fractions in a
5226 hard-wired way. This mapping is sensible, but still arbitrary: given
5227 a mensural time signature, the time fraction represents a modern meter
5228 that usually will be a good choice when transcribing a mensural piece
5229 of music. For a particular piece of mensural music, however, the
5230 mapping may be unsatisfactory. In particular, the mapping assumes a
5231 fixed transcription of durations (e.g. brevis = half note in 2/2,
5232 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5233 are not at all accessible through the @code{\time} command.
5235 Mensural time signatures are supported typographically, but not yet
5236 musically. The internal representation of durations is
5237 based on a purely binary system; a ternary division such as 1 brevis =
5238 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5239 prolatione maiori) is not correctly handled: event times in ternary
5240 modes will be badly computed, resulting e.g. in horizontally
5241 misaligned note heads, and bar checks are likely to erroneously fail.
5243 The syntax and semantics of the @code{\time} command for mensural
5244 music is subject to change.
5247 @subsection Custodes
5252 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5253 symbol that appears at the end of a staff. It anticipates the pitch
5254 of the first note(s) of the following line and thus helps the player
5255 or singer to manage line breaks during performance, thus enhancing
5256 readability of a score.
5258 Custodes were frequently used in music notation until the 17th
5259 century. Nowadays, they have survived only in a few particular forms
5260 of musical notation such as contemporary editions of Gregorian chant
5261 like the @emph{editio vaticana}. There are different custos glyphs
5262 used in different flavours of notational style.
5266 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5267 @internalsref{Staff} context when declaring the @code{\paper} block,
5268 as shown in the following example:
5274 \consists Custos_engraver
5275 Custos \override #'style = #'mensural
5280 The result looks like this:
5286 \property Staff.Custos \set #'style = #'mensural
5293 \consists Custos_engraver
5300 The custos glyph is selected by the @code{style} property. The styles
5301 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5302 @code{mensural}. They are demonstrated in the following fragment:
5312 { " " \musicglyph #"custodes-vaticana-u0" }
5316 { " " \musicglyph #"custodes-medicaea-u0" }
5320 { " " \musicglyph #"custodes-hufnagel-u0" }
5324 { " " \musicglyph #"custodes-mensural-u0" }
5333 \remove "Bar_number_engraver"
5337 \remove "Clef_engraver"
5338 \remove "Key_engraver"
5339 \remove "Time_signature_engraver"
5340 \remove "Staff_symbol_engraver"
5341 minimumVerticalExtent = ##f
5347 If the boolean property @code{adjust-if-on-staffline} is set to
5348 @code{#t} (which it is by default), lily typesets slightly different
5349 variants of the custos glyph, depending on whether the custos, is
5350 typeset on or between stafflines. The glyph will
5351 optically fit well into the staff, with the appendage on the right of
5352 the custos always ending at the same vertical position between two
5353 stafflines regardless of the pitch. If you set
5354 @code{adjust-if-on-staffline} to @code{#f}, then
5355 a compromise between both forms is used.
5357 Just like stems can be attached to noteheads in two directions
5358 @emph{up} and @emph{down}, each custos glyph is available with its
5359 appendage pointing either up or down. If the pitch of a custos is
5360 above a selectable position, the appendage will point downwards; if
5361 the pitch is below this position, the appendage will point upwards.
5362 Use property @code{neutral-position} to select this position. By
5363 default, it is set to @code{0}, such that the neutral position is the
5364 center of the staff. Use property @code{neutral-direction} to control
5365 what happens if a custos is typeset on the neutral position itself.
5366 By default, this property is set to @code{-1}, such that the appendage
5367 will point downwards. If set to @code{1}, the appendage will point
5368 upwards. Other values such as @code{0} are reserved for future
5369 extensions and should not be used.
5373 Internals: @internalsref{Custos}
5375 Examples: @inputfileref{input/regression,custos.ly}.
5379 @subsection Divisiones
5385 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5386 `division') is a staff context symbol that is used to structure
5387 Gregorian music into phrases and sections. The musical meaning of
5388 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5389 can be characterized as short, medium and long pause, somewhat like
5390 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5391 a chant, but is also frequently used within a single
5392 antiphonal/responsorial chant to mark the end of each section.
5396 To use divisiones, include the file @code{gregorian-init.ly}. It
5397 contains definitions that you can apply by just inserting
5398 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5399 and @code{\finalis} at proper places in the input. Some editions use
5400 @emph{virgula} or @emph{caesura} instead of divisio minima.
5401 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5404 @lilypondfile[notexidoc]{divisiones.ly}
5408 @cindex @code{\virgula}
5410 @cindex @code{\caesura}
5412 @cindex @code{\divisioMinima}
5413 @code{\divisioMinima},
5414 @cindex @code{\divisioMaior}
5415 @code{\divisioMaior},
5416 @cindex @code{\divisioMaxima}
5417 @code{\divisioMaxima},
5418 @cindex @code{\finalis}
5423 In this manual: @ref{Breath marks}.
5425 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5427 Examples: @inputfileref{input/test,divisiones.ly}
5430 @subsection Ligatures
5434 @c TODO: Should double check if I recalled things correctly when I wrote
5435 @c down the following paragraph by heart.
5437 In musical terminology, a ligature is a coherent graphical symbol that
5438 represents at least two distinct notes. Ligatures originally appeared
5439 in the manuscripts of Gregorian chant notation roughly since the 9th
5440 century as an allusion to the accent symbols of greek lyric poetry to
5441 denote ascending or descending sequences of notes. Both, the shape
5442 and the exact meaning of ligatures changed tremendously during the
5443 following centuries: In early notation, ligatures were used for
5444 monophonic tunes (Gregorian chant) and very soon denoted also the way
5445 of performance in the sense of articulation. With upcoming
5446 multiphony, the need for a metric system arised, since multiple voices
5447 of a piece have to be synchronized some way. New notation systems
5448 were invented that used the manifold shapes of ligatures to now denote
5449 rhythmical patterns (e.g. black mensural notation, mannered notation,
5450 ars nova). With the invention of the metric system of the white
5451 mensural notation, the need for ligatures to denote such patterns
5452 disappeared. Nevertheless, ligatures were still in use in the
5453 mensural system for a couple of decades until they finally disappeared
5454 during the late 16th / early 17th century. Still, ligatures have
5455 survived in contemporary editions of Gregorian chant such as the
5456 Editio Vaticana from 1905/08.
5460 Syntactically, ligatures are simply enclosed by @code{\[} and
5461 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5462 additional input syntax specific for this particular type of ligature.
5463 By default, the @internalsref{LigatureBracket} engraver just puts a
5464 square bracket above the ligature:
5466 @lilypond[singleline,verbatim]
5468 \notes \transpose c c' {
5476 To select a specific style of ligatures, a proper ligature engraver
5477 has to be added to the @internalsref{Voice} context, as explained in
5478 the following subsections. Only white mensural ligatures
5479 are supported with certain limitations. Support for Editio Vaticana
5480 will be added in the future.
5483 * White mensural ligatures::
5484 * Gregorian square neumes ligatures::
5487 @node White mensural ligatures
5488 @subsubsection White mensural ligatures
5490 @cindex Mensural ligatures
5491 @cindex White mensural ligatures
5493 There is limited support for white mensural ligatures. The
5494 implementation is still experimental; it may output strange
5495 warnings or even crash in some cases or produce weird results on more
5500 To engrave white mensural ligatures, in the paper block the
5501 @internalsref{Mensural_ligature_engraver} has to be put into the
5502 @internalsref{Voice} context, and remove the
5503 @internalsref{Ligature_bracket_engraver}:
5509 \remove Ligature_bracket_engraver
5510 \consists Mensural_ligature_engraver
5515 There is no additional input language to describe the shape of a
5516 white mensural ligature. The shape is rather determined solely from
5517 the pitch and duration of the enclosed notes. While this approach may
5518 take a new user a while to get accustomed, it has the great advantage
5519 that the full musical information of the ligature is known internally.
5520 This is not only required for correct MIDI output, but also allows for
5521 automatic transcription of the ligatures.
5526 \property Score.timing = ##f
5527 \property Score.defaultBarType = "empty"
5528 \property Voice.NoteHead \set #'style = #'neo_mensural
5529 \property Staff.TimeSignature \set #'style = #'neo_mensural
5531 \[ g\longa c\breve a\breve f\breve d'\longa \]
5533 \[ e1 f1 a\breve g\longa \]
5535 @lilypond[singleline]
5537 \notes \transpose c c' {
5538 \property Score.timing = ##f
5539 \property Score.defaultBarType = "empty"
5540 \property Voice.NoteHead \set #'style = #'neo_mensural
5541 \property Staff.TimeSignature \set #'style = #'neo_mensural
5543 \[ g\longa c\breve a\breve f\breve d'\longa \]
5545 \[ e1 f1 a\breve g\longa \]
5550 \remove Ligature_bracket_engraver
5551 \consists Mensural_ligature_engraver
5557 Without replacing @internalsref{Ligature_bracket_engraver} with
5558 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5561 @lilypond[singleline]
5563 \notes \transpose c c' {
5564 \property Score.timing = ##f
5565 \property Score.defaultBarType = "empty"
5566 \property Voice.NoteHead \set #'style = #'neo_mensural
5567 \property Staff.TimeSignature \set #'style = #'neo_mensural
5569 \[ g\longa c\breve a\breve f\breve d'\longa \]
5571 \[ e1 f1 a\breve g\longa \]
5577 @node Gregorian square neumes ligatures
5578 @subsubsection Gregorian square neumes ligatures
5580 @cindex Square neumes ligatures
5581 @cindex Gregorian square neumes ligatures
5583 Gregorian square neumes notation (following the style of the Editio
5584 Vaticana) is under heavy development, but not yet really usable for
5585 production purposes. Core ligatures can already be typeset, but
5586 essential issues for serious typesetting are still under development,
5587 such as (among others) horizontal alignment of multiple ligatures,
5588 lyrics alignment and proper accidentals handling. Still, this section
5589 gives a sneak preview of what Gregorian chant may look like once it
5592 The following table contains the extended neumes table of the 2nd
5593 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5594 1983 by the monks of Solesmes.
5596 @multitable @columnfractions .4 .2 .2 .2
5599 @b{Neuma aut@*Neumarum Elementa} @tab
5600 @b{Figurae@*Rectae} @tab
5601 @b{Figurae@*Liquescentes Auctae} @tab
5602 @b{Figurae@*Liquescentes Deminutae}
5604 @c TODO: \paper block is identical in all of the below examples.
5605 @c Therefore, it should somehow be included rather than duplicated all
5608 @c why not make identifiers in ly/engraver-init.ly? --hwn
5610 @c Because it's just used to typeset plain notes without
5611 @c a staff for demonstration purposes rather than something
5612 @c special of Gregorian chant notation. --jr
5617 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5618 \include "gregorian-init.ly"
5620 \notes \transpose c c' {
5623 \noBreak s^\markup {"a"} \noBreak
5625 % Punctum Inclinatum
5627 \noBreak s^\markup {"b"}
5633 \remove "Bar_number_engraver"
5637 \remove "Clef_engraver"
5638 \remove "Key_engraver"
5639 StaffSymbol \set #'transparent = ##t
5640 \remove "Time_signature_engraver"
5641 \remove "Bar_engraver"
5642 minimumVerticalExtent = ##f
5646 \remove Ligature_bracket_engraver
5647 \consists Vaticana_ligature_engraver
5648 NoteHead \set #'style = #'vaticana_punctum
5649 Stem \set #'transparent = ##t
5655 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5656 \include "gregorian-init.ly"
5658 \notes \transpose c c' {
5659 % Punctum Auctum Ascendens
5660 \[ \auctum \ascendens b \]
5661 \noBreak s^\markup {"c"} \noBreak
5663 % Punctum Auctum Descendens
5664 \[ \auctum \descendens b \]
5665 \noBreak s^\markup {"d"} \noBreak
5667 % Punctum Inclinatum Auctum
5668 \[ \inclinatum \auctum b \]
5669 \noBreak s^\markup {"e"}
5675 \remove "Bar_number_engraver"
5679 \remove "Clef_engraver"
5680 \remove "Key_engraver"
5681 StaffSymbol \set #'transparent = ##t
5682 \remove "Time_signature_engraver"
5683 \remove "Bar_engraver"
5684 minimumVerticalExtent = ##f
5688 \remove Ligature_bracket_engraver
5689 \consists Vaticana_ligature_engraver
5690 NoteHead \set #'style = #'vaticana_punctum
5691 Stem \set #'transparent = ##t
5697 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5698 \include "gregorian-init.ly"
5700 \notes \transpose c c' {
5701 % Punctum Inclinatum Parvum
5702 \[ \inclinatum \deminutum b \]
5703 \noBreak s^\markup {"f"}
5709 \remove "Bar_number_engraver"
5713 \remove "Clef_engraver"
5714 \remove "Key_engraver"
5715 StaffSymbol \set #'transparent = ##t
5716 \remove "Time_signature_engraver"
5717 \remove "Bar_engraver"
5718 minimumVerticalExtent = ##f
5722 \remove Ligature_bracket_engraver
5723 \consists Vaticana_ligature_engraver
5724 NoteHead \set #'style = #'vaticana_punctum
5725 Stem \set #'transparent = ##t
5734 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5735 \include "gregorian-init.ly"
5737 \notes \transpose c c' {
5740 \noBreak s^\markup {"g"}
5746 \remove "Bar_number_engraver"
5750 \remove "Clef_engraver"
5751 \remove "Key_engraver"
5752 StaffSymbol \set #'transparent = ##t
5753 \remove "Time_signature_engraver"
5754 \remove "Bar_engraver"
5755 minimumVerticalExtent = ##f
5759 \remove Ligature_bracket_engraver
5760 \consists Vaticana_ligature_engraver
5761 NoteHead \set #'style = #'vaticana_punctum
5762 Stem \set #'transparent = ##t
5771 @code{3. Apostropha vel Stropha}
5773 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5774 \include "gregorian-init.ly"
5776 \notes \transpose c c' {
5779 \noBreak s^\markup {"h"}
5785 \remove "Bar_number_engraver"
5789 \remove "Clef_engraver"
5790 \remove "Key_engraver"
5791 StaffSymbol \set #'transparent = ##t
5792 \remove "Time_signature_engraver"
5793 \remove "Bar_engraver"
5794 minimumVerticalExtent = ##f
5798 \remove Ligature_bracket_engraver
5799 \consists Vaticana_ligature_engraver
5800 NoteHead \set #'style = #'vaticana_punctum
5801 Stem \set #'transparent = ##t
5807 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5808 \include "gregorian-init.ly"
5810 \notes \transpose c c' {
5812 \[ \stropha \auctum b \]
5813 \noBreak s^\markup {"i"}
5819 \remove "Bar_number_engraver"
5823 \remove "Clef_engraver"
5824 \remove "Key_engraver"
5825 StaffSymbol \set #'transparent = ##t
5826 \remove "Time_signature_engraver"
5827 \remove "Bar_engraver"
5828 minimumVerticalExtent = ##f
5832 \remove Ligature_bracket_engraver
5833 \consists Vaticana_ligature_engraver
5834 NoteHead \set #'style = #'vaticana_punctum
5835 Stem \set #'transparent = ##t
5845 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5846 \include "gregorian-init.ly"
5848 \notes \transpose c c' {
5851 \noBreak s^\markup {"j"}
5857 \remove "Bar_number_engraver"
5861 \remove "Clef_engraver"
5862 \remove "Key_engraver"
5863 StaffSymbol \set #'transparent = ##t
5864 \remove "Time_signature_engraver"
5865 \remove "Bar_engraver"
5866 minimumVerticalExtent = ##f
5870 \remove Ligature_bracket_engraver
5871 \consists Vaticana_ligature_engraver
5872 NoteHead \set #'style = #'vaticana_punctum
5873 Stem \set #'transparent = ##t
5882 @code{5. Clivis vel Flexa}
5884 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5885 \include "gregorian-init.ly"
5887 \notes \transpose c c' {
5896 \remove "Bar_number_engraver"
5900 \remove "Clef_engraver"
5901 \remove "Key_engraver"
5902 StaffSymbol \set #'transparent = ##t
5903 \remove "Time_signature_engraver"
5904 \remove "Bar_engraver"
5905 minimumVerticalExtent = ##f
5909 \remove Ligature_bracket_engraver
5910 \consists Vaticana_ligature_engraver
5911 NoteHead \set #'style = #'vaticana_punctum
5912 Stem \set #'transparent = ##t
5918 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5919 \include "gregorian-init.ly"
5921 \notes \transpose c c' {
5922 % Clivis Aucta Descendens
5923 \[ b \flexa \auctum \descendens g \]
5924 \noBreak s^\markup {"l"} \noBreak
5926 % Clivis Aucta Ascendens
5927 \[ b \flexa \auctum \ascendens g \]
5928 \noBreak s^\markup {"m"}
5934 \remove "Bar_number_engraver"
5938 \remove "Clef_engraver"
5939 \remove "Key_engraver"
5940 StaffSymbol \set #'transparent = ##t
5941 \remove "Time_signature_engraver"
5942 \remove "Bar_engraver"
5943 minimumVerticalExtent = ##f
5947 \remove Ligature_bracket_engraver
5948 \consists Vaticana_ligature_engraver
5949 NoteHead \set #'style = #'vaticana_punctum
5950 Stem \set #'transparent = ##t
5956 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5957 \include "gregorian-init.ly"
5959 \notes \transpose c c' {
5961 \[ b \flexa \deminutum g \]
5968 \remove "Bar_number_engraver"
5972 \remove "Clef_engraver"
5973 \remove "Key_engraver"
5974 StaffSymbol \set #'transparent = ##t
5975 \remove "Time_signature_engraver"
5976 \remove "Bar_engraver"
5977 minimumVerticalExtent = ##f
5981 \remove Ligature_bracket_engraver
5982 \consists Vaticana_ligature_engraver
5983 NoteHead \set #'style = #'vaticana_punctum
5984 Stem \set #'transparent = ##t
5991 @code{6. Podatus vel Pes}
5993 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5994 \include "gregorian-init.ly"
5996 \notes \transpose c c' {
6005 \remove "Bar_number_engraver"
6009 \remove "Clef_engraver"
6010 \remove "Key_engraver"
6011 StaffSymbol \set #'transparent = ##t
6012 \remove "Time_signature_engraver"
6013 \remove "Bar_engraver"
6014 minimumVerticalExtent = ##f
6018 \remove Ligature_bracket_engraver
6019 \consists Vaticana_ligature_engraver
6020 NoteHead \set #'style = #'vaticana_punctum
6021 Stem \set #'transparent = ##t
6027 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
6028 \include "gregorian-init.ly"
6030 \notes \transpose c c' {
6031 % Pes Auctus Descendens
6032 \[ g \pes \auctum \descendens b \]
6033 \noBreak s^\markup {"p"} \noBreak
6035 % Pes Auctus Ascendens
6036 \[ g \pes \auctum \ascendens b \]
6037 \noBreak s^\markup {"q"}
6043 \remove "Bar_number_engraver"
6047 \remove "Clef_engraver"
6048 \remove "Key_engraver"
6049 StaffSymbol \set #'transparent = ##t
6050 \remove "Time_signature_engraver"
6051 \remove "Bar_engraver"
6052 minimumVerticalExtent = ##f
6056 \remove Ligature_bracket_engraver
6057 \consists Vaticana_ligature_engraver
6058 NoteHead \set #'style = #'vaticana_punctum
6059 Stem \set #'transparent = ##t
6065 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6066 \include "gregorian-init.ly"
6068 \notes \transpose c c' {
6070 \[ g \pes \deminutum b \]
6077 \remove "Bar_number_engraver"
6081 \remove "Clef_engraver"
6082 \remove "Key_engraver"
6083 StaffSymbol \set #'transparent = ##t
6084 \remove "Time_signature_engraver"
6085 \remove "Bar_engraver"
6086 minimumVerticalExtent = ##f
6090 \remove Ligature_bracket_engraver
6091 \consists Vaticana_ligature_engraver
6092 NoteHead \set #'style = #'vaticana_punctum
6093 Stem \set #'transparent = ##t
6100 @code{7. Pes Quassus}
6102 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6103 \include "gregorian-init.ly"
6105 \notes \transpose c c' {
6107 \[ \oriscus g \pes \virga b \]
6114 \remove "Bar_number_engraver"
6118 \remove "Clef_engraver"
6119 \remove "Key_engraver"
6120 StaffSymbol \set #'transparent = ##t
6121 \remove "Time_signature_engraver"
6122 \remove "Bar_engraver"
6123 minimumVerticalExtent = ##f
6127 \remove Ligature_bracket_engraver
6128 \consists Vaticana_ligature_engraver
6129 NoteHead \set #'style = #'vaticana_punctum
6130 Stem \set #'transparent = ##t
6136 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6137 \include "gregorian-init.ly"
6139 \notes \transpose c c' {
6140 % Pes Quassus Auctus Descendens
6141 \[ \oriscus g \pes \auctum \descendens b \]
6148 \remove "Bar_number_engraver"
6152 \remove "Clef_engraver"
6153 \remove "Key_engraver"
6154 StaffSymbol \set #'transparent = ##t
6155 \remove "Time_signature_engraver"
6156 \remove "Bar_engraver"
6157 minimumVerticalExtent = ##f
6161 \remove Ligature_bracket_engraver
6162 \consists Vaticana_ligature_engraver
6163 NoteHead \set #'style = #'vaticana_punctum
6164 Stem \set #'transparent = ##t
6172 @code{8. Quilisma Pes}
6174 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6175 \include "gregorian-init.ly"
6177 \notes \transpose c c' {
6179 \[ \quilisma g \pes b \]
6186 \remove "Bar_number_engraver"
6190 \remove "Clef_engraver"
6191 \remove "Key_engraver"
6192 StaffSymbol \set #'transparent = ##t
6193 \remove "Time_signature_engraver"
6194 \remove "Bar_engraver"
6195 minimumVerticalExtent = ##f
6199 \remove Ligature_bracket_engraver
6200 \consists Vaticana_ligature_engraver
6201 NoteHead \set #'style = #'vaticana_punctum
6202 Stem \set #'transparent = ##t
6208 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6209 \include "gregorian-init.ly"
6211 \notes \transpose c c' {
6212 % Quilisma Pes Auctus Descendens
6213 \[ \quilisma g \pes \auctum \descendens b \]
6220 \remove "Bar_number_engraver"
6224 \remove "Clef_engraver"
6225 \remove "Key_engraver"
6226 StaffSymbol \set #'transparent = ##t
6227 \remove "Time_signature_engraver"
6228 \remove "Bar_engraver"
6229 minimumVerticalExtent = ##f
6233 \remove Ligature_bracket_engraver
6234 \consists Vaticana_ligature_engraver
6235 NoteHead \set #'style = #'vaticana_punctum
6236 Stem \set #'transparent = ##t
6244 @code{9. Podatus Initio Debilis}
6246 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6247 \include "gregorian-init.ly"
6249 \notes \transpose c c' {
6250 % Pes Initio Debilis
6251 \[ \deminutum g \pes b \]
6258 \remove "Bar_number_engraver"
6262 \remove "Clef_engraver"
6263 \remove "Key_engraver"
6264 StaffSymbol \set #'transparent = ##t
6265 \remove "Time_signature_engraver"
6266 \remove "Bar_engraver"
6267 minimumVerticalExtent = ##f
6271 \remove Ligature_bracket_engraver
6272 \consists Vaticana_ligature_engraver
6273 NoteHead \set #'style = #'vaticana_punctum
6274 Stem \set #'transparent = ##t
6280 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6281 \include "gregorian-init.ly"
6283 \notes \transpose c c' {
6284 % Pes Auctus Descendens Initio Debilis
6285 \[ \deminutum g \pes \auctum \descendens b \]
6292 \remove "Bar_number_engraver"
6296 \remove "Clef_engraver"
6297 \remove "Key_engraver"
6298 StaffSymbol \set #'transparent = ##t
6299 \remove "Time_signature_engraver"
6300 \remove "Bar_engraver"
6301 minimumVerticalExtent = ##f
6305 \remove Ligature_bracket_engraver
6306 \consists Vaticana_ligature_engraver
6307 NoteHead \set #'style = #'vaticana_punctum
6308 Stem \set #'transparent = ##t
6318 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6319 \include "gregorian-init.ly"
6321 \notes \transpose c c' {
6323 \[ a \pes b \flexa g \]
6330 \remove "Bar_number_engraver"
6334 \remove "Clef_engraver"
6335 \remove "Key_engraver"
6336 StaffSymbol \set #'transparent = ##t
6337 \remove "Time_signature_engraver"
6338 \remove "Bar_engraver"
6339 minimumVerticalExtent = ##f
6343 \remove Ligature_bracket_engraver
6344 \consists Vaticana_ligature_engraver
6345 NoteHead \set #'style = #'vaticana_punctum
6346 Stem \set #'transparent = ##t
6352 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6353 \include "gregorian-init.ly"
6355 \notes \transpose c c' {
6356 % Torculus Auctus Descendens
6357 \[ a \pes b \flexa \auctum \descendens g \]
6364 \remove "Bar_number_engraver"
6368 \remove "Clef_engraver"
6369 \remove "Key_engraver"
6370 StaffSymbol \set #'transparent = ##t
6371 \remove "Time_signature_engraver"
6372 \remove "Bar_engraver"
6373 minimumVerticalExtent = ##f
6377 \remove Ligature_bracket_engraver
6378 \consists Vaticana_ligature_engraver
6379 NoteHead \set #'style = #'vaticana_punctum
6380 Stem \set #'transparent = ##t
6386 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6387 \include "gregorian-init.ly"
6389 \notes \transpose c c' {
6390 % Torculus Deminutus
6391 \[ a \pes b \flexa \deminutum g \]
6398 \remove "Bar_number_engraver"
6402 \remove "Clef_engraver"
6403 \remove "Key_engraver"
6404 StaffSymbol \set #'transparent = ##t
6405 \remove "Time_signature_engraver"
6406 \remove "Bar_engraver"
6407 minimumVerticalExtent = ##f
6411 \remove Ligature_bracket_engraver
6412 \consists Vaticana_ligature_engraver
6413 NoteHead \set #'style = #'vaticana_punctum
6414 Stem \set #'transparent = ##t
6421 @code{11. Torculus Initio Debilis}
6423 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6424 \include "gregorian-init.ly"
6426 \notes \transpose c c' {
6427 % Torculus Initio Debilis
6428 \[ \deminutum a \pes b \flexa g \]
6435 \remove "Bar_number_engraver"
6439 \remove "Clef_engraver"
6440 \remove "Key_engraver"
6441 StaffSymbol \set #'transparent = ##t
6442 \remove "Time_signature_engraver"
6443 \remove "Bar_engraver"
6444 minimumVerticalExtent = ##f
6448 \remove Ligature_bracket_engraver
6449 \consists Vaticana_ligature_engraver
6450 NoteHead \set #'style = #'vaticana_punctum
6451 Stem \set #'transparent = ##t
6457 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6458 \include "gregorian-init.ly"
6460 \notes \transpose c c' {
6461 % Torculus Auctus Descendens Initio Debilis
6462 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6469 \remove "Bar_number_engraver"
6473 \remove "Clef_engraver"
6474 \remove "Key_engraver"
6475 StaffSymbol \set #'transparent = ##t
6476 \remove "Time_signature_engraver"
6477 \remove "Bar_engraver"
6478 minimumVerticalExtent = ##f
6482 \remove Ligature_bracket_engraver
6483 \consists Vaticana_ligature_engraver
6484 NoteHead \set #'style = #'vaticana_punctum
6485 Stem \set #'transparent = ##t
6491 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6492 \include "gregorian-init.ly"
6494 \notes \transpose c c' {
6495 % Torculus Deminutus Initio Debilis
6496 \[ \deminutum a \pes b \flexa \deminutum g \]
6503 \remove "Bar_number_engraver"
6507 \remove "Clef_engraver"
6508 \remove "Key_engraver"
6509 StaffSymbol \set #'transparent = ##t
6510 \remove "Time_signature_engraver"
6511 \remove "Bar_engraver"
6512 minimumVerticalExtent = ##f
6516 \remove Ligature_bracket_engraver
6517 \consists Vaticana_ligature_engraver
6518 NoteHead \set #'style = #'vaticana_punctum
6519 Stem \set #'transparent = ##t
6526 @code{12. Porrectus}
6528 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6529 \include "gregorian-init.ly"
6531 \notes \transpose c c' {
6533 \[ a \flexa g \pes b \]
6540 \remove "Bar_number_engraver"
6544 \remove "Clef_engraver"
6545 \remove "Key_engraver"
6546 StaffSymbol \set #'transparent = ##t
6547 \remove "Time_signature_engraver"
6548 \remove "Bar_engraver"
6549 minimumVerticalExtent = ##f
6553 \remove Ligature_bracket_engraver
6554 \consists Vaticana_ligature_engraver
6555 NoteHead \set #'style = #'vaticana_punctum
6556 Stem \set #'transparent = ##t
6562 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6563 \include "gregorian-init.ly"
6565 \notes \transpose c c' {
6566 % Porrectus Auctus Descendens
6567 \[ a \flexa g \pes \auctum \descendens b \]
6574 \remove "Bar_number_engraver"
6578 \remove "Clef_engraver"
6579 \remove "Key_engraver"
6580 StaffSymbol \set #'transparent = ##t
6581 \remove "Time_signature_engraver"
6582 \remove "Bar_engraver"
6583 minimumVerticalExtent = ##f
6587 \remove Ligature_bracket_engraver
6588 \consists Vaticana_ligature_engraver
6589 NoteHead \set #'style = #'vaticana_punctum
6590 Stem \set #'transparent = ##t
6596 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6597 \include "gregorian-init.ly"
6599 \notes \transpose c c' {
6600 % Porrectus Deminutus
6601 \[ a \flexa g \pes \deminutum b \]
6608 \remove "Bar_number_engraver"
6612 \remove "Clef_engraver"
6613 \remove "Key_engraver"
6614 StaffSymbol \set #'transparent = ##t
6615 \remove "Time_signature_engraver"
6616 \remove "Bar_engraver"
6617 minimumVerticalExtent = ##f
6621 \remove Ligature_bracket_engraver
6622 \consists Vaticana_ligature_engraver
6623 NoteHead \set #'style = #'vaticana_punctum
6624 Stem \set #'transparent = ##t
6633 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6634 \include "gregorian-init.ly"
6636 \notes \transpose c c' {
6638 \[ \virga b \inclinatum a \inclinatum g \]
6645 \remove "Bar_number_engraver"
6649 \remove "Clef_engraver"
6650 \remove "Key_engraver"
6651 StaffSymbol \set #'transparent = ##t
6652 \remove "Time_signature_engraver"
6653 \remove "Bar_engraver"
6654 minimumVerticalExtent = ##f
6658 \remove Ligature_bracket_engraver
6659 \consists Vaticana_ligature_engraver
6660 NoteHead \set #'style = #'vaticana_punctum
6661 Stem \set #'transparent = ##t
6667 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6668 \include "gregorian-init.ly"
6670 \notes \transpose c c' {
6672 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6679 \remove "Bar_number_engraver"
6683 \remove "Clef_engraver"
6684 \remove "Key_engraver"
6685 StaffSymbol \set #'transparent = ##t
6686 \remove "Time_signature_engraver"
6687 \remove "Bar_engraver"
6688 minimumVerticalExtent = ##f
6692 \remove Ligature_bracket_engraver
6693 \consists Vaticana_ligature_engraver
6694 NoteHead \set #'style = #'vaticana_punctum
6695 Stem \set #'transparent = ##t
6701 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6702 \include "gregorian-init.ly"
6704 \notes \transpose c c' {
6705 % Climacus Deminutus
6706 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6713 \remove "Bar_number_engraver"
6717 \remove "Clef_engraver"
6718 \remove "Key_engraver"
6719 StaffSymbol \set #'transparent = ##t
6720 \remove "Time_signature_engraver"
6721 \remove "Bar_engraver"
6722 minimumVerticalExtent = ##f
6726 \remove Ligature_bracket_engraver
6727 \consists Vaticana_ligature_engraver
6728 NoteHead \set #'style = #'vaticana_punctum
6729 Stem \set #'transparent = ##t
6736 @code{14. Scandicus}
6738 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6739 \include "gregorian-init.ly"
6741 \notes \transpose c c' {
6743 \[ g \pes a \virga b \]
6750 \remove "Bar_number_engraver"
6754 \remove "Clef_engraver"
6755 \remove "Key_engraver"
6756 StaffSymbol \set #'transparent = ##t
6757 \remove "Time_signature_engraver"
6758 \remove "Bar_engraver"
6759 minimumVerticalExtent = ##f
6763 \remove Ligature_bracket_engraver
6764 \consists Vaticana_ligature_engraver
6765 NoteHead \set #'style = #'vaticana_punctum
6766 Stem \set #'transparent = ##t
6772 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6773 \include "gregorian-init.ly"
6775 \notes \transpose c c' {
6776 % Scandicus Auctus Descendens
6777 \[ g \pes a \pes \auctum \descendens b \]
6784 \remove "Bar_number_engraver"
6788 \remove "Clef_engraver"
6789 \remove "Key_engraver"
6790 StaffSymbol \set #'transparent = ##t
6791 \remove "Time_signature_engraver"
6792 \remove "Bar_engraver"
6793 minimumVerticalExtent = ##f
6797 \remove Ligature_bracket_engraver
6798 \consists Vaticana_ligature_engraver
6799 NoteHead \set #'style = #'vaticana_punctum
6800 Stem \set #'transparent = ##t
6806 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6807 \include "gregorian-init.ly"
6809 \notes \transpose c c' {
6810 % Scandicus Deminutus
6811 \[ g \pes a \pes \deminutum b \]
6818 \remove "Bar_number_engraver"
6822 \remove "Clef_engraver"
6823 \remove "Key_engraver"
6824 StaffSymbol \set #'transparent = ##t
6825 \remove "Time_signature_engraver"
6826 \remove "Bar_engraver"
6827 minimumVerticalExtent = ##f
6831 \remove Ligature_bracket_engraver
6832 \consists Vaticana_ligature_engraver
6833 NoteHead \set #'style = #'vaticana_punctum
6834 Stem \set #'transparent = ##t
6843 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6844 \include "gregorian-init.ly"
6846 \notes \transpose c c' {
6848 \[ g \oriscus a \pes \virga b \]
6855 \remove "Bar_number_engraver"
6859 \remove "Clef_engraver"
6860 \remove "Key_engraver"
6861 StaffSymbol \set #'transparent = ##t
6862 \remove "Time_signature_engraver"
6863 \remove "Bar_engraver"
6864 minimumVerticalExtent = ##f
6868 \remove Ligature_bracket_engraver
6869 \consists Vaticana_ligature_engraver
6870 NoteHead \set #'style = #'vaticana_punctum
6871 Stem \set #'transparent = ##t
6877 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6878 \include "gregorian-init.ly"
6880 \notes \transpose c c' {
6881 % Salicus Auctus Descendens
6882 \[ g \oriscus a \pes \auctum \descendens b \]
6889 \remove "Bar_number_engraver"
6893 \remove "Clef_engraver"
6894 \remove "Key_engraver"
6895 StaffSymbol \set #'transparent = ##t
6896 \remove "Time_signature_engraver"
6897 \remove "Bar_engraver"
6898 minimumVerticalExtent = ##f
6902 \remove Ligature_bracket_engraver
6903 \consists Vaticana_ligature_engraver
6904 NoteHead \set #'style = #'vaticana_punctum
6905 Stem \set #'transparent = ##t
6915 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6916 \include "gregorian-init.ly"
6918 \notes \transpose c c' {
6920 \[ \stropha b \stropha b \stropha a \]
6927 \remove "Bar_number_engraver"
6931 \remove "Clef_engraver"
6932 \remove "Key_engraver"
6933 StaffSymbol \set #'transparent = ##t
6934 \remove "Time_signature_engraver"
6935 \remove "Bar_engraver"
6936 minimumVerticalExtent = ##f
6940 \remove Ligature_bracket_engraver
6941 \consists Vaticana_ligature_engraver
6942 NoteHead \set #'style = #'vaticana_punctum
6943 Stem \set #'transparent = ##t
6955 Unlike most other neumes notation systems, the input language for
6956 neumes does not necessarily reflect directly the typographical
6957 appearance, but is designed to solely focuse on musical meaning. For
6958 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6959 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6960 a Porrectus with a curved flexa shape and only a single Punctum head.
6961 There is no command to explicitly typeset the curved flexa shape; the
6962 decision of when to typeset a curved flexa shape is purely taken from
6963 the musical input. The idea of this approach is to separate the
6964 musical aspects of the input from the notation style of the output.
6965 This way, the same input can be reused to typeset the same music in a
6966 different style of Gregorian chant notation such as Hufnagel (also
6967 known as German gothic neumes) or Medicaea (kind of a very simple
6968 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6969 engraver and Medicaea ligature engraver will have been implemented, it
6970 will be as simple as replacing the ligature engraver in the
6971 @internalsref{Voice} context to get the desired notation style from
6974 The following table shows the code fragments that produce the
6975 ligatures in the above neumes table. The letter in the first column
6976 in each line of the below table indicates to which ligature in the
6977 above table it refers. The second column gives the name of the
6978 ligature. The third column shows the code fragment that produces this
6979 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6981 @multitable @columnfractions .1 .4 .5
6995 Punctum Inclinatum @tab
6996 @code{\[ \inclinatum b \]}
7000 Punctum Auctum Ascendens @tab
7001 @code{\[ \auctum \ascendens b \]}
7005 Punctum Auctum Descendens @tab
7006 @code{\[ \auctum \descendens b \]}
7010 Punctum Inclinatum Auctum @tab
7011 @code{\[ \inclinatum \auctum b \]}
7015 Punctum Inclinatum Parvum @tab
7016 @code{\[ \inclinatum \deminutum b \]}
7021 @code{\[ \virga b \]}
7026 @code{\[ \stropha b \]}
7031 @code{\[ \stropha \auctum b \]}
7036 @code{\[ \oriscus b \]}
7040 Clivis vel Flexa @tab
7041 @code{\[ b \flexa g \]}
7045 Clivis Aucta Descendens @tab
7046 @code{\[ b \flexa \auctum \descendens g \]}
7050 Clivis Aucta Ascendens @tab
7051 @code{\[ b \flexa \auctum \ascendens g \]}
7056 @code{\[ b \flexa \deminutum g \]}
7060 Podatus vel Pes @tab
7061 @code{\[ g \pes b \]}
7065 Pes Auctus Descendens @tab
7066 @code{\[ g \pes \auctum \descendens b \]}
7070 Pes Auctus Ascendens @tab
7071 @code{\[ g \pes \auctum \ascendens b \]}
7076 @code{\[ g \pes \deminutum b \]}
7081 @code{\[ \oriscus g \pes \virga b \]}
7085 Pes Quassus Auctus Descendens @tab
7086 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7091 @code{\[ \quilisma g \pes b \]}
7095 Quilisma Pes Auctus Descendens @tab
7096 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7100 Pes Initio Debilis @tab
7101 @code{\[ \deminutum g \pes b \]}
7105 Pes Auctus Descendens Initio Debilis @tab
7106 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7111 @code{\[ a \pes b \flexa g \]}
7115 Torculus Auctus Descendens @tab
7116 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7120 Torculus Deminutus @tab
7121 @code{\[ a \pes b \flexa \deminutum g \]}
7125 Torculus Initio Debilis @tab
7126 @code{\[ \deminutum a \pes b \flexa g \]}
7130 Torculus Auctus Descendens Initio Debilis @tab
7131 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7135 Torculus Deminutus Initio Debilis @tab
7136 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7141 @code{\[ a \flexa g \pes b \]}
7145 Porrectus Auctus Descendens @tab
7146 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7150 Porrectus Deminutus @tab
7151 @code{\[ a \flexa g \pes \deminutum b \]}
7156 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7160 Climacus Auctus @tab
7161 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7165 Climacus Deminutus @tab
7166 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7171 @code{\[ g \pes a \virga b \]}
7175 Scandicus Auctus Descendens @tab
7176 @code{\[ g \pes a \pes \auctum \descendens b \]}
7180 Scandicus Deminutus @tab
7181 @code{\[ g \pes a \pes \deminutum b \]}
7186 @code{\[ g \oriscus a \pes \virga b \]}
7190 Salicus Auctus Descendens @tab
7191 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7196 @code{\[ \stropha b \stropha b \stropha a \]}
7202 The following head prefixes are supported:
7204 @cindex @code{\virga}
7206 @cindex @code{\stropha}
7208 @cindex @code{\inclinatum}
7210 @cindex @code{\auctum}
7212 @cindex @code{\descendens}
7214 @cindex @code{\ascendens}
7216 @cindex @code{\oriscus}
7218 @cindex @code{\quilisma}
7220 @cindex @code{\deminutum}
7223 Head prefixes can be accumulated, though restrictions apply. For
7224 example, either @code{\descendens} or @code{\ascendens} can be applied
7225 to a head, but not both to the same head.
7228 @cindex @code{\flexa}
7229 Two adjacent heads can be tied together with the @code{\pes} and
7230 @code{\flexa} infix commands for a rising and falling line of melody,
7235 Trigonus: apply equal spacing, regardless of pitch.
7238 @subsection Figured bass
7240 @cindex Basso continuo
7242 @c TODO: musicological blurb about FB
7246 LilyPond has limited support for figured bass:
7248 @lilypond[verbatim,fragment]
7250 \context Voice \notes { \clef bass dis4 c d ais}
7251 \context FiguredBass
7253 < 6 >4 < 7 >8 < 6+ [_!] >
7259 The support for figured bass consists of two parts: there is an input
7260 mode, introduced by @code{\figures}, where you can enter bass figures
7261 as numbers, and there is a context called @internalsref{FiguredBass} that
7262 takes care of making @internalsref{BassFigure} objects.
7264 In figures input mode, a group of bass figures is delimited by
7265 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7270 \context FiguredBass
7274 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7281 \context FiguredBass
7282 \figures { <4- 6+ 7!> }
7285 Spaces or dashes may be inserted by using @code{_}. Brackets are
7286 introduced with @code{[} and @code{]}:
7292 \context FiguredBass
7293 \figures { < [4 6] 8 [_! 12]> }
7296 Although the support for figured bass may superficially resemble chord
7297 support, it works much simpler. The @code{\figures} mode simply
7298 stores the numbers , and @internalsref{FiguredBass} context prints
7299 them as entered. There is no conversion to pitches, and no
7300 realizations of the bass are played in the MIDI file.
7302 Internally, the code produces markup texts. You can use any of the
7303 markup text properties to override formatting. For example, the
7304 vertical spacing of the figures may be set with @code{baseline-skip}.
7308 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7309 and @internalsref{FiguredBass} context.
7313 Slash notation for alterations is not supported.
7316 @node Vaticana style contexts
7317 @subsection Vaticana style contexts
7319 @cindex VaticanaVoiceContext
7320 @cindex VaticanaStaffContext
7322 The predefined @code{VaticanaVoiceContext} and
7323 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7324 Gregorian Chant in the style of the Editio Vaticana. These contexts
7325 initialize all relevant context properties and grob properties to
7326 proper values. With these contexts, you can immediately go ahead
7327 entering the chant, as the following short excerpt demonstrates:
7329 @lilypond[raggedright,verbatim,noindent]
7330 \include "gregorian-init.ly"
7332 \context VaticanaVoice {
7333 \property Score.BarNumber \set #'transparent = ##t
7335 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7336 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7337 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7340 \lyricsto "" \new LyricsVoice \lyrics {
7341 San- ctus, San- ctus, San- ctus
7346 @node Contemporary notation
7347 @section Contemporary notation
7349 In the 20th century, composers have greatly expanded the musical
7350 vocabulary. With this expansion, many innovations in musical notation
7351 have been tried. The book by Stone (1980) gives a comprehensive
7352 overview (see @ref{Literature list}). In general, the use of new,
7353 innovative notation makes a piece harder to understand and perform and
7354 its use should therefore be avoided if possible. For this reason,
7355 support for contemporary notation in LilyPond is limited.
7364 @subsection Clusters
7368 In musical terminology, a @emph{cluster} denotes a range of
7369 simultaneously sounding pitches that may change over time. The set of
7370 available pitches to apply usually depends on the accoustic source.
7371 Thus, in piano music, a cluster typically consists of a continous range
7372 of the semitones as provided by the piano's fixed set of a chromatic
7373 scale. In choral music, each singer of the choir typically may sing an
7374 arbitrary pitch within the cluster's range that is not bound to any
7375 diatonic, chromatic or other scale. In electronic music, a cluster
7376 (theoretically) may even cover a continuous range of pitches, thus
7377 resulting in coloured noise, such as pink noise.
7379 Clusters can be denoted in the context of ordinary staff notation by
7380 engraving simple geometrical shapes that replace ordinary notation of
7381 notes. Ordinary notes as musical events specify starting time and
7382 duration of pitches; however, the duration of a note is expressed by the
7383 shape of the note head rather than by the horizontal graphical extent of
7384 the note symbol. In contrast, the shape of a cluster geometrically
7385 describes the development of a range of pitches (vertical extent) over
7386 time (horizontal extent). Still, the geometrical shape of a cluster
7387 covers the area in wich any single pitch contained in the cluster would
7388 be notated as an ordinary note. From this point of view, it is
7389 reasonable to specify a cluster as the envelope of a set of notes.
7393 A cluster is engraved as the envelope of a set of
7394 cluster-notes. Cluster notes are created by applying the function
7395 @code{notes-to-clusters} to a sequence of chords, e.g.
7397 @lilypond[relative 1,verbatim]
7398 \apply #notes-to-clusters { <c e > <b f'> }
7401 The following example (from
7402 @inputfileref{input/regression,cluster.ly}) shows what the result
7405 @lilypondfile[notexidoc]{cluster.ly}
7407 By default, @internalsref{Cluster_spanner_engraver} is in the
7408 @internalsref{Voice} context. This allows putting ordinary notes and
7409 clusters together in the same staff, even simultaneously. In such a
7410 case no attempt is made to automatically avoid collisions between
7411 ordinary notes and clusters.
7415 Internals: @internalsref{ClusterSpanner},
7416 @internalsref{ClusterSpannerBeacon},
7417 @internalsref{Cluster_spanner_engraver}, and
7418 @internalsref{ClusterNoteEvent}.
7420 Examples: @inputfileref{input/regression,cluster.ly}.
7424 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7425 accurately. Use @code{<g a>8 <e a>8} instead.
7430 @subsection Fermatas
7436 Contemporary music notation frequently uses special fermata symbols to
7437 indicate fermatas of differing lengths.
7441 The following are supported
7443 @lilypond[singleline]
7445 << \addlyrics \notes {
7465 \context Lyrics \lyrics {
7466 "shortfermata" "fermata" "longfermata" "verylongfermata"
7471 See @ref{Articulations} for general instructions how to apply scripts
7472 such as fermatas to a @code{\notes@{@}} block.
7475 @section Tuning output
7477 There are situations where default layout decisions are not
7478 sufficient. In this section we discuss ways to override these
7481 Formatting is internally done by manipulating so called objects
7482 (graphic objects). Each object carries with it a set of properties
7483 (object or layout properties) specific to that object. For example, a
7484 stem object has properties that specify its direction, length and
7487 The most direct way of tuning the output is by altering the values of
7488 these properties. There are two ways of doing that: first, you can
7489 temporarily change the definition of one type of object, thus
7490 affecting a whole set of objects. Second, you can select one specific
7491 object, and set a layout property in that object.
7493 Do not confuse layout properties with translation
7494 properties. Translation properties always use a mixed caps style
7495 naming, and are manipulated using @code{\property}:
7497 \property Context.propertyName = @var{value}
7499 Layout properties are use Scheme style variable naming, i.e. lower
7500 case words separated with dashes. They are symbols, and should always
7501 be quoted using @code{#'}. For example, this could be an imaginary
7502 layout property name:
7504 #'layout-property-name
7509 * Constructing a tweak::
7517 @node Tuning objects
7518 @subsection Tuning objects
7520 @cindex object description
7522 The definition of an object is a list of default object
7523 properties. For example, the definition of the Stem object (available
7524 in @file{scm/define-grobs.scm}), includes the following definitions
7525 for @internalsref{Stem}:
7529 (beamed-lengths . (0.0 2.5 2.0 1.5))
7530 (Y-extent-callback . ,Stem::height)
7535 Adding variables on top of this existing definition overrides the
7536 system default, and alters the resulting appearance of the layout
7542 Changing a variable for only one object is commonly achieved with
7546 \once \property @var{context}.@var{objectname}
7547 \override @var{symbol} = @var{value}
7549 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7550 and @var{objectname} is a string and @var{value} is a Scheme expression.
7551 This command applies a setting only during one moment in the score.
7553 In the following example, only one @internalsref{Stem} object is
7554 changed from its original setting:
7556 @lilypond[verbatim, fragment, relative=1]
7558 \once \property Voice.Stem \set #'thickness = #4
7562 @cindex @code{\once}
7564 For changing more objects, the same command, without @code{\once} can
7567 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7569 This command adds @code{@var{symbol} = @var{value}} to the definition
7570 of @var{objectname} in the context @var{context}, and this definition
7571 stays in place until it is removed.
7573 An existing definition may be removed by the following command:
7576 \property @var{context}.@var{objectname} \revert @var{symbol}
7579 All @code{\override} and @code{\revert} commands should be balanced.
7580 The @code{\set} shorthand performs a revert followed by an override,
7581 and is often more convenient to use
7584 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7588 @lilypond[verbatim,quote]
7589 c'4 \property Voice.Stem \override #'thickness = #4.0
7591 c'4 \property Voice.Stem \revert #'thickness
7595 The following example gives exactly the same result as the previous
7596 one (assuming the system default for stem thickness is 1.3):
7598 @lilypond[verbatim,quote]
7599 c'4 \property Voice.Stem \set #'thickness = #4.0
7601 c'4 \property Voice.Stem \set #'thickness = #1.3
7605 Reverting a setting which was not set in the first place has no
7606 effect. However, if the setting was set as a system default, this may
7607 remove the default value, and this may give surprising results,
7608 including crashes. In other words, @code{\override} and
7609 @code{\revert} must be carefully balanced. The following are examples
7610 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7614 a clumsy but correct form:
7616 \override \revert \override \revert \override \revert
7620 shorter version of the same:
7622 \override \set \set \revert
7626 a short form, using only @code{\set}. This requires you to know the
7629 \set \set \set \set @var{to default value}
7633 if there is no default (i.e. by default, the object property is unset),
7636 \set \set \set \revert
7640 The object description is an Scheme association list. Since a Scheme
7641 list is a singly linked list, we can treat it as a stack, and
7642 @code{\override} and @code{\revert} are push and pop operations. The
7643 association list is stored in a normal context property, hence
7645 \property Voice.NoteHead = #'()
7647 will effectively erase @internalsref{NoteHead}s from the current
7648 @internalsref{Voice}. Typically, this will blank the object. However,
7649 this mechanism should not be used: it may cause crashes or other
7654 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7655 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7656 @internalsref{All-layout-objects}.
7661 The backend is not very strict in type-checking object properties.
7662 Cyclic references in Scheme values for properties cause hangs and/or
7663 crashes. Reverting properties that are system defaults may also lead
7666 A property tweak of modifies a local copy of the object definition.
7667 After such a tweak, the definition is independent of the objects in
7668 enclosing contexts. For example
7671 \property Voice.Stem \set #'neutral-direction = #1
7673 \property Staff.Stem \set #'thickness = #4.0
7678 In this fragment, @code{neutral-direction} is tweaked. As a result,
7679 the current @internalsref{Voice} gets a private version of the
7680 @internalsref{Stem} object. The following tweak modifies the
7681 definition at @internalsref{Staff} level. Since it a different
7682 definition, the thickness of the @code{b'16} is unaffected. For the
7683 third note, a new Voice is created, which inherits the new definition,
7684 including the changed thickness, but excluding the new neutral
7690 * Constructing a tweak::
7696 @node Constructing a tweak
7697 @subsection Constructing a tweak
7700 @cindex internal documentation
7701 @cindex finding graphical objects
7702 @cindex graphical object descriptions
7704 @cindex @code{\override}
7706 @cindex internal documentation
7710 Three pieces of information are required to use @code{\override} and
7711 @code{\set}: the name of the layout object, the context and the name
7712 of the property. We demonstrate how to glean this information from
7713 the notation manual and the generated documentation.
7715 The generated documentation is a set of HTML pages which should be
7716 included if you installed a binary distribution, typically in
7717 @file{/usr/share/doc/lilypond}. They are also available on the web:
7718 go to the @uref{http://lilypond.org,LilyPond website}, click
7719 ``Documentation'', select the correct version, and click then
7720 ``Program reference.'' It is advisable to bookmark the local HTML
7721 files. They will load faster than the ones on the web. If you use the
7722 version from the web, you must check whether the documentation matches
7723 the program version: it is generated from the definitions that the
7724 program uses, and therefore it is strongly tied to the LilyPond
7728 @c [TODO: revise for new site.]
7730 Suppose we want to move the fingering indication in the fragment below:
7732 @lilypond[relative=2,verbatim]
7738 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7739 instructions}), you will notice that there is written:
7744 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7751 In other words, the fingerings once entered, are internally stored as
7752 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7753 layout object is created for every @code{FingerEvent}.
7755 The Fingering object has a number of different functions, and each of
7756 those is captured in an interface. The interfaces are listed under
7757 @internalsref{Fingering} in the program reference.
7761 The @code{Fingering} object has a fixed size
7762 (@internalsref{item-interface}), the symbol is a piece of text
7763 (@internalsref{text-interface}), whose font can be set
7764 (@internalsref{font-interface}). It is centered horizontally
7765 (@internalsref{self-alignment-interface}), it is placed next to other
7766 objects (@internalsref{side-position-interface}) vertically, and its
7767 placement is coordinated with other scripts
7768 (@internalsref{text-script-interface}). It also has the standard
7769 @internalsref{grob-interface} (grob stands for Graphical object)
7771 @cindex graphical object
7772 @cindex layout object
7773 @cindex object, layout
7774 with all the variables that come with
7775 it. Finally, it denotes a fingering instruction, so it has
7776 @internalsref{finger-interface}.
7778 For the vertical placement, we have to look under
7779 @code{side-position-interface}:
7781 @code{side-position-interface}
7783 Position a victim object (this one) next to other objects (the
7784 support). In this case, the property @code{direction} signifies where to put the
7785 victim object relative to the support (left or right, up or down?)
7790 below this description, the variable @code{padding} is described as
7794 (dimension, in staff space)
7796 add this much extra space between objects that are next to each
7797 other. Default value: @code{0.6}
7801 By increasing the value of @code{padding}, we can move away the
7802 fingering. The following command inserts 3 staff spaces of white
7803 between the note and the fingering:
7805 \once \property Voice.Fingering \set #'padding = #3
7808 Inserting this command before the Fingering object is created,
7809 i.e. before @code{c2}, yields the following result:
7811 @lilypond[relative=2,fragment,verbatim]
7812 \once \property Voice.Fingering
7819 The context name @code{Voice} in the example above can be determined
7820 as follows. In the documentation for @internalsref{Fingering}, it says
7822 Fingering grobs are created by: @internalsref{Fingering_engraver}
7825 Clicking @code{Fingering_engraver} shows the documentation of
7826 the module responsible for interpreting the fingering instructions and
7827 translating them to a @code{Fingering} object. Such a module is called
7828 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7831 Fingering_engraver is part of contexts: Voice
7833 so tuning the settings for Fingering should be done with
7835 \property Voice.Fingering \set @dots{}
7838 Of course, the tweak may also done in a larger context than
7839 @code{Voice}, for example, @internalsref{Staff} or
7840 @internalsref{Score}.
7844 Internals: the program reference also contains alphabetical lists of
7845 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7846 @internalsref{Music-expressions}, so you can also find which objects
7847 to tweak by browsing the internals document.
7851 @subsection Applyoutput
7853 The most versatile way of tuning an object is @code{\applyoutput}. Its
7856 \applyoutput @var{proc}
7860 where @var{proc} is a Scheme function, taking three arguments.
7862 When interpreted, the function @var{proc} is called for every layout
7863 object found in the context, with the following arguments:
7865 @item the layout object itself,
7866 @item the context where the layout object was created, and
7867 @item the context where @code{\applyoutput} is processed.
7871 In addition, the cause of the layout object, i.e. the music
7872 expression or object that was responsible for creating it, is in the
7873 object property @code{cause}. For example, for a note head, this is a
7874 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7875 this is a @internalsref{NoteHead} object.
7877 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7880 (define (blanker grob grob-origin context)
7881 (if (and (memq (ly:get-grob-property grob 'interfaces)
7882 note-head-interface)
7883 (eq? (ly:get-grob-property grob 'staff-position) 0))
7885 (ly:set-grob-property! grob 'transparent #t)))
7890 @node Font selection
7891 @subsection Font selection
7893 The most common thing to change about the appearance of fonts is their
7894 size. The font size of any context can be easily changed by setting
7895 the @code{fontSize} property for that context. Its value is a number:
7896 negative numbers make the font smaller, positive numbers larger. An
7897 example is given below:
7899 @lilypond[fragment,relative=1,verbatim,quote]
7900 c4 c4 \property Voice.fontSize = #-1
7903 This command will set @code{font-size} (see below), and does
7904 not change the size of variable symbols, such as beams or slurs.
7906 One of the uses of @code{fontSize} is to get smaller symbols for cue
7907 notes. An elaborate example of those is in
7908 @inputfileref{input/test,cue-notes.ly}.
7910 @cindex magnification
7913 The font used for printing a object can be selected by setting
7914 @code{font-name}, e.g.
7916 \property Staff.TimeSignature
7917 \set #'font-name = #"cmr17"
7921 Any font can be used, as long as it is available to @TeX{}. Possible
7922 fonts include foreign fonts or fonts that do not belong to the
7923 Computer Modern font family. The size of fonts selected in this way
7924 can be changed with the @code{font-magnification} property. For
7925 example, @code{2.0} blows up all letters by a factor 2 in both
7929 @cindex font magnification
7931 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7932 can also be adjusted with a more fine-grained mechanism. By setting
7933 the object properties described below, you can select a different font;
7934 all three mechanisms work for every object that supports
7935 @code{font-interface}:
7940 is a symbol indicating the general class of the typeface. Supported are
7941 @code{roman} (Computer Modern), @code{braces} (for piano staff
7942 braces), @code{music} (the standard music font, including ancient
7943 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7946 is a symbol indicating the shape of the font, there are typically several
7947 font shapes available for each font family. Choices are @code{italic},
7948 @code{caps} and @code{upright}.
7951 is a symbol indicating the series of the font. There are typically several
7952 font series for each font family and shape. Choices are @code{medium}
7957 For any of these properties, the value @code{*} (i.e. the symbol
7958 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7959 to override default setting, which are always present. For example:
7961 \property Lyrics . LyricText \override #'font-series = #'bold
7962 \property Lyrics . LyricText \override #'font-family = #'typewriter
7963 \property Lyrics . LyricText \override #'font-shape = #'*
7966 @cindex @code{font-style}
7968 The font size is set by modifying the @code{font-size} property. Its
7969 value is a number indicating the size relative to the standard size.
7970 Each step up is an increase of approximately 12% of the font size. Six
7971 steps is exactly a factor two. The Scheme function @code{magstep}
7972 converts a @code{font-size} number to a scaling factor.
7974 LilyPond has fonts in different design sizes: the music fonts for
7975 smaller sizes are chubbier, while the text fonts are relatively wider.
7976 Font size changes are achieved by scaling the design size that is
7977 closest to the desired size.
7979 The @code{font-size} mechanism does not work for fonts selected
7980 through @code{font-name}. These may be scaled with
7981 @code{font-magnification}.
7985 The following commands set @code{fontSize} for the current voice.
7987 @cindex @code{\tiny}
7989 @cindex @code{\small}
7991 @cindex @code{\normalsize}
7996 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
8001 There is no style sheet provided for other fonts besides the @TeX{}
8004 @cindex font selection
8005 @cindex font magnification
8006 @cindex @code{font-interface}
8010 @subsection Text markup
8015 @cindex typeset text
8017 LilyPond has an internal mechanism to typeset texts. You can access it
8018 with the keyword @code{\markup}. Within markup mode, you can enter texts
8019 similar to lyrics: simply enter them, surrounded by spaces:
8022 @lilypond[verbatim,fragment,relative=1]
8023 c1^\markup { hello }
8024 c1_\markup { hi there }
8025 c1^\markup { hi \bold there, is \italic anyone home? }
8028 @cindex font switching
8030 The markup in the example demonstrates font switching commands. The
8031 command @code{\bold} and @code{\italic} only apply to the first
8032 following word; enclose a set of texts with braces to apply a command
8035 \markup @{ \bold @{ hi there @} @}
8039 For clarity, you can also do this for single arguments, e.g.
8041 \markup @{ is \italic @{ anyone @} home @}
8044 @cindex font size, texts
8046 The following size commands set absolute sizes:
8048 @cindex @code{\teeny}
8049 @cindex @code{\tiny}
8050 @cindex @code{\small}
8051 @cindex @code{\large}
8052 @cindex @code{\huge}
8062 You can also make letter larger or smaller relative to their neighbors,
8063 with the commands @code{\larger} and @code{\smaller}.
8067 @cindex font style, for texts
8068 @cindex @code{\bold}
8069 @cindex @code{\dynamic}
8070 @cindex @code{\number}
8071 @cindex @code{\italic}
8073 The following font change commands are defined:
8076 changes to the font used in dynamic signs. This font does not
8077 contain all characters of the alphabet, so when producing ``piu f'',
8078 the ``piu'' should be done in a different font.
8082 changes to the font used in time signatures. It only contains
8083 numbers and a few punctuation marks.
8085 changes @code{font-shape} to @code{italic}.
8087 changes @code{font-series} to @code{bold}.
8090 @cindex raising text
8091 @cindex lowering text
8093 @cindex translating text
8096 @cindex @code{\super}
8098 Raising and lowering texts can be done with @code{\super} and
8101 @lilypond[verbatim,fragment,relative=1]
8102 c1^\markup { E "=" mc \super "2" }
8105 @cindex @code{\raise}
8107 If you want to give an explicit amount for lowering or raising, use
8108 @code{\raise}. This command takes a Scheme valued first argument, and
8109 a markup object as second argument:
8111 @lilypond[verbatim,fragment,relative=1,quote]
8112 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8114 The argument to @code{\raise} is the vertical displacement amount,
8115 measured in (global) staff spaces. @code{\raise} and @code{\super}
8116 raise objects in relation to their surrounding markups. They cannot be
8117 used to move a single text up or down, when it is above or below a
8118 note, since the mechanism that positions it next to the note cancels
8119 any vertical shift. For vertical positioning, use the @code{padding}
8120 and/or @code{extra-offset} properties.
8122 Other commands taking single arguments include
8125 @item \bracket, \hbracket
8126 Bracket the argument markup with normal and horizontal brackets
8130 @cindex @code{\musicglyph}
8131 This is converted to a musical symbol, e.g. @code{\musicglyph
8132 #"accidentals-0"} will select the natural sign from the music font.
8133 See @ref{The Feta font} for a complete listing of the possible glyphs.
8135 This produces a single character, e.g. @code{\char #65} produces the
8138 @item \note @var{log} @var{dots} @var{dir}
8139 @cindex @code{\note}
8141 This produces a note with a stem pointing in @var{dir} direction, with
8142 duration log @var{log} and @var{dots} augmentation dots. The duration
8143 log is the negative 2-logarithm of the duration denominator. For
8144 example, a quarter note has log 2, an eighth note 3 and a breve has
8147 @item \hspace #@var{amount}
8148 @cindex @code{\hspace}
8149 This produces a invisible object taking horizontal space.
8151 \markup @{ A \hspace #2.0 B @}
8153 will put extra space between A and B, on top of the space that is
8154 normally inserted before elements on a line.
8156 @item \fontsize #@var{size}
8157 @cindex @code{\fontsize}
8158 This sets the relative font size, eg.
8160 A \fontsize #2 @{ B C @} D
8164 This will enlarge the B and the C by two steps.
8165 @item \translate #(cons @var{x} @var{y})
8167 This translates an object. Its first argument is a cons of numbers
8169 A \translate #(cons 2 -3) @{ B C @} D
8171 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8172 surroundings. This command cannot be used to move isolated scripts
8173 vertically, for the same reason that @code{\raise} cannot be used for
8176 @item \magnify #@var{mag}
8177 @cindex @code{\magnify}
8178 This sets the font magnification for the its argument. In the following
8179 example, the middle A will be 10% larger:
8181 A \magnify #1.1 @{ A @} A
8185 @item \override #(@var{key} . @var{value})
8186 @cindex @code{\override}
8187 This overrides a formatting property for its argument. The argument
8188 should be a key/value pair, e.g.
8190 m \override #'(font-family . math) m m
8194 In markup mode you can compose expressions, similar to mathematical
8195 expressions, XML documents and music expressions. The braces group
8196 notes into horizontal lines. Other types of lists also exist: you can
8197 stack expressions grouped with @code{<}, and @code{>} vertically with
8198 the command @code{\column}. Similarly, @code{\center} aligns texts by
8201 @lilypond[verbatim,fragment,relative=1]
8202 c1^\markup { \column < a bbbb c > }
8203 c1^\markup { \center < a bbbb c > }
8204 c1^\markup { \line < a b c > }
8208 Markups can be stored in variables, and these variables
8209 may be attached to notes, like
8211 allegro = \markup { \bold \large { Allegro } }
8212 \notes { a^\allegro b c d }
8215 The markup mechanism is extensible. Refer to
8216 @file{scm/new-markup.scm} for more information.
8219 Some objects have alignment procedures of their own, which cancel out
8220 any effects of alignments applied to their markup arguments as a
8221 whole. For example, the @internalsref{RehearsalMark} is horizontally
8222 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8223 effect. Similarly, whole texts over notes cannot be moved vertically
8224 with @code{\raise}. For moving and aligning complete objects, grob
8225 properties should be used.
8229 Internals: @internalsref{Markup-functions} contains a complete list of
8230 all markup commands.
8232 Init files: @file{scm/new-markup.scm}.
8239 Text layout is ultimately done by @TeX{}, which does kerning of
8240 letters. LilyPond does not account for kerning, so texts will be
8241 spaced slightly too wide.
8243 Syntax errors for markup mode are confusing.
8245 Markup texts cannot be used in the titling of the @code{\header}
8246 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8255 @section Global layout
8257 The global layout determined by three factors: the page layout, the
8258 line breaks and the spacing. These all influence each other. The
8259 choice of spacing determines how densely each system of music is set,
8260 which influences where line breaks breaks are chosen, and thus
8261 ultimately how many pages a piece of music takes. This section
8262 explains how to tune the algorithm for spacing.
8264 Globally spoken, this procedure happens in three steps: first,
8265 flexible distances (``springs'') are chosen, based on durations. All
8266 possible line breaking combination are tried, and the one with the
8267 best results---a layout that has uniform density and requires as
8268 little stretching or cramping as possible---is chosen. When the score
8269 is processed by @TeX{}, each page is filled with systems, and page breaks
8270 are chosen whenever the page gets full.
8275 * Vertical spacing::
8276 * Horizontal spacing::
8283 @node Vertical spacing
8284 @subsection Vertical spacing
8286 @cindex vertical spacing
8287 @cindex distance between staves
8288 @cindex staff distance
8289 @cindex between staves, distance
8290 @cindex staffs per page
8291 @cindex space between staves
8293 The height of each system is determined automatically by LilyPond, to
8294 keep systems from bumping into each other, some minimum distances are
8295 set. By changing these, you can put staves closer together, and thus
8296 put more systems onto one page.
8298 Normally staves are stacked vertically. To make
8299 staves maintain a distance, their vertical size is padded. This is
8300 done with the property @code{minimumVerticalExtent}. It takes a pair
8301 of numbers, so if you want to make it smaller from its, then you could
8304 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8306 This sets the vertical size of the current staff to 4 staff spaces on
8307 either side of the center staff line. The argument of
8308 @code{minimumVerticalExtent} is interpreted as an interval, where the
8309 center line is the 0, so the first number is generally negative. The
8310 staff can be made larger at the bottom by setting it to @code{(-6
8313 The piano staves are handled a little differently: to make cross-staff
8314 beaming work correctly, it is necessary that the distance between staves
8315 is fixed beforehand. This is also done with a
8316 @internalsref{VerticalAlignment} object, created in
8317 @internalsref{PianoStaff}. In this object the distance between the
8318 staves is fixed by setting @code{forced-distance}. If you want to
8319 override this, use a @code{\translator} block as follows:
8323 VerticalAlignment \override #'forced-distance = #9
8326 This would bring the staves together at a distance of 9 staff spaces,
8327 measured from the center line of each staff.
8331 Internals: Vertical alignment of staves is handled by the
8332 @internalsref{VerticalAlignment} object.
8336 @node Horizontal spacing
8337 @subsection Horizontal Spacing
8339 The spacing engine translates differences in durations into
8340 stretchable distances (``springs'') of differing lengths. Longer
8341 durations get more space, shorter durations get less. The shortest
8342 durations get a fixed amount of space (which is controlled by
8343 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8344 /The longer the duration, the more space it gets: doubling a
8345 duration adds a fixed amount (this amount is controlled by
8346 @code{spacing-increment}) of space to the note.
8348 For example, the following piece contains lots of half, quarter and
8349 8th notes, the eighth note is followed by 1 note head width (NHW).
8350 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8351 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8355 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8356 width of a note head, and @code{shortest-duration-space} is set to
8357 2.0, meaning that the shortest note gets 2 NHW (2 times
8358 @code{shortest-duration-space}) of space. For normal notes, this space
8359 is always counted from the left edge of the symbol, so the shortest
8360 notes are generally followed by one NHW of space.
8362 If one would follow the above procedure exactly, then adding a single
8363 32th note to a score that uses 8th and 16th notes, would widen up the
8364 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8365 thus adding 1 NHW to every note. To prevent this, the
8366 shortest duration for spacing is not the shortest note in the score,
8367 but the most commonly found shortest note. Notes that are even
8368 shorter this are followed by a space that is proportional to their
8369 duration relative to the common shortest note. So if we were to add
8370 only a few 16th notes to the example above, they would be followed by
8373 @lilypond[fragment, verbatim, relative=2]
8374 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8377 The most common shortest duration is determined as follows: in every
8378 measure, the shortest duration is determined. The most common short
8379 duration, is taken as the basis for the spacing, with the stipulation
8380 that this shortest duration should always be equal to or shorter than
8381 1/8th note. The shortest duration is printed when you run lilypond
8382 with @code{--verbose}. These durations may also be customized. If you
8383 set the @code{common-shortest-duration} in
8384 @internalsref{SpacingSpanner}, then this sets the base duration for
8385 spacing. The maximum duration for this base (normally 1/8th), is set
8386 through @code{base-shortest-duration}.
8388 @cindex @code{common-shortest-duration}
8389 @cindex @code{base-shortest-duration}
8390 @cindex @code{stem-spacing-correction}
8391 @cindex @code{spacing}
8393 In the introduction it was explained that stem directions influence
8394 spacing. This is controlled with @code{stem-spacing-correction}
8395 property in @internalsref{NoteSpacing}, which are generated for every
8396 @internalsref{Voice} context. The @code{StaffSpacing} object
8397 (generated at @internalsref{Staff} context) contains the same property
8398 for controlling the stem/barline spacing. The following example
8399 shows these corrections, once with default settings, and once with
8400 exaggerated corrections:
8406 \property Staff.NoteSpacing \override #'stem-spacing-correction
8408 \property Staff.StaffSpacing \override #'stem-spacing-correction
8413 \paper { raggedright = ##t } }
8416 @cindex SpacingSpanner, overriding properties
8418 Properties of the @internalsref{SpacingSpanner} must be overridden
8419 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8420 created before any @code{\property} statements are interpreted.
8422 \paper @{ \translator @{
8424 SpacingSpanner \override #'spacing-increment = #3.0
8431 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8432 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8433 @internalsref{SeparatingGroupSpanner}.
8437 Spacing is determined on a score wide basis. If you have a score that
8438 changes its character (measured in durations) halfway during the
8439 score, the part containing the longer durations will be spaced too
8442 There is no convenient mechanism to manually override spacing.
8447 @subsection Font size
8448 @cindex font size, setting
8449 @cindex staff size, setting
8450 @cindex @code{paper} file
8452 The Feta font provides musical symbols at eight seven different
8453 sizes. Each font is tuned for a different staff size, which are listed
8454 in the following table:
8456 @multitable @columnfractions .3 .3 .4
8459 @tab @b{staff height (pt)}
8460 @tab @b{staff height (mm)}
8502 @c modern rental material ?
8506 These standard sizes can be used by including the file @file{paperSZ.ly}, where
8507 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8508 of these files, the variables @code{paperEleven},
8509 @code{paperThirteen}, @code{paperSixteen}, @code{paperEightteen},
8510 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8511 are defined respectively. The default @code{\paper} block is also
8512 set. These files should be imported at toplevel, i.e.
8514 \include "paper26.ly"
8521 The default font size settings for each staff heights are generated
8522 from the 20pt style sheet. For more details, see the file
8523 @file{scm/font.scm}.
8526 of starting from 11 point
8527 (. These fonts are 11 point, 13 point, 16 point, 20 point, 23 point,
8528 and 26 point. The point size of a font is the height of the
8529 corresponding staff (excluding line thicknesses).
8531 Definitions for these sizes are the files
8535 @subsection Line breaking
8538 @cindex breaking lines
8540 Line breaks are normally computed automatically. They are chosen such
8541 that lines look neither cramped nor loose, and that consecutive lines
8542 have similar density.
8544 Occasionally you might want to override the automatic breaks; you can
8545 do this by specifying @code{\break}. This will force a line break at
8546 this point. Line breaks can only occur at places where there are bar
8547 lines. If you want to have a line break where there is no bar line,
8548 you can force an invisible bar line by entering @code{\bar
8549 ""}. Similarly, @code{\noBreak} forbids a line break at a
8553 @cindex regular line breaks
8554 @cindex four bar music.
8556 For linebreaks at regular intervals use @code{\break} separated by
8557 skips and repeated with @code{\repeat}:
8559 << \repeat unfold 7 @{
8560 s1 \noBreak s1 \noBreak
8561 s1 \noBreak s1 \break @}
8562 @emph{the real music}
8567 This makes the following 28 measures (assuming 4/4 time) be broken every
8568 4 measures, and only there.
8572 @code{\break}, @code{\noBreak}
8573 @cindex @code{\break}
8574 @cindex @code{\noBreak}
8578 Internals: @internalsref{BreakEvent}.
8582 @subsection Page layout
8585 @cindex breaking pages
8587 @cindex @code{indent}
8588 @cindex @code{linewidth}
8590 The most basic settings influencing the spacing are @code{indent} and
8591 @code{linewidth}. They are set in the @code{\paper} block. They
8592 control the indentation of the first line of music, and the lengths of
8595 If @code{raggedright} is set to true in the @code{\paper}
8596 block, then the lines are justified at their natural length. This
8597 useful for short fragments, and for checking how tight the natural
8601 @cindex vertical spacing
8603 The page layout process happens outside the LilyPond formatting
8604 engine: variables controlling page layout are passed to the output,
8605 and are further interpreted by @code{lilypond} wrapper program. It
8606 responds to the following variables in the @code{\paper} block. The
8607 variable @code{textheight} sets the total height of the music on each
8608 page. The spacing between systems is controlled with
8609 @code{interscoreline}, its default is 16pt. The distance between the
8610 score lines will stretch in order to fill the full page
8611 @code{interscorelinefill} is set to a positive number. In that case
8612 @code{interscoreline} specifies the minimum spacing.
8614 @cindex @code{textheight}
8615 @cindex @code{interscoreline}
8616 @cindex @code{interscorelinefill}
8618 If the variable @code{lastpagefill} is defined,
8619 @c fixme: this should only be done if lastpagefill == #t
8620 systems are evenly distributed vertically on the last page. This
8621 might produce ugly results in case there are not enough systems on the
8622 last page. The @command{lilypond-book} command ignores
8623 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8626 @cindex @code{lastpagefill}
8628 Page breaks are normally computed by @TeX{}, so they are not under
8629 direct control of LilyPond. However, you can insert a commands into
8630 the @file{.tex} output to instruct @TeX{} where to break pages. This
8631 is done by setting the @code{between-systems-strings} on the
8632 @internalsref{NonMusicalPaperColumn} where the system is broken.
8633 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8634 The predefined command @code{\newpage} also does this.
8638 @cindex @code{papersize}
8640 To change the paper size, you must first set the @code{papersize} paper
8641 variable variable as in the example below. Set it to
8642 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8643 specification, you must set the font as described above. If you want
8644 the default font, then use the 20 point font.
8647 \paper@{ papersize = "a4" @}
8648 \include "paper16.ly"
8651 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8652 will set the paper variables @code{hsize} and @code{vsize} (used by
8653 @code{lilypond-book} and @code{lilypond}).
8658 @cindex @code{\newpage}
8664 In this manual @ref{Invoking lilypond}
8666 Examples: @inputfileref{input/regression,between-systems.ly}
8668 Internals: @internalsref{NonMusicalPaperColumn}.
8672 LilyPond has no concept of page layout, which makes it difficult to
8673 reliably choose page breaks in longer pieces.
8682 Entered music can also be converted to MIDI output. The performance
8683 is good enough for proof-hearing the music for errors.
8685 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8686 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8687 marks translate to a fixed fraction of the available MIDI volume
8688 range, crescendi and decrescendi make the volume vary linearly between
8689 their two extremities. The fractions can be adjusted by
8690 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8691 For each type of MIDI instrument, a volume range can be defined. This
8692 gives a basic equalizer control, which can enhance the quality of
8693 the MIDI output remarkably. The equalizer can be controlled by
8694 setting @code{instrumentEqualizer}.
8698 Many musically interesting effects, such as swing, articulation,
8699 slurring, etc., are not translated to MIDI.
8704 * MIDI instrument names::
8709 @subsection MIDI block
8713 The MIDI block is analogous to the paper block, but it is somewhat
8714 simpler. The @code{\midi} block can contain:
8718 @item a @code{\tempo} definition, and
8719 @item context definitions.
8722 Assignments in the @code{\midi} block are not allowed.
8724 A number followed by a period is interpreted as a real number, so
8725 for setting the tempo for dotted notes, an extra space should be
8726 inserted, for example:
8729 \midi @{ \tempo 4 . = 120 @}
8733 @cindex context definition
8735 Context definitions follow precisely the same syntax as within the
8736 \paper block. Translation modules for sound are called performers.
8737 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8740 @node MIDI instrument names
8741 @subsection MIDI instrument names
8743 @cindex instrument names
8744 @cindex @code{Staff.midiInstrument}
8746 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8747 property. The instrument name should be chosen from the list in
8748 @ref{MIDI instruments}.
8752 If the selected string does not exactly match, then the default is
8753 used, which is the Grand Piano.