3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
14 <!--- @@WEB-TITLE@@=Notation manual --->
20 * Easier music entry::
27 * Fingering instructions::
36 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
53 * Chromatic alterations::
59 * Automatic note splitting ::
61 * Easy Notation note heads ::
69 A note is printed by specifying its pitch and then its duration.
70 @footnote{Notes constitute the most basic elements of LilyPond input,
71 but they do not form valid input on their own without a @code{\score}
72 block. However, for the sake of brevity and simplicity we will
73 generally omit @code{\score} blocks and @code{\paper} declarations in
76 @lilypond[fragment,verbatim]
85 @cindex Note specification
87 @cindex entering notes
89 The most common syntax for pitch entry is used in @code{\chords} and
90 @code{\notes} mode. In Note and Chord mode, pitches may be designated
91 by names. The notes are specified by the letters @code{a} through
92 @code{g}, while the octave is formed with notes ranging from @code{c}
93 to @code{b}. The pitch @code{c} is an octave below middle C and the
94 letters span the octave above that C.
96 @lilypond[fragment,verbatim]
98 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
101 @cindex note names, Dutch
103 A sharp is formed by adding @code{-is} to the end of a pitch
104 name and a flat is formed by adding @code{-es}. Double sharps and
105 double flats are obtained by adding @code{-isis} or @code{-eses}.
107 These default names are the Dutch note names. In Dutch, @code{aes} is
108 contracted to @code{as} in Dutch, but both forms are
109 accepted. Similarly, both @code{es} and @code{ees} are accepted.
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are:
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
136 The optional octave specification takes the form of a series of
137 single quote (`@code{'}') characters or a series of comma
138 (`@code{,}') characters. Each @code{'} raises the pitch by one
139 octave; each @code{,} lowers the pitch by an octave.
141 @lilypond[fragment,verbatim,center]
142 c' c'' es' g' as' gisis' ais'
146 The verbose syntax for pitch specification is
148 @cindex @code{\pitch}
150 \pitch @var{scmpitch}
153 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
158 @internalsref{NoteEvent}, @internalsref{NoteHead}
160 @node Chromatic alterations
161 @subsection Chromatic alterations
163 Normally accidentals are printed automatically, but you may also
164 print them manually. A reminder accidental
165 @cindex reminder accidental
167 can be forced by adding an exclamation mark @code{!}
168 after the pitch. A cautionary accidental
169 @cindex cautionary accidental
170 @cindex parenthesized accidental
171 (an accidental within parentheses) can be obtained by adding the
172 question mark `@code{?}' after the pitch.
174 @lilypond[fragment,verbatim]
175 cis' cis' cis'! cis'?
179 The automatic production of accidentals can be tuned in many
180 ways. For more information, refer to @ref{Accidentals}.
185 A chord is formed by a enclosing a set of pitches in @code{<<} and
186 @code{>>}. A chord may be followed by a duration, and a set of
187 articulations, just like simple notes.
189 Additionally, fingerings and articulations may be attached to
190 individual pitches of the chord:
192 @lilypond[singleline,verbatim,relative 1]
205 Rests are entered like notes, with the note name @code{r}.
207 @lilypond[singleline,verbatim]
211 Whole bar rests, centered in middle of the bar, are specified using
212 @code{R} (capital R); see @ref{Multi measure rests}. See also
215 For some music, you may wish to explicitly specify the rest's vertical
216 position. This can be achieved by entering a note with the @code{\rest}
217 keyword appended. Rest collision testing will leave these rests alone.
219 @lilypond[singleline,verbatim]
225 @internalsref{RestEvent}, @internalsref{Rest}
232 @cindex Invisible rest
235 An invisible rest (also called a `skip') can be entered like a note
236 with note name `@code{s}' or with @code{\skip @var{duration}}:
238 @lilypond[singleline,verbatim]
242 The @code{s} syntax is only available in Note mode and Chord
243 mode. In other situations, you should use the @code{\skip} command,
244 which will work outside of those two modes:
246 @lilypond[singleline,verbatim]
249 { \time 4/8 \skip 2 \time 4/4 }
250 \notes\relative c'' { a2 a1 }
255 The skip command is merely an empty musical placeholder. It does not
256 produce any output, not even transparent output.
260 @internalsref{SkipEvent}
265 @subsection Durations
269 @cindex @code{\duration}
272 In Note, Chord, and Lyrics mode, durations are designated by numbers
273 and dots: durations are entered as their reciprocal values. For example,
274 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
275 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
276 longer than a whole you must use variables.
278 @c FIXME: what is an identifier? I do not think it's been introduced yet.
279 @c and if it has, I obviously skipped that part. - Graham
283 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
285 r1 r2 r4 r8 r16 r32 r64 r64
290 \notes \relative c'' {
292 a1 a2 a4 a8 a16 a32 a64 a64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \remove "Clef_engraver"
300 \remove "Staff_symbol_engraver"
301 \remove "Time_signature_engraver"
302 \consists "Pitch_squash_engraver"
309 If the duration is omitted then it is set to the previously entered
310 duration. Default for the first note is a quarter note. The duration
311 can be followed by dots (`@code{.}') in order to obtain dotted note
315 @lilypond[fragment,verbatim,center]
316 a' b' c''8 b' a'4 a'4. b'4.. c'8.
321 You can alter the length of duration by a fraction @var{N/M}
322 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
323 will not affect the appearance of the notes or rests produced.
325 @lilypond[fragment,verbatim]
326 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
329 Durations can also be produced through GUILE extension mechanism.
330 @lilypond[verbatim,fragment]
331 c'\duration #(ly:make-duration 2 1)
337 Dot placement for chords is not perfect. In some cases, dots overlap:
350 A tie connects two adjacent note heads of the same pitch. The tie in
351 effect extends the length of a note. Ties should not be confused with
352 slurs, which indicate articulation, or phrasing slurs, which indicate
353 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
355 @lilypond[fragment,verbatim,center]
356 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
359 When a tie is applied to a chord, all note heads whose pitches match
360 are connected. When no note heads match, no ties will be created.
362 In its meaning a tie is just a way of extending a note duration, similar
363 to the augmentation dot: the following example are two ways of notating
364 exactly the same concept.
366 @lilypond[fragment, singleline,quote]
367 \time 3/4 c'2. c'2 ~ c'4
369 If you need to tie notes over bars, it may be easier to use automatic
370 note splitting (See @ref{Automatic note splitting}).
375 @internalsref{TieEvent}, @internalsref{NewTieEvent},
376 @internalsref{Tie}, @ref{Automatic note splitting}.
379 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
383 Tieing only a subset of the note heads of a pair of chords is not
384 supported in a simple way. It can be achieved by moving the
385 tie-engraver into the @internalsref{Thread} context and turning on and
386 off ties per @internalsref{Thread}.
388 Switching staves when a tie is active, will produce a horizontal tie
391 Formatting of ties is a difficult subject. The results are often not
401 @cindex @code{\times}
403 Tuplets are made out of a music expression by multiplying all durations
406 @cindex @code{\times}
408 \times @var{fraction} @var{musicexpr}
411 The duration of @var{musicexpr} will be multiplied by the fraction.
412 In the sheet music, the fraction's denominator will be printed over
413 the notes, optionally with a bracket. The most common tuplet is the
414 triplet in which 3 notes have the length of 2, so the notes are 2/3
415 of their written length:
417 @lilypond[fragment,verbatim,center]
418 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
421 The property @code{tupletSpannerDuration} specifies how long each bracket
422 should last. With this, you can make lots of tuplets while typing
423 @code{\times} only once, saving lots of typing.
425 @lilypond[fragment, relative, singleline, verbatim]
426 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
427 \times 2/3 { c'8 c c c c c }
430 The format of the number is determined by the property
431 @code{tupletNumberFormatFunction}. The default prints only the
432 denominator, but if it is set to the Scheme function
433 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
437 @cindex @code{tupletNumberFormatFunction}
438 @cindex tuplet formatting
442 @seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
446 Nested tuplets are not formatted automatically. In this case, outer
447 tuplet brackets should be moved manually.
449 @node Easy Notation note heads
450 @subsection Easy Notation note heads
452 @cindex easy notation
455 The `easyplay' note head includes a note name inside the head. It is
456 used in music aimed at beginners.
458 @lilypond[singleline,verbatim,26pt]
460 \notes { c'2 e'4 f' | g'1 }
461 \paper { \translator { \EasyNotation } }
465 The @code{EasyNotation} variable overrides a @internalsref{Score}
466 context. You probably will want to print it with magnification or a
467 large font size to make it more readable. To print with
468 magnification, you must create a DVI file (with @file{ly2dvi}) and
469 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
470 See @file{man dvips} for details. To print with a larger font, see
477 If you view the result with Xdvi, then staff lines will show through
478 the letters. Printing the PostScript file obtained with ly2dvi does
479 produce the correct result.
482 @node Easier music entry
483 @section Easier music entry
486 When entering music it is easy to introduce errors. This section deals
487 with tricks and features of the input language that help when entering
488 music, and find and correct mistakes.
490 Some features of the input language ease entering music, for example
491 the use of variables (for splitting up large pieces of music), and
492 unfolded repeats for writing repetitive parts. They are described in
493 other sections (see @ref{Repeats} and @ref{Assignments}), since they
494 are not especially aimed at easing entry
496 It is also possible to use external programs, for example GUI
497 interfaces, or MIDI transcription programs, to enter or edit
498 music. Refer to the website for more information. Finally, there are
499 tools make debugging easier, by linking the input file and the output
500 shown on screen. See @ref{Point and click} for more information.
506 * Skipping corrected music::
512 @node Relative octaves
513 @subsection Relative octaves
515 @cindex relative octave specification
517 Octaves are specified by adding @code{'} and @code{,} to pitch names.
518 When you copy existing music, it is easy to accidentally put a pitch
519 in the wrong octave and hard to find such an error. The relative
520 octave mode prevents these errors
522 @cindex @code{\relative}
524 \relative @var{startpitch} @var{musicexpr}
527 The octave of notes that appear in @var{musicexpr} are calculated as
528 follows: If no octave changing marks are used, the basic interval
529 between this and the last note is always taken to be a fourth or less
530 (This distance is determined without regarding alterations; a
531 @code{fisis} following a @code{ceses} will be put above the
534 The octave changing marks @code{'} and @code{,} can be added to raise or
535 lower the pitch by an extra octave. Upon entering relative mode, an
536 absolute starting pitch must be specified that will act as the
537 predecessor of the first note of @var{musicexpr}.
539 Entering music that changes octave frequently is easy in relative mode.
540 @lilypond[fragment,singleline,verbatim,center]
546 And octave changing marks are used for intervals greater than a fourth.
547 @lilypond[fragment,verbatim,center]
552 If the preceding item is a chord, the first note of the chord is used
553 to determine the first note of the next chord. However, other notes
554 within the second chord are determined by looking at the immediately
557 @lilypond[fragment,verbatim,center]
564 @cindex @code{\notes}
566 The pitch after the @code{\relative} contains a note name. To parse
567 the pitch as a note name, you have to be in note mode, so there must
568 be a surrounding @code{\notes} keyword (which is not
571 The relative conversion will not affect @code{\transpose},
572 @code{\chords} or @code{\relative} sections in its argument. If you
573 want to use relative within transposed music, you must place an
574 additional @code{\relative} inside the @code{\transpose}.
578 @subsection Bar check
582 @cindex @code{barCheckSynchronize}
586 Whenever a bar check is encountered during interpretation, a warning
587 message is issued if it does not fall at a measure boundary. This can
588 help find errors in the input. Depending on the value of
589 @code{barCheckSynchronize}, the beginning of the measure will be
590 relocated. A bar check is entered using the bar symbol, `@code{|}'.
593 \time 3/4 c2 e4 | g2.
598 @cindex skipTypesetting
600 Failed bar checks are caused by entering incorrect
601 durations. Incorrect durations often completely garble up the score,
602 especially if it is polyphonic, so you should start correcting the
603 score by scanning for failed bar checks and incorrect durations. To
604 speed up this process, you can use @code{skipTypesetting}, described
607 @node Skipping corrected music
608 @subsection Skipping corrected music
610 The property @code{Score.skipTypesetting} can be used to switch on and
611 off typesetting completely during the interpretation phase. When
612 typesetting is switched off, the music is processed much more quickly.
613 This can be used to skip over the parts of a score that have already
614 been checked for errors.
616 @lilypond[fragment,singleline,verbatim]
618 \property Score.skipTypesetting = ##t
620 \property Score.skipTypesetting = ##f
624 @node Automatic note splitting
625 @subsection Automatic note splitting
627 Long notes can be converted automatically to tied notes. This is done
628 by replacing the @internalsref{Note_heads_engraver} by the
629 @internalsref{Completion_heads_engraver}.
632 \paper @{ \translator @{
634 \remove "Note_heads_engraver"
635 \consists "Completion_heads_engraver"
642 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
649 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
651 \paper { \translator {
653 \remove "Note_heads_engraver"
654 \consists "Completion_heads_engraver"
659 This engraver splits all running notes at the bar line, and inserts
660 ties. One of its uses is to debug complex scores: if the measures are
661 not entirely filled, then the ties exactly show how much each measure
666 Not all durations (especially those containing tuplets) can be
667 represented exactly; the engraver will not insert tuplets.
673 @section Staff notation
675 This section describes with music notation that occurs on staff level,
676 such as keys, clefs and time signatures.
678 @cindex Staff notation
691 @subsection Staff symbol
693 @cindex adjusting staff symbol
694 @cindex StaffSymbol, using \property
695 @cindex staff lines, setting number of
697 Notes, dynamic signs, etc. are grouped
698 with a set of horizontal lines, into a staff (plural `staves'). In our
699 system, these lines are drawn using a separate graphical object called
702 This object is created whenever a @internalsref{Staff} context is
703 created. The appearance of the staff symbol cannot be changed by
704 using @code{\override} or @code{\set}. At the moment that
705 @code{\property Staff} is interpreted, a @internalsref{Staff} context
706 is made, and the @internalsref{StaffSymbol} is created before any
707 @code{\override} is effective. Properties can be changed in a
708 @code{\translator} definition, or by using @code{\outputproperty}.
712 If a staff is ended halfway a piece, the staff symbol may not end
713 exactly on the barline.
717 @subsection Key signature
722 The key signature indicates the scale in which a piece is played. It
723 is denoted by a set of alterations (flats or sharps) at the start of
728 Setting or changing the key signature is done with the @code{\key}
731 @code{\key} @var{pitch} @var{type}
734 @cindex @code{\minor}
735 @cindex @code{\major}
736 @cindex @code{\minor}
737 @cindex @code{\ionian}
738 @cindex @code{\locrian}
739 @cindex @code{\aeolian}
740 @cindex @code{\mixolydian}
741 @cindex @code{\lydian}
742 @cindex @code{\phrygian}
743 @cindex @code{\dorian}
745 Here, @var{type} should be @code{\major} or @code{\minor} to get
746 @var{pitch}-major or @var{pitch}-minor, respectively.
747 The standard mode names @code{\ionian},
748 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
749 @code{\phrygian}, and @code{\dorian} are also defined.
751 This command sets the context property
752 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
753 can be specified by setting this property directly.
757 The ordering of a key restoration (alterations that change back to
758 natural) is wrong when combined with a repeat barline.
762 @internalsref{KeyChangeEvent}, @internalsref{KeySignature}.
764 @cindex @code{keySignature}
771 The clef indicates which lines of the staff correspond to which
776 The clef can be set or changed with the @code{\clef} command:
777 @lilypond[fragment,verbatim]
778 \key f\major c''2 \clef alto g'2
781 Supported clef-names include
782 @c Moved standard clefs to the top /MB
784 @item treble, violin, G, G2
793 G clef on 1st line, so-called French violin clef
808 By adding @code{_8} or @code{^8} to the clef name, the clef is
809 transposed one octave down or up, respectively. @var{clefname} must
810 be enclosed in quotes when it contains underscores or digits. For
816 This command is equivalent to setting @code{clefGlyph},
817 @code{clefPosition} (which controls the Y position of the clef),
818 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
819 when any of these properties are changed.
823 The object for this symbol is @internalsref{Clef}.
827 @node Ottava brackets
828 @subsection Ottava brackets
830 ``Ottava'' brackets introduce an extra transposition of an octave for
831 the staff. They are created by invoking the function
832 @code{set-octavation}
838 @lilypond[verbatim,fragment]
847 Internally the @code{set-octavation} sets @code{ottavation} (eg. to
848 @code{"8va"}) and @code{centralCPosition} properties.
852 @internalsref{OttavaBracket}
856 @code{set-octavation} will get confused when clef changes happen
857 during an octavation bracket.
860 @subsection Time signature
861 @cindex Time signature
865 Time signature indicates the metrum of a piece: a regular pattern of
866 strong and weak beats. It is denoted by a fraction at the start of the
871 The time signature is set or changed by the @code{\time}
873 @lilypond[fragment,verbatim]
874 \time 2/4 c'2 \time 3/4 c'2.
877 The actual symbol that is printed can be customized with the
878 @code{style} property. Setting it to @code{#'()} uses fraction style
879 for 4/4 and 2/2 time. There are many more options for its layout.
880 See @inputfileref{input/test,time.ly} for more examples.
883 This command sets the property @code{timeSignatureFraction},
884 @code{beatLength} and @code{measureLength} in the @code{Timing}
885 context, which is normally aliased to @internalsref{Score}. The
886 property @code{timeSignatureFraction} determines where bar lines
887 should be inserted, and how automatic beams should be generated.
888 Changing the value of @code{timeSignatureFraction} also causes the
889 symbol to be printed.
891 More options are available through the Scheme function
892 @code{set-time-signature}. In combination with the
893 @internalsref{Measure_grouping_engraver}, it will create
894 @internalsref{MeasureGrouping} signs. Such signs ease reading
895 rhythmically complex modern music. In the following example, the 9/8
896 measure is subdivided in 2, 2, 2 and 3. This is passed to
897 @code{set-time-signature} as the third argument @code{(2 2 2 3)}.
900 \score { \notes \relative c'' {
901 #(set-time-signature 9 8 '(2 2 2 3))
902 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
903 #(set-time-signature 5 8 '(3 2))
908 \translator { \StaffContext
909 \consists "Measure_grouping_engraver"
915 @internalsref{TimeSignature}, @internalsref{Timing_engraver}.
920 Automatic beaming does not use measure grouping specified with
921 @code{set-time-signature}.
928 @cindex partial measure
929 @cindex measure, partial
930 @cindex shorten measures
931 @cindex @code{\partial}
933 Partial measures, for example in upbeats, are entered using the
934 @code{\partial} command:
935 @lilypond[fragment,verbatim]
936 \partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
939 The syntax for this command is
941 \partial @var{duration}
943 This is internally translated into
945 \property Timing.measurePosition = -@var{length of duration}
948 The property @code{measurePosition} contains a rational number
949 indicating how much of the measure has passed at this point.
951 @node Unmetered music
952 @subsection Unmetered music
954 Bar lines and bar numbers are calculated automatically. For unmetered
955 music (e.g. cadenzas), this is not desirable. By setting
956 @code{Score.timing} to false, this automatic timing can be switched
960 @subsection Bar lines
964 @cindex measure lines
968 Bar lines delimit measures, but are also used to indicate
969 repeats. Line breaks may only happen on barlines.
973 Bar lines are inserted automatically. Special types
974 of barlines can be forced with the @code{\bar} command:
975 @lilypond[relative=1,fragment,verbatim]
979 The following bar types are available
980 @lilypond[fragment, relative, singleline, verbatim]
992 In scores with many staves, the barlines are automatically placed at
993 top level, and they are connected between different staves of a
994 @internalsref{StaffGroup}:
995 @lilypond[fragment, verbatim]
996 < \context StaffGroup <
997 \context Staff = up { e'4 d'
1000 \context Staff = down { \clef bass c4 g e g } >
1001 \context Staff = pedal { \clef bass c2 c2 } >
1005 The command @code{\bar @var{bartype}} is a short cut for
1006 doing @code{\property Score.whichBar = @var{bartype}}
1007 Whenever @code{whichBar} is set to a string, a bar line of that type is
1008 created. @code{whichBar} is usually set automatically: at the start of
1009 a measure it is set to @code{defaultBarType}. The contents of
1010 @code{repeatCommands} is used to override default measure bars.
1012 @code{whichBar} can also be set directly, using @code{\property} or
1013 @code{\bar }. These settings take precedence over the automatic
1014 @code{whichBar} settings.
1017 @cindex repeatCommands
1018 @cindex defaultBarType
1020 You are encouraged to use @code{\repeat} for repetitions. See
1030 The bar line objects that are created at @internalsref{Staff} level
1031 are called @internalsref{BarLine}, the bar lines that span staffs are
1032 @internalsref{SpanBar}s.
1039 The easiest way to enter fragments with more than one voice on a staff
1040 is to split chords using the separator @code{\\}. You can use it for
1041 small, short-lived voices or for single chords:
1043 @lilypond[verbatim,fragment]
1044 \context Voice = VA \relative c'' {
1045 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
1049 The separator causes @internalsref{Voice} contexts to be instantiated,
1050 bearing the names @code{"1"}, @code{"2"}, etc. In each of these
1051 contexts, vertical direction of slurs, stems, etc. are set
1054 This can also be done by instantiating @internalsref{Voice} contexts
1055 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1056 a stem directions and horizontal shift for each part.
1059 @lilypond[singleline, verbatim]
1061 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1062 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1063 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1066 Normally, note heads with a different number of dots are not merged, but
1067 when the object property @code{merge-differently-dotted} is set in
1068 the @internalsref{NoteCollision} object, they are:
1069 @lilypond[verbatim,fragment,singleline]
1070 \relative c' \context Voice < {
1072 \property Staff.NoteCollision \override
1073 #'merge-differently-dotted = ##t
1075 } \\ { g8.-[ f16-] g8.-[ f16-] }
1079 Similarly, you can merge half note heads with eighth notes, by setting
1080 @code{merge-differently-headed}:
1081 @lilypond[fragment, relative=2,verbatim]
1084 \property Staff.NoteCollision
1085 \override #'merge-differently-headed = ##t
1086 c8 c4. } \\ { c2 c2 } >
1089 LilyPond also vertically shifts rests that are opposite of a stem.
1091 @lilypond[singleline,fragment,verbatim]
1092 \context Voice < c''4 \\ r4 >
1097 The objects responsible for resolving collisions are
1098 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1099 also example files @inputfileref{input/regression,collision-dots.ly},
1100 @inputfileref{input/regression,collision-head-chords.ly},
1101 @inputfileref{input/regression,collision-heads.ly},
1102 @inputfileref{input/regression,collision-mesh.ly}, and
1103 @inputfileref{input/regression,collisions.ly}.
1108 Resolving collisions is a intricate subject, and only a few situations
1109 are handled. When LilyPond cannot cope, the @code{force-hshift}
1110 property of the @internalsref{NoteColumn} object and pitched rests can
1111 be used to override typesetting decisions.
1116 Beams are used to group short notes into chunks that are aligned with
1117 the metrum. They are inserted automatically in most cases.
1119 @lilypond[fragment,verbatim, relative=2]
1120 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1123 When these automatic decisions are not good enough, beaming can be
1124 entered explicitly. It is also possible to define beaming patterns
1125 that differ from the defaults.
1129 @internalsref{Beam}.
1132 @cindex Automatic beams
1133 @subsection Manual beams
1134 @cindex beams, manual
1138 In some cases it may be necessary to override the automatic beaming
1139 algorithm. For example, the auto beamer will not beam over rests or
1140 bar lines, If you want that, specify the begin and end point manually
1141 using @code{[} and @code{]}.
1143 @lilypond[fragment,relative,verbatim]
1145 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1149 @cindex @code{stemLeftBeamCount}
1151 Normally, beaming patterns within a beam are determined automatically.
1152 When this mechanism fouls up, the properties
1153 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1154 be used to control the beam subdivision on a stem. If either property
1155 is set, its value will be used only once, and then it is erased.
1157 @lilypond[fragment,relative,verbatim]
1160 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1163 @cindex @code{stemRightBeamCount}
1166 The property @code{subdivideBeams} can be set in order to subdivide
1167 all 16th or shorter beams at beat positions. This accomplishes the
1168 same effect as twiddling with @code{stemLeftBeamCount} and
1169 @code{stemRightBeamCount}, but it take less typing.
1172 @lilypond[relative=1,verbatim,noindent]
1173 c16-[ c c c c c c c-]
1174 \property Voice.subdivideBeams = ##t
1175 c16-[ c c c c c c c-]
1176 c32-[ c c c c c c c c c c c c c c c-]
1177 \property Score.beatLength = #(ly:make-moment 1 8)
1178 c32-[ c c c c c c c c c c c c c c c-]
1180 @cindex subdivideBeams
1182 Kneed beams are inserted automatically, when a large gap is detected
1183 between the note heads. This behavior can be tuned through the object
1184 property @code{auto-knee-gap}.
1186 @cindex beams, kneed
1188 @cindex auto-knee-gap
1196 Automatically kneed beams cannot be used together with Hara Kiri
1201 * Setting automatic beam behavior ::
1205 @no de Beam typography
1206 @sub section Beam typography
1208 One of the strong points of LilyPond is how beams are formatted. Beams
1209 are quantized, meaning that the left and right endpoints beams start
1210 exactly on staff lines. Without quantization, small wedges of white
1211 space appear between the beam and staff line, and this looks untidy.
1213 Beams are also slope-damped: melodies that go up or down should also
1214 have beams that go up or down, but the slope of the beams should be
1215 less than the slope of the notes themselves.
1217 Some beams should be horizontal. These are so-called concave beams.
1219 [TODO: some pictures.]
1223 @node Setting automatic beam behavior
1224 @subsection Setting automatic beam behavior
1226 @cindex @code{autoBeamSettings}
1227 @cindex @code{(end * * * *)}
1228 @cindex @code{(begin * * * *)}
1229 @cindex automatic beams, tuning
1230 @cindex tuning automatic beaming
1232 [TODO: use \applycontext]
1234 In normal time signatures, automatic beams can start on any note but can
1235 only end in a few positions within the measure: beams can end on a beat,
1236 or at durations specified by the properties in
1237 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1238 are defined in @file{scm/auto-beam.scm}.
1240 The value of @code{autoBeamSettings} is changed using
1241 @code{\override} and unset using @code{\revert}:
1243 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1244 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1246 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1247 whether the rule applies to begin or end-points. The quantity
1248 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1249 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1250 signature (wildcards, `@code{* *}' may be entered to designate all time
1253 For example, if automatic beams should end on every quarter note, use
1256 \property Voice.autoBeamSettings \override
1257 #'(end * * * *) = #(ly:make-moment 1 4)
1259 Since the duration of a quarter note is 1/4 of a whole note, it is
1260 entered as @code{(ly:make-moment 1 4)}.
1262 The same syntax can be used to specify beam starting points. In this
1263 example, automatic beams can only end on a dotted quarter note.
1265 \property Voice.autoBeamSettings \override
1266 #'(end * * * *) = #(ly:make-moment 3 8)
1268 In 4/4 time signature, this means that automatic beams could end only on
1269 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1270 3/8 has passed within the measure).
1272 Rules can also be restricted to specific time signatures. A rule that
1273 should only be applied in @var{N}/@var{M} time signature is formed by
1274 replacing the second asterisks by @var{N} and @var{M}. For example, a
1275 rule for 6/8 time exclusively looks like
1277 \property Voice.autoBeamSettings \override
1278 #'(begin * * 6 8) = ...
1281 If a rule should be to applied only to certain types of beams, use the
1282 first pair of asterisks. Beams are classified according to the
1283 shortest note they contain. For a beam ending rule that only applies
1284 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1287 If a score ends while an automatic beam has not been ended and is still
1288 accepting notes, this last beam will not be typeset at all.
1290 @cindex automatic beam generation
1292 @cindex @code{Voice.autoBeaming}
1295 For melodies that have lyrics, you may want to switch off
1296 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1302 It is not possible to specify beaming parameters for beams with mixed
1303 durations, that differ from the beaming parameters of all separate
1304 durations, i.e., you will have to specify manual beams to get:
1306 @lilypond[singleline,fragment,relative,noverbatim,quote]
1307 \property Voice.autoBeamSettings
1308 \override #'(end * * * *) = #(ly:make-moment 3 8)
1309 \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
1311 It is not possible to specify beaming parameters that act differently in
1312 different parts of a measure. This means that it is not possible to use
1313 automatic beaming in irregular meters such as @code{5/8}.
1316 @section Accidentals
1319 This section describes how to change the way that LilyPond automatically
1320 inserts accidentals before the running notes.
1324 * Using the predefined accidental variables::
1325 * Customized accidental rules::
1328 @node Using the predefined accidental variables
1329 @subsection Using the predefined accidental variables
1331 The constructs for describing the accidental typesetting rules are
1332 quite hairy, so non-experts should stick to the variables
1333 defined in @file{ly/property-init.ly}.
1334 @cindex @file{property-init.ly}
1336 The variables set properties in the ``Current'' context (see
1337 @ref{Context properties}). This means that the variables should
1338 normally be added right after the creation of the context in which the
1339 accidental typesetting described by the variable is to take
1340 effect. For example, if you want to use piano-accidentals in a piano
1341 staff then issue @code{\pianoAccidentals} first thing after the
1342 creation of the piano staff:
1345 \notes \relative c'' <
1346 \context Staff = sa @{ cis4 d e2 @}
1347 \context GrandStaff <
1349 \context Staff = sb @{ cis4 d e2 @}
1350 \context Staff = sc @{ es2 c @}
1352 \context Staff = sd @{ es2 c @}
1356 @lilypond[singleline]
1358 \notes \relative c'' <
1359 \context Staff = sa { cis4 d e2 }
1360 \context GrandStaff <
1362 \context Staff = sb { cis4 d e2 }
1363 \context Staff = sc { es2 c }
1365 \context Staff = sd { es2 c }
1370 minimumVerticalExtent = #'(-4.0 . 4.0)
1378 @item \defaultAccidentals
1379 @cindex @code{\defaultAccidentals}
1380 This is the default typesetting behaviour. It should correspond
1381 to 18th century common practice: Accidentals are
1382 remembered to the end of the measure in which they occur and
1383 only on their own octave.
1385 @item \voiceAccidentals
1386 @cindex @code{\voiceAccidentals}
1388 The normal behaviour is to
1389 remember the accidentals on Staff-level. This variable, however,
1390 typesets accidentals individually for each voice. Apart from that the
1391 rule is similar to @code{\defaultAccidentals}.
1393 This leads to some weird and often unwanted results
1394 because accidentals from one voice do not get cancelled in other
1396 @lilypond[singleline,relative,fragment,verbatim,quote]
1404 Hence you should only use @code{\voiceAccidentals} if the voices
1405 are to be read solely by individual musicians. If the staff is to be
1406 used by one musician (e.g., a conductor) then you use
1407 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1410 @item \modernAccidentals
1411 @cindex @code{\modernAccidentals}
1412 This rule corresponds to the common practice in the 20th
1414 The rule is more complex than @code{\defaultAccidentals}.
1415 You get all the same accidentals, but temporary
1416 accidentals also get cancelled in other octaves. Further more,
1417 in the same octave, they also get cancelled in the following measure:
1418 @lilypond[singleline,fragment,verbatim]
1420 cis' c'' cis'2 | c'' c'
1423 @item \modernCautionaries
1424 @cindex @code{\modernCautionaries}
1425 This rule is similar to @code{\modernAccidentals}, but the
1426 ``extra'' accidentals (the ones not typeset by
1427 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1428 (i.e. in reduced size):
1429 @lilypond[singleline,fragment,verbatim]
1431 cis' c'' cis'2 | c'' c'
1434 @cindex @code{\modernVoiceAccidentals}
1435 @item \modernVoiceAccidentals
1436 is used for multivoice accidentals to be read both by musicians
1437 playing one voice and musicians playing all voices. Accidentals are
1438 typeset for each voice, but they @emph{are} cancelled across voices in
1439 the same @internalsref{Staff}.
1441 @cindex @code{\modernVoiceCautionaries}
1442 @item \modernVoiceCautionaries
1443 is the same as @code{\modernVoiceAccidentals}, but with the extra
1444 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1445 as cautionaries. Even though all accidentals typeset by
1446 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1447 some of them are typeset as cautionaries.
1449 @item \pianoAccidentals
1450 @cindex @code{\pianoAccidentals}
1451 20th century practice for piano notation. Very similar to
1452 @code{\modernAccidentals} but accidentals also get cancelled
1453 across the staves in the same @internalsref{GrandStaff} or
1454 @internalsref{PianoStaff}.
1456 @item \pianoCautionaries
1457 @cindex @code{\pianoCautionaries}
1458 As @code{\pianoAccidentals} but with the extra accidentals
1459 typeset as cautionaries.
1462 @cindex @code{\noResetKey}
1463 Same as @code{\defaultAccidentals} but with accidentals lasting
1464 ``forever'' and not only until the next measure:
1465 @lilypond[singleline,fragment,verbatim,relative]
1470 @item \forgetAccidentals
1471 @cindex @code{\forgetAccidentals}
1472 This is sort of the opposite of @code{\noResetKey}: Accidentals
1473 are not remembered at all - and hence all accidentals are
1474 typeset relative to the key signature, regardless of what was
1475 before in the music:
1476 @lilypond[singleline,fragment,verbatim,relative]
1478 \key d\major c4 c cis cis d d dis dis
1482 @node Customized accidental rules
1483 @subsection Customized accidental rules
1485 This section must be considered gurus-only, and hence it must be
1486 sufficient with a short description of the system and a reference to
1487 the internal documentation.
1489 The algorithm tries several different rules, and uses the rule
1490 that gives the highest number of accidentals. Each rule consists of
1493 In which context is the rule applied. For example, if
1494 @var{context} is @internalsref{Score} then all staves share
1495 accidentals, and if @var{context} is @internalsref{Staff} then all
1496 voices in the same staff share accidentals, but staves do not.
1498 Whether the accidental changes all octaves or only the current
1501 Over how many barlines the accidental lasts.
1502 If @var{lazyness} is @code{-1} then the accidental is forget
1503 immediately, and if @var{lazyness} is @code{#t} then the accidental
1506 [TODO: should use +infinity for this case?]
1512 @internalsref{Accidental_engraver}, @internalsref{Accidental},
1513 @internalsref{AccidentalPlacement}.
1518 Currently the simultaneous notes are considered to be entered in
1519 sequential mode. This means that in a chord the accidentals are
1520 typeset as if the notes in the chord happened one at a time - in the
1521 order in which they appear in the input file.
1523 This is only a problem when there are simultaneous notes whose
1524 accidentals depend on each other. The problem only occurs when using
1525 non-default accidentals. In the default scheme, accidentals only
1526 depend on other accidentals with the same pitch on the same staff, so
1527 no conflicts possible.
1529 This example shows two examples of the same music giving different
1530 accidentals depending on the order in which the notes occur in the
1533 @lilypond[singleline,fragment,verbatim]
1534 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1535 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1536 | <<cis' c''>> r | <<c'' cis'>> r |
1539 This problem can be solved by manually inserting @code{!} and @code{?}
1540 for the problematic notes.
1542 @node Expressive marks
1543 @section Expressive marks
1551 * Analysis brackets::
1558 A slur indicates that notes are to be played bound or @emph{legato}.
1562 They are entered using parentheses:
1563 @lilypond[fragment,verbatim,center]
1564 f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
1565 <<c' e'>>2-( <<b d'>>2-)
1569 @c TODO: should explain that ^( and _( set directions
1570 @c should set attachments with ^ and _ ?
1572 Slurs avoid crossing stems, and are generally attached to note heads.
1573 However, in some situations with beams, slurs may be attached to stem
1574 ends. If you want to override this layout you can do this through the
1575 object property @code{attachment} of @internalsref{Slur} in
1576 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1577 the attachment type of the left and right end points.
1579 @lilypond[fragment,relative,verbatim]
1581 \property Voice.Stem \set #'length = #5.5
1583 \property Voice.Slur \set #'attachment = #'(stem . stem)
1587 If a slur would strike through a stem or beam, the slur will be moved
1588 away upward or downward. If this happens, attaching the slur to the
1589 stems might look better:
1591 @lilypond[fragment,relative,verbatim]
1594 \property Voice.Slur \set #'attachment = #'(stem . stem)
1600 @seeinternals{Slur}, @internalsref{SlurEvent}.
1605 Producing nice slurs is a difficult problem, and LilyPond currently
1606 uses a simple, empiric method to produce slurs. In some cases, the
1607 results of this method are ugly.
1610 @cindex Adjusting slurs
1612 @node Phrasing slurs
1613 @subsection Phrasing slurs
1615 @cindex phrasing slurs
1616 @cindex phrasing marks
1618 A phrasing slur (or phrasing mark) connects chords and is used to
1619 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1622 @lilypond[fragment,verbatim,center,relative]
1623 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1626 Typographically, the phrasing slur behaves almost exactly like a
1627 normal slur. However, they are treated as different objects. A
1628 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1629 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1630 @code{\phrasingSlurBoth}.
1632 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1633 will only affect normal slurs and not phrasing slurs.
1637 See also @internalsref{PhrasingSlur},
1638 @internalsref{PhrasingSlurEvent}.
1642 Phrasing slurs have the same limitations in their formatting as normal
1646 @subsection Breath marks
1648 Breath marks are entered using @code{\breathe}.
1651 @lilypond[fragment,relative]
1655 The glyph of the breath mark can be tweaked by overriding the
1656 @code{text} property of the @code{BreathingSign} grob with the name of
1657 any glyph of @ref{The Feta font}. For example,
1658 @lilypond[fragment,verbatim,relative]
1660 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1667 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
1668 @inputfileref{input/regression,breathing-sign.ly}.
1671 @node Metronome marks
1672 @subsection Metronome marks
1675 @cindex beats per minute
1676 @cindex metronome marking
1678 Metronome settings can be entered as follows:
1680 \tempo @var{duration} = @var{perminute}
1683 In the MIDI output, they are interpreted as a tempo change, and in the
1684 paper output, a metronome marking is printed
1685 @cindex @code{\tempo}
1686 @lilypond[fragment,verbatim]
1692 @internalsref{TempoEvent}
1697 @subsection Text spanners
1698 @cindex Text spanners
1700 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1701 are written as texts, and extended over many measures with dotted
1702 lines. You can create such texts using text spanners: attach
1703 @code{\startTextSpan} and @code{\stopTextSpan} to the
1704 start and ending note of the spanner.
1706 The string to be printed, as well as the style, is set through object
1709 @lilypond[fragment,relative,verbatim]
1711 \property Voice.TextSpanner \set #'direction = #-1
1712 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1713 c2-\startTextSpan b c-\stopTextSpan a }
1719 @internalsref{TextSpanEvent},
1720 @internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
1723 @node Analysis brackets
1724 @subsection Analysis brackets
1726 @cindex phrasing brackets
1727 @cindex musicological analysis
1728 @cindex note grouping bracket
1730 Brackets are used in musical analysis to indicate structure in musical
1731 pieces. LilyPond supports a simple form of nested horizontal brackets.
1732 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1733 @internalsref{Staff} context. A bracket is started with
1734 @code{\startGroup} and closed with @code{\stopGroup}.
1736 @lilypond[singleline,verbatim]
1737 \score { \notes \relative c'' {
1738 c4-\startGroup-\startGroup
1741 c4-\stopGroup-\stopGroup
1743 \paper { \translator {
1744 \StaffContext \consists "Horizontal_bracket_engraver"
1750 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
1751 @inputfileref{input/regression,note-group-bracket.ly}.
1755 Bracket endings should be angled/slanted. (TODO)
1762 @section Articulations
1763 @cindex Articulations
1765 @cindex articulations
1769 A variety of symbols can appear above and below notes to indicate
1770 different characteristics of the performance. They are added to a note
1771 by adding a dash and the character signifying the
1772 articulation. They are demonstrated here.
1774 @lilypondfile[notexidoc]{script-abbreviations.ly}
1776 The script is automatically placed, but if you need to force
1777 directions, you can use @code{_} to force them down, or @code{^} to
1779 @lilypond[fragment, verbatim]
1786 Other symbols can be added using the syntax
1787 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1788 using @code{^} and @code{_}.
1792 @cindex staccatissimo
1801 @cindex organ pedal marks
1810 @cindex prallmordent
1814 @cindex thumb marking
1819 @lilypondfile[notexidoc]{script-chart.ly}
1823 @internalsref{ScriptEvent}, @internalsref{Script}.
1827 All of these note ornaments appear in the printed output but have no
1828 effect on the MIDI rendering of the music.
1831 @node Fingering instructions
1832 @section Fingering instructions
1836 Fingering instructions can be entered using
1838 @var{note}-@var{digit}
1840 For finger changes, use markup texts:
1842 @lilypond[verbatim, singleline, fragment]
1843 c'4-1 c'4-2 c'4-3 c'4-4
1844 c'^\markup { \fontsize #-3 \number "2-3" }
1847 @cindex finger change
1852 @lilypond[verbatim,singleline,fragment,relative=1]
1853 << c-1 e-2 g-3 b-5 >> 4
1854 \property Voice.fingerHorizontalDirection = #LEFT
1855 << c-1 es-3 g-5 >> 4
1856 \property Voice.fingerHorizontalDirection = #RIGHT
1857 << c-1 e-2 g-3 b-5 >>4
1858 \property Voice.fingerHorizontalDirection = #LEFT
1859 << c_1 e-2 g-3 b^5 >>4
1864 @internalsref{FingerEvent} and @internalsref{Fingering}.
1875 @subsection Text scripts
1876 @cindex Text scripts
1878 It is possible to place arbitrary strings of text or markup text (see
1879 @ref{Text markup}) above or below notes by using a string:
1880 @code{c^"text"}. By default, these indications do not influence the
1881 note spacing, but by using the command @code{\fatText}, the widths
1882 will be taken into account.
1884 @lilypond[fragment,singleline,verbatim] \relative c' {
1885 c4^"longtext" \fatText c4_"longlongtext" c4 }
1888 It is possible to use @TeX{} commands in the strings, but this should be
1889 avoided because it makes it impossible for LilyPond to compute the
1890 exact length of the string, which may lead to collisions. Also, @TeX{}
1891 commands will not work with direct PostScript output.
1896 @internalsref{TextScriptEvent}, @internalsref{TextScript},
1902 @subsection Grace notes
1906 @cindex @code{\grace}
1910 Grace notes are ornaments that are written out
1912 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
1916 In normal notation, grace notes take up no logical
1917 time in a measure. Such an idea is practical for normal notation, but
1918 is not strict enough to put it into a program. The model that LilyPond
1919 uses for grace notes internally is that all timing is done in two
1922 Every point in musical time consists of two rational numbers: one
1923 denotes the logical time, one denotes the grace timing. The above
1924 example is shown here with timing tuples.
1927 \score { \notes \relative c''{
1928 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1929 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1931 \paper { linewidth = 8.\cm }
1936 The placement of these grace notes is synchronized between different
1939 @lilypond[relative=2,verbatim,fragment]
1940 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
1941 \context Staff = SB { c'4 \grace { g8 b } c4 } >
1945 Unbeamed eighth notes and shorter by default have a slash through the
1946 stem. This can be controlled with object property @code{stroke-style} of
1947 @internalsref{Stem}. For proper matching of override and reverts of
1948 such properties, it is necessary to use a Scheme function.
1950 The following fragment overrides the default formatting Grace style stems.
1952 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
1955 The @code{\override} is carefully matched with a @code{\revert}.
1960 @lilypond[fragment,verbatim]
1961 \relative c'' \context Voice {
1962 \grace c8 c4 \grace { c16-[ c16-] } c4
1964 \property Voice.Stem \override #'stroke-style = #'()
1966 \property Voice.Stem \revert #'stroke-style
1971 If you want to end a note with a grace note, then the standard trick
1972 is to put the grace notes before a phantom ``space note'', e.g.
1973 @lilypond[fragment,verbatim, relative=2]
1976 { s2 \grace { c16-[ d-] } } >
1981 A @code{\grace} section has some default values, and LilyPond will
1982 use those default values unless you specify otherwise inside the
1983 @code{\grace} section. For example, if you specify \slurUp
1984 @emph{before} your @code{\grace} section, a slur which starts inside
1985 the @code{\grace} will not be forced up, even if the slur ends outside
1986 of the @code{\grace}. Note the difference between the first and
1987 second bars in this example:
1989 @lilypond[fragment,verbatim]
1990 \relative c'' \context Voice {
2008 @internalsref{GraceMusic}.
2012 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2014 Grace note synchronization can also lead to surprises. Staff notation,
2015 such as key signatures, barlines, etc. are also synchronized. Take
2016 care when you mix staves with grace notes and staves without.
2018 @lilypond[relative=2,verbatim,fragment]
2019 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2020 \context Staff = SB { c4 \bar "|:" d4 } >
2023 Grace sections should only be used within sequential music
2024 expressions. Nesting, juxtaposing, or ending sequential music with a
2025 grace section is not supported, and might produce crashes or other
2028 Overriding settings for grace music using @code{add-to-grace-init}
2029 cannot be done in a modular way.
2033 @subsection Glissando
2036 @cindex @code{\glissando}
2038 A glissando is a smooth change in pitch. It is denoted by a line or a
2039 wavy line between two notes.
2043 A glissando line can be requested by attaching a @code{\glissando} to
2046 @lilypond[fragment,relative,verbatim]
2052 @internalsref{Glissando}, @internalsref{GlissandoEvent}.
2057 Printing of an additional text (such as @emph{gliss.}) must be done
2062 @subsection Dynamics
2075 @cindex @code{\ffff}
2085 Absolute dynamic marks are specified using an variable after a
2086 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2087 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2088 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2089 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2091 @lilypond[verbatim,singleline,fragment,relative]
2092 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2098 @cindex @code{\decr}
2099 @cindex @code{\rced}
2106 A crescendo mark is started with @code{\cr} and terminated with
2107 @code{\endcr}, and decrescendi similarly with @code{\decr} and
2108 @code{\enddecr}. There are also shorthands for these marks. A
2109 crescendo can be started with @code{\<} and a decrescendo can be
2110 started with @code{\>}. Either one can be terminated with @code{\!}.
2111 Because these marks are bound to notes, if you must use spacer notes
2112 if multiple marks during one note are needed.
2114 @lilypond[fragment,verbatim,center,quote]
2115 c''-\< c''-\! d''-\decr e''-\rced
2116 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2118 This may give rise to very short hairpins. Use @code{minimum-length}
2119 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2123 \property Staff.Hairpin \override #'minimum-length = #5
2126 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2127 is an example how to do it:
2129 @lilypond[fragment,relative=2,verbatim]
2130 c4 \cresc c4 \endcresc c4
2137 You can also supply your own texts:
2138 @lilypond[fragment,relative,verbatim]
2140 \property Voice.crescendoText = "cresc. poco"
2141 \property Voice.crescendoSpanner = #'dashed-line
2150 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
2151 @internalsref{AbsoluteDynamicEvent}.
2153 Dynamics are objects of @internalsref{DynamicText} and
2154 @internalsref{Hairpin}. Vertical positioning of these symbols is
2155 handled by the @internalsref{DynamicLineSpanner} object.
2157 If you want to adjust padding or vertical direction of the dynamics,
2158 you must set properties for the @internalsref{DynamicLineSpanner}
2159 object. Predefined variables to set the vertical direction are
2160 @code{\dynamicUp} and @code{\dynamicDown}.
2162 @cindex direction, of dynamics
2163 @cindex @code{\dynamicDown}
2164 @cindex @code{\dynamicUp}
2172 @cindex @code{\repeat}
2175 Repetition is a central concept in music, and multiple notations exist
2176 for repetitions. In LilyPond, most of these notations can be captured
2177 in a uniform syntax. One of the advantages is, all these repetitions
2178 can be rendered in MIDI accurately.
2180 The following types of repetition are supported:
2184 Repeated music is fully written (played) out. Useful for MIDI
2185 output, and entering repetitive music.
2188 This is the normal notation: Repeats are not written out, but
2189 alternative endings (voltas) are printed, left to right.
2193 Alternative endings are written stacked. This has limited use but may be
2194 used to typeset two lines of lyrics in songs with repeats, see
2195 @inputfileref{input,star-spangled-banner.ly}.
2202 Make beat or measure repeats. These look like percent signs.
2208 * Repeats and MIDI::
2209 * Manual repeat commands::
2211 * Tremolo subdivisions::
2216 @subsection Repeat syntax
2220 LilyPond has one syntactic construct for specifying different types of
2221 repeats. The syntax is
2224 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2227 If you have alternative endings, you may add
2228 @cindex @code{\alternative}
2230 \alternative @code{@{} @var{alternative1}
2232 @var{alternative3} @dots{} @code{@}}
2234 where each @var{alternative} is a music expression. If you do not
2235 give enough alternatives for all of the repeats, then the first
2236 alternative is assumed to be played more than once.
2238 Normal notation repeats are used like this:
2239 @lilypond[fragment,verbatim]
2241 \repeat volta 2 { c'4 d' e' f' }
2242 \repeat volta 2 { f' e' d' c' }
2245 With alternative endings:
2246 @lilypond[fragment,verbatim]
2248 \repeat volta 2 {c'4 d' e' f'}
2249 \alternative { {d'2 d'} {f' f} }
2253 @lilypond[fragment,verbatim]
2257 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2258 \alternative { { g4 g g } { a | a a a a | b2. } }
2265 If you do a nested repeat like
2274 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2275 belongs. This ambiguity is resolved by always having the
2276 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2277 it is advisable to use braces in such situations.
2280 @node Repeats and MIDI
2281 @subsection Repeats and MIDI
2283 @cindex expanding repeats
2285 For instructions on how to unfold repeats for MIDI output, see the
2286 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2291 Timing information is not remembered at the start of an alternative,
2292 so you have to reset timing information after a repeat, e.g. using a
2293 bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
2294 or entering @code{\partial}. Similarly, slurs or ties are also not
2298 @node Manual repeat commands
2299 @subsection Manual repeat commands
2301 @cindex @code{repeatCommands}
2303 The property @code{repeatCommands} can be used to control the layout of
2304 repeats. Its value is a Scheme list of repeat commands, where each repeat
2312 @item (volta . @var{text})
2313 Print a volta bracket saying @var{text}. The text can be specified as
2314 a text string or as a markup text, see @ref{Text markup}. Do not
2315 forget to change the font, as the default number font does not contain
2316 alphabetic characters.
2318 Stop a running volta bracket
2321 @lilypond[verbatim, fragment]
2323 \property Score.repeatCommands = #'((volta "93") end-repeat)
2325 \property Score.repeatCommands = #'((volta #f))
2332 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2333 @internalsref{VoltaRepeatedMusic},
2334 @internalsref{UnfoldedRepeatedMusic}
2335 @internalsref{FoldedRepeatedMusic}.
2337 @node Tremolo repeats
2338 @subsection Tremolo repeats
2339 @cindex tremolo beams
2341 To place tremolo marks between notes, use @code{\repeat} with tremolo
2343 @lilypond[verbatim,center,singleline]
2345 \context Voice \notes\relative c' {
2346 \repeat "tremolo" 8 { c16 d16 }
2347 \repeat "tremolo" 4 { c16 d16 }
2348 \repeat "tremolo" 2 { c16 d16 }
2349 \repeat "tremolo" 4 c16
2356 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2357 @internalsref{StemTremolo}. @internalsref{TremoloEvent}.
2362 The single stem tremolo @emph{must} be entered without @code{@{} and
2365 @node Tremolo subdivisions
2366 @subsection Tremolo subdivisions
2367 @cindex tremolo marks
2368 @cindex @code{tremoloFlags}
2370 Tremolo marks can be printed on a single note by adding
2371 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2372 A @var{length} value of 8 gives one line across the note stem. If the
2373 length is omitted, then then the last value (stored in
2374 @code{Voice.tremoloFlags}) is used.
2376 @lilypond[verbatim,fragment,center]
2377 c'2:8 c':32 | c': c': |
2380 @c [TODO : stok is te kort bij 32en]
2384 Tremolos in this style do not carry over into the MIDI output.
2387 @node Measure repeats
2388 @subsection Measure repeats
2390 @cindex percent repeats
2391 @cindex measure repeats
2393 In the @code{percent} style, a note pattern can be repeated. It is
2394 printed once, and then the pattern is replaced with a special sign.
2395 Patterns of a one and two measures are replaced by percent-like signs,
2396 patterns that divide the measure length are replaced by slashes.
2398 @lilypond[verbatim,singleline]
2399 \context Voice { \repeat "percent" 4 { c'4 }
2400 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2406 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2407 @internalsref{PercentRepeatedMusic}, and
2408 @internalsref{DoublePercentRepeat}.
2413 Single measure and double measure percent-repeats cannot be nested.
2415 @node Rhythmic music
2416 @section Rhythmic music
2418 Sometimes you might want to show only the rhythm of a melody. This
2419 can be done with the rhythmic staff. All pitches of notes on such a
2420 staff are squashed, and the staff itself has a single line:
2422 @lilypond[fragment,relative,verbatim]
2423 \context RhythmicStaff {
2425 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2430 * Percussion staves::
2431 * Percussion midi output::
2434 @node Percussion staves
2435 @subsection Percussion staves
2439 To typeset more than one piece of percussion to be played by the same
2440 musician one typically uses a multiline staff where each staff
2441 position refers to a specific piece of percussion.
2445 Percussion staves are typeset with help of a set of Scheme
2446 functions. The system is based on the general MIDI drum-pitches.
2447 Include @file{ly/drumpitch-init.ly} to use drum pitches. This file
2448 defines the pitches from the Scheme variable @code{drum-pitch-names},
2449 the definition of which can be read in @file{scm/drums.scm}. Each
2450 piece of percussion has a full name and an abbreviated name, and both
2451 the full name or the abbreviation may be used in input files.
2453 To typeset the music on a staff apply the function @code{drums->paper}
2454 to the percussion music. This function takes a list of percussion
2455 instrument names, notehead scripts and staff positions (that is:
2456 pitches relative to the C-clef) and transforms the input
2457 music by moving the pitch, changing the notehead and (optionally)
2460 @lilypond[singleline,verbatim,quote]
2461 \include "drumpitch-init.ly"
2462 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2463 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2465 \apply #(drums->paper 'drums) \context Staff <
2467 \context Voice = up { \voiceOne \up }
2468 \context Voice = down { \voiceTwo \down }
2473 In the above example the music was transformed using the list @code{'drums}.
2474 Currently the following lists are defined in @file{scm/drums.scm}:
2477 To typeset a typical drum kit on a five-line staff.
2480 \include "drumpitch-init.ly"
2481 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2482 bd sn ss tomh tommh tomml toml tomfh tomfl }
2483 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2484 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2487 \apply #(drums->paper 'drums) \context Staff <
2491 \context Lyrics \nam
2494 linewidth = 100.0\mm
2497 \remove Bar_engraver
2498 \remove Time_signature_engraver
2499 minimumVerticalExtent = #'(-4.0 . 5.0)
2503 \remove Stem_engraver
2509 The drum scheme supports six different toms. When there fewer toms, simply
2510 select the toms that produce the desired result, i.e., to get toms on
2511 the three middle lines you use @code{tommh}, @code{tomml} and
2514 Because general MIDI does not contain rimshots the sidestick is used
2515 for this purpose instead.
2517 To typeset timbales on a two line staff.
2519 @lilypond[singleline]
2520 \include "drumpitch-init.ly"
2521 nam = \lyrics { timh ssh timl ssl cb }
2522 mus = \notes { timh ssh timl ssl cb s16 }
2525 \apply #(drums->paper 'timbales) \context Staff <
2529 \context Lyrics \nam
2534 \remove Bar_engraver
2535 \remove Time_signature_engraver
2536 StaffSymbol \override #'line-count = #2
2537 StaffSymbol \override #'staff-space = #2
2538 minimumVerticalExtent = #'(-3.0 . 4.0)
2542 \remove Stem_engraver
2549 To typeset congas on a two line staff.
2551 @lilypond[singleline]
2552 \include "drumpitch-init.ly"
2553 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2554 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2557 \apply #(drums->paper 'congas) \context Staff <
2561 \context Lyrics \nam
2566 \remove Bar_engraver
2567 \remove Time_signature_engraver
2568 StaffSymbol \override #'line-count = #2
2569 StaffSymbol \override #'staff-space = #2
2570 minimumVerticalExtent = #'(-3.0 . 4.0)
2574 \remove Stem_engraver
2580 To typeset bongos on a two line staff.
2582 @lilypond[singleline]
2583 \include "drumpitch-init.ly"
2584 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2585 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2588 \apply #(drums->paper 'bongos) \context Staff <
2592 \context Lyrics \nam
2597 \remove Bar_engraver
2598 \remove Time_signature_engraver
2599 StaffSymbol \override #'line-count = #2
2600 StaffSymbol \override #'staff-space = #2
2601 minimumVerticalExtent = #'(-3.0 . 4.0)
2605 \remove Stem_engraver
2611 To typeset all kinds of simple percussion on one line staves.
2612 @lilypond[singleline]
2613 \include "drumpitch-init.ly"
2614 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2615 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2618 \apply #(drums->paper 'percussion) \context Staff <
2622 \context Lyrics \nam
2627 \remove Bar_engraver
2628 \remove Time_signature_engraver
2629 StaffSymbol \override #'line-count = #1
2630 minimumVerticalExtent = #'(-2.0 . 3.0)
2634 \remove Stem_engraver
2641 If you do not like any of the predefined lists you can define your own
2642 list at the top of your file:
2644 @lilypond[singleline, verbatim]
2646 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2647 (snare default #f ,(ly:make-pitch 0 1 0))
2648 (hihat cross #f ,(ly:make-pitch 0 5 0))
2649 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2650 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2652 \include "drumpitch-init.ly"
2653 up = \notes { hh8 hh hh hh hhp4 hhp }
2654 down = \notes { bd4 sn bd toml8 toml }
2656 \apply #(drums->paper 'mydrums) \context Staff <
2658 \context Voice = up { \voiceOne \up }
2659 \context Voice = down { \voiceTwo \down }
2664 To use a modified existing list, one can prepend modifications to the
2668 #(define mydrums (append `(
2669 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2670 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2674 The file @file{drumpitch-init.ly} replaces the normal pitch names, so
2675 you have to reinclude @file{nederlands.ly} after the
2676 drum-pattern-definitions to enter normal notes.
2678 @lilypond[singleline,verbatim]
2679 \include "drumpitch-init.ly"
2680 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2681 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2682 \include "nederlands.ly"
2683 bass = \notes \transpose c c,, { a4. e8 r e g e }
2686 \apply #(drums->paper 'drums) \context Staff = drums <
2688 \context Voice = up { \voiceOne \up }
2689 \context Voice = down { \voiceTwo \down }
2691 \context Staff = bass { \clef "F_8" \bass }
2696 @node Percussion midi output
2697 @subsection Percussion midi output
2699 In order to produce correct midi output you need to produce two score
2700 blocks---one for the paper and one for the midi output. To use the
2701 percussion channel you set the property @code{instrument} to
2702 @code{'drums}. Because the drum-pitches themself are similar to the
2703 general midi pitches all you have to do is to insert the voices with
2704 none of the scheme functions to get the correct midi output:
2708 \apply #(drums->paper 'mydrums) \context Staff <
2717 \property Staff.instrument = #'drums
2726 This scheme is to be considered a temporary implementation.
2730 @section Piano music
2732 Piano staves are two normal staves coupled with a brace. The staves
2733 are largely independent, but sometimes voices can cross between the
2734 two staves. The same notation is also used for harps and other key
2735 instruments. The @internalsref{PianoStaff} is especially built to
2736 handle this cross-staffing behavior. In this section we discuss the
2737 @internalsref{PianoStaff} and some other pianistic peculiarities.
2741 * Automatic staff changes::
2742 * Manual staff switches::
2745 * Staff switch lines::
2750 There is no support for putting chords across staves. You can get
2751 this result by increasing the length of the stem in the lower stave so
2752 it reaches the stem in the upper stave, or vice versa. An example is
2753 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2755 Dynamics are not centered, but kludges do exist. See
2756 @inputfileref{input/templates,piano-dynamics.ly}.
2758 @cindex cross staff stem
2759 @cindex stem, cross staff
2762 @c fixme: should have hyperlinks as well.
2768 @node Automatic staff changes
2769 @subsection Automatic staff changes
2770 @cindex Automatic staff changes
2772 Voices can switch automatically between the top and the bottom
2773 staff. The syntax for this is
2775 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2777 The autochanger switches on basis of pitch (central C is the turning
2778 point), and it looks ahead skipping over rests to switch rests in
2779 advance. Here is a practical example:
2781 @lilypond[verbatim,singleline,quote]
2782 \score { \notes \context PianoStaff <
2783 \context Staff = "up" {
2784 \autochange Staff \context Voice = VA < \relative c' {
2785 g4 a b c d r4 a g } > }
2786 \context Staff = "down" {
2791 Spacer rests are used to prevent the bottom staff from
2792 terminating too soon.
2797 The staff switches often do not end up in optimal places. For high
2798 quality output staff switches should be specified manually.
2802 @node Manual staff switches
2803 @subsection Manual staff switches
2805 @cindex manual staff switches
2806 @cindex staff switch, manual
2808 Voices can be switched between staves manually, using the following command:
2810 \translator Staff = @var{staffname} @var{music}
2812 The string @var{staffname} is the name of the staff. It switches the
2813 current voice from its current staff to the Staff called
2814 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2822 Pianos have pedals that alter the way sound are produced. Generally, a
2823 piano has three pedals, sustain, una corda, and sostenuto.
2827 Piano pedal instruction can be expressed by attaching
2828 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2829 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
2832 The symbols that are printed can be modified by setting
2833 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2834 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
2835 of @internalsref{SustainPedal} for more information.
2837 Pedals can also be indicated by a sequence of brackets, by setting the
2838 @code{pedal-type} property of @internalsref{SustainPedal} objects:
2840 @lilypond[fragment,verbatim]
2841 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2842 c''4-\sustainDown d''4 e''4
2843 a'4-\sustainUp-\sustainDown
2844 f'4 g'4 a'4-\sustainUp
2847 A third style of pedal notation is a mixture of text and brackets,
2848 obtained by setting @code{pedal-type} to @code{mixed}:
2850 @lilypond[fragment,verbatim]
2851 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2852 c''4-\sustainDown d''4 e''4
2853 c'4-\sustainUp-\sustainDown
2854 f'4 g'4 a'4-\sustainUp
2857 The default `*Ped' style for sustain and damper pedals corresponds to
2858 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2859 for a sostenuto pedal:
2861 @lilypond[fragment,verbatim]
2862 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
2865 For fine-tuning of the appearance of a pedal bracket, the properties
2866 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2867 @code{PianoPedalBracket} objects (see the detailed documentation of
2868 @internalsref{PianoPedalBracket}) can be modified. For example, the bracket
2869 may be extended to the end of the note head.
2871 @lilypond[fragment,verbatim]
2872 \property Staff.PianoPedalBracket \override
2873 #'shorten-pair = #'(0 . -1.0)
2874 c''4-\sostenutoDown d''4 e''4 c'4
2875 f'4 g'4 a'4-\sostenutoUp
2879 @subsection Arpeggio
2882 @cindex broken arpeggio
2883 @cindex @code{\arpeggio}
2885 You can specify an arpeggio sign on a chord by attaching an
2886 @code{\arpeggio} to a chord.
2889 @lilypond[fragment,relative,verbatim]
2890 <<c e g c>>-\arpeggio
2893 When an arpeggio crosses staves in piano music, you attach an arpeggio
2894 to the chords in both staves, and set
2895 @internalsref{PianoStaff}.@code{connectArpeggios}.
2897 @lilypond[fragment,relative,verbatim]
2898 \context PianoStaff <
2899 \property PianoStaff.connectArpeggios = ##t
2900 \context Voice = one { <<c' e g c>>-\arpeggio }
2901 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
2905 This command creates @internalsref{Arpeggio} objects. Cross staff
2906 arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
2908 The direction of the arpeggio is sometimes denoted by adding an
2909 arrowhead to the wiggly line. This can be typeset by setting
2910 @code{arpeggio-direction}.
2912 @lilypond[fragment,relative,verbatim]
2914 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2915 <<c e g c>>-\arpeggio
2916 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2917 <<c e g c>>-\arpeggio
2921 A square bracket on the left indicates that the player should not
2922 arpeggiate the chord. To draw these brackets, set the
2923 @code{molecule-callback} property of @code{Arpeggio} or
2924 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
2925 @code{\arpeggio} statements within the chords as before.
2927 @lilypond[fragment,relative,verbatim]
2928 \property PianoStaff.Arpeggio \override
2929 #'molecule-callback = \arpeggioBracket
2930 <<c' e g c>>-\arpeggio
2936 It is not possible to mix connected arpeggios and unconnected
2937 arpeggios in one @internalsref{PianoStaff} at the same time.
2939 @node Staff switch lines
2940 @subsection Staff switch lines
2943 @cindex follow voice
2944 @cindex staff switching
2947 @cindex @code{followVoice}
2949 Whenever a voice switches to another staff a line connecting the notes
2950 can be printed automatically. This is enabled if the property
2951 @code{PianoStaff.followVoice} is set to true:
2953 @lilypond[fragment,relative,verbatim]
2954 \context PianoStaff <
2955 \property PianoStaff.followVoice = ##t
2956 \context Staff \context Voice {
2958 \translator Staff=two
2961 \context Staff=two { \clef bass \skip 1*2 }
2965 The associated object is @internalsref{VoiceFollower}.
2969 @section Vocal music
2971 For a discussion of how to put lyrics into a score, see section
2972 @code{Printing lyrics} in the tutorial.
2974 @cindex context variables
2975 @cindex setting context variables
2976 An interpretation context has variables that tune its behavior. These
2977 variables are also called @emph{properties}. The @code{autoBeaming}
2978 variable in a @code{Staff} controls whether 8th and shorter notes are
2979 beamed automatically. Setting the variable to @code{##f}, which is the
2980 boolean value @var{false}, turns it off.
2983 This will create an extender, which is a line
2984 that extends over the entire duration of the lyric. This line will
2985 run all the way to the start of the next lyric, so you may want to
2986 shorten it by using a blank lyric (using @code{_}).
2989 @cindex @code{\lyrics}
2991 To get them printed, you must do two
2992 things: indicate that lyrics are entered with @code{\lyrics}, and
2993 indicate that this type of music must be interpreted as texts (and not
2994 notes). This is done with @code{\context Lyrics}.
2996 You can enter lyrics in a special input mode of LilyPond. This mode is
2997 called Lyrics mode, and it is introduced by the keyword
2998 @code{\lyrics}. In this mode you can enter lyrics, with punctuation
2999 and accents without any hassle. Syllables are entered like notes, but
3000 with pitches replaced by text. For example,
3008 You can use ordinary hyphens at the end of a syllable, i.e.
3012 but then the hyphen will be attached to the end of the first syllable.
3014 If you want them centered between syllables you can use the special
3015 `@code{-}@code{-}' lyric as a separate word between syllables. The
3016 hyphen will have variable length depending on the space between
3017 the syllables and it will be centered between the syllables.
3022 Normally the notes that you enter are transformed into note heads.
3023 Note heads alone make no sense. They need surrounding information: a
3024 key signature, a clef, staff lines, etc. They need @emph{context}.
3025 In LilyPond, these symbols are created by objects called
3026 `interpretation contexts'. Interpretation contexts exist for
3027 generating notation (`notation context') and for generating sound
3028 (`performance context'). These objects only exist while LilyPond is
3029 executing. For lyrics, the command
3033 must be used to interpret a set of syllables as lyrics.
3038 @cindex interpretation context
3039 @cindex notation context
3043 The melody and the lyrics can be combined with the @code{\addlyrics}:
3046 \notes \relative c' @dots{}
3047 \context Lyrics \lyrics @dots{}
3050 [TODO: Move lyrics section from tutorial to here?]
3052 See also the sections on @ref{Slurs} and @ref{Breath marks}.
3054 [TODO: Move slurs / breath marks section to here?]
3056 [TODO: Write subsection upon usage of ChoirStaff.]
3065 @subsection More stanzas
3070 If you have multiple stanzas printed underneath each other, the vertical
3071 groups of syllables should be aligned around punctuation. LilyPond can
3072 do this if you tell it which lyric lines belong to which melody.
3073 We show how you can do this by showing how you could print a frivolous
3074 fragment of a fictional Sesame Street duet.
3076 @lilypond[singleline,verbatim]
3079 \notes \relative c'' \context Voice = duet { \time 3/4
3081 \lyrics \context Lyrics <
3082 \context LyricsVoice = "duet-1" {
3083 \property LyricsVoice . stanza = "Bert"
3084 Hi, my name is bert. }
3085 \context LyricsVoice = "duet-2" {
3086 \property LyricsVoice . stanza = "Ernie"
3087 Ooooo, ch\'e -- ri, je t'aime. }
3092 To this end, give the Voice context an identity, and set the
3093 LyricsVoice to a name starting with that identity followed by a dash.
3094 In the following example, the Voice identity is @code{duet},
3096 \context Voice = duet @{
3101 identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
3103 \context LyricsVoice = "duet-1" @{
3104 Hi, my name is bert. @}
3105 \context LyricsVoice = "duet-2" @{
3106 Ooooo, ch\'e -- ri, je t'aime. @}
3108 The convention for naming @code{LyricsVoice} and @code{Voice} must
3109 also be used to get melismata on rests correct.
3112 We add the names of the singers. This can be done by setting
3113 @code{LyricsVoice.Stanza} (for the first system) and
3114 @code{LyricsVoice.stz} for the following systems. You must
3115 surround dots with spaces in @code{\lyrics} mode.
3118 \property LyricsVoice . stanza = "Bert"
3120 \property LyricsVoice . stanza = "Ernie"
3126 For entering quotes in Lyrics mode, use the following
3128 "\"God\"" is "`King'"
3131 You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
3132 lyrics. This can confuse the LilyPond -- for example, this might put
3133 (empty) lyrics under rests. To remedy this, use @code{\skip}.
3141 Input for lyrics introduces a syntactical ambiguity:
3148 is interpreted as assigning a string identifier @code{\foo} such that
3149 it contains @code{"bar"}. However, it could also be interpreted as
3150 making or a music identifier @code{\foo} containing the syllable
3151 `bar'. The force the latter interpretation, use
3161 The term @emph{ambitus} denotes a range of pitches for a given voice in
3162 a part of music. It also may denote the pitch range that a musical
3163 instrument is capable of playing. Most musical instruments have their
3164 ambitus standardized (or at least there is agreement upon the minimal
3165 ambitus of a particular type of instrument), such that a composer or
3166 arranger of a piece of music can easily meet the ambitus constraints of
3167 the targeted instrument. However, the ambitus of the human voice
3168 depends on individual physiological state, including education and
3169 training of the voice. Therefore, a singer potentially has to check for
3170 each piece of music if the ambitus of that piece meets his individual
3171 capabilities. This is why the ambitus of a piece may be of particular
3172 value to vocal performers.
3174 The ambitus is typically notated on a per-voice basis at the very
3175 beginning of a piece, e.g. nearby the initial clef or time signature of
3176 each staff. The range is graphically specified by two noteheads, that
3177 represent the minimum and maximum pitch. Some publishers use a textual
3178 notation: they put the range in words in front of the corresponding
3179 staff. Lilypond currently only supports the graphical ambitus notation.
3181 To apply, add the @internalsref{Ambitus_engraver} to the
3182 @internalsref{Voice} context, i.e.
3185 \paper @{ \translator @{
3187 \consists Ambitus_engraver
3193 @lilypond[singleline]
3194 upper = \notes \relative c {
3197 as'' c e2 bes f cis d4 e f2 g
3199 lower = \notes \relative c {
3202 e'4 b g a c es fis a cis b a g f e d2
3205 \context ChoirStaff {
3207 \context Staff = one { \upper }
3208 \context Staff = three { \lower }
3214 \consists Ambitus_engraver
3223 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
3228 Tablature notation is used for notating music for plucked string
3229 instruments. It notates pitches not by using note heads, but by
3230 indicating on which string and fret a note must be played. LilyPond
3231 offers limited support for tablature.
3234 * Tablatures basic::
3235 * Non-guitar tablatures::
3238 @node Tablatures basic
3239 @subsection Tablatures basic
3240 @cindex Tablatures basic
3242 The string number associated to a note is given as a backslash
3243 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3244 string. By default, string 1 is the highest one, and the tuning
3245 defaults to the standard guitar tuning (with 6 strings). The notes
3246 are printed as tablature, by using @internalsref{TabStaff} and
3247 @internalsref{TabVoice} contexts.
3249 @lilypond[fragment,verbatim]
3250 \notes \context TabStaff {
3256 If you do not specify a string number then one is selected
3257 automatically: the first string that does not give a fret number less
3258 than @code{minimumFret} is selected. The default value for
3259 @code{minimumFret} is 0.
3263 e8 fis gis a b cis' dis' e'
3264 \property TabStaff.minimumFret = #8
3265 e8 fis gis a b cis' dis' e'
3270 e8 fis gis a b cis' dis' e'
3271 \property TabStaff.minimumFret = #8
3272 e8 fis gis a b cis' dis' e'
3275 \context StaffGroup <
3276 \context Staff { \clef "G_8" \frag }
3277 \context TabStaff { \frag }
3284 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3285 @internalsref{StringNumberEvent}.
3289 Chords are not handled in a special way, and hence the automatic
3290 string selector may easily select the same string to two notes in a
3294 @node Non-guitar tablatures
3295 @subsection Non-guitar tablatures
3296 @cindex Non-guitar tablatures
3298 You can change the number of strings, by setting the number of lines
3299 in the @internalsref{TabStaff} (the @code{line-count} property of
3300 @internalsref{TabStaff} can only be changed using
3301 @code{\outputproperty}, for more information, see @ref{Tuning objects}.
3303 You can change the tuning of the strings. A string tuning is given as
3304 a Scheme list with one integer number for each string, the number
3305 being the pitch (measured in semitones relative to central C) of an
3306 open string. The numbers specified for @code{stringTuning} are the
3307 numbers of semitones to subtract or add, starting the specified pitch
3308 by default middle C, in string order: thus the notes are e, a, d, and
3311 @lilypond[fragment,verbatim]
3314 \outputproperty #(make-type-checker 'staff-symbol-interface)
3316 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3319 a,4 c' a e' e c' a e'
3324 It is possible to change the Scheme function to format the tablature
3325 note text. The default is @code{fret-number-tablature-format}, which
3326 uses the fret number. For instruments that do not use this notation,
3327 you can create a special tablature formatting function. This function
3328 takes three argument: the string number, the string tuning and the
3333 As tablature is a recent feature, most of the guitar special effects
3334 such as bend are not yet supported.
3338 @section Chord names
3341 LilyPond has support for both entering and printing named chords.
3342 These chords are internally represented as a set of pitches. Therefore
3343 they can be entered by name and printed as notes, entered as notes and
3344 printed as chord names, or (the most common case) entered them by
3345 name, and print them as name. The following fragment shows these
3348 @lilypond[verbatim,singleline]
3349 twoWays = \notes \transpose c c' {
3359 < \context ChordNames \twoWays
3360 \context Voice \twoWays > }
3363 This example also shows that the chord printing routines do not try to
3364 be intelligent. The chord @code{f bes d}, is not interpreted as an
3370 * Printing chord names::
3375 @subsection Chords mode
3378 Chord mode is a mode where you can input sets of pitches using common
3379 names. It is introduced by the keyword @code{\chords}.
3380 In chords mode, a chord is entered by the root, which is entered
3381 like a common pitch, for example,
3382 @lilypond[fragment,verbatim,quote, relative=1]
3383 \chords { es4. d8 c2 }
3388 Other chords may be entered by suffixing a colon, and introducing a
3389 modifier, and optionally, a number, for example
3391 @lilypond[fragment,verbatim,quote]
3392 \chords { e1:m e1:7 e1:m7 }
3394 The first number following the root is taken to be the `type' of the
3395 chord, thirds are added to the root until it reaches the specified
3396 number, for example.
3397 @lilypond[fragment,verbatim]
3398 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3401 @cindex root of chord
3402 @cindex additions, in chords
3403 @cindex removals, in chords
3405 More complex chords may also be constructed adding separate steps
3406 to a chord. Additions are added after the number following
3407 the colon, and are separated by dots. For example
3409 @lilypond[verbatim,fragment,quote]
3410 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3412 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3413 to the number, for example:
3414 @lilypond[verbatim,fragment,quote]
3415 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3417 Removals are specified similarly, and are introduced by a caret. They
3418 must come after the additions.
3419 @lilypond[verbatim,fragment]
3420 \chords { c^3 c:7^5 c:9^3.5 }
3423 Modifiers can be used to change pitches. The following modifiers are
3427 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3429 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3432 is the augmented chord. This modifier raises the 5th step.
3434 is the major 7th chord. This modifier raises the 7th step if present.
3436 is the suspended 4th or 2nd. This modifier removes the 3rd
3437 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3440 Modifiers can be mixed with additions.
3441 @lilypond[verbatim,fragment]
3442 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3445 @cindex modifiers, in chords.
3452 Since the unaltered 11 does sound well when combined with the
3453 unaltered 3, the 11 is removed in this case, unless it is added
3454 explicitly). For example,
3455 @lilypond[fragment,verbatim]
3456 \chords { c:13 c:13.11 c:m13 }
3461 An inversion (putting one pitch of the chord on the bottom), as well
3462 as bass notes, can be specified by appending
3463 @code{/}@var{pitch} to the chord.
3464 @lilypond[fragment,verbatim,center]
3465 \chords { c1 c/g c/f }
3468 If you do not want to remove the bass note from the chord, but rather
3469 add the note, then you can use @code{/+}@var{pitch}.
3471 @lilypond[fragment,verbatim,center]
3472 \chords { c1 c/+g c/+f }
3475 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3476 of the commands continue to work, for example, @code{r} and
3477 @code{\skip} can be used to insert rests and spaces, and
3478 @code{\property} may be used to change various settings.
3484 Each step can only be present in a chord once. The following
3485 simply produces the augmented chord, since @code{5+} is interpreted
3488 @lilypond[verbatim,fragment]
3489 \chords { c:5.5-.5+ }
3492 In chord mode, dashes and carets are used to indicate chord additions
3493 and subtractions, so articulation scripts cannot be entered.
3496 @node Printing chord names
3497 @subsection Printing chord names
3499 @cindex printing chord names
3503 For displaying printed chord names, use the @internalsref{ChordNames}
3504 context. The chords may be entered either using the notation
3505 described above, or directly using @code{<<} and @code{>>}.
3507 @lilypond[verbatim,singleline]
3509 \chords {a1 b c} <<d' f' g'>> <<e' g' b'>>
3513 \context ChordNames \scheme
3514 \context Staff \scheme
3519 You can make the chord changes stand out by setting
3520 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3521 display chord names when there is a change in the chords scheme and at
3522 the start of a new line.
3526 c1:m c:m \break c:m c:m d
3530 \context ChordNames {
3531 \property ChordNames.chordChanges = ##t
3533 \context Staff \transpose c c' \scheme
3535 \paper{linewidth= 9.\cm}
3539 The default chord name layout is a system for Jazz music, proposed by
3540 Klaus Ignatzek (See @ref{Literature}).
3542 The Ignatzek chord name formatting can be tuned in a number of ways
3543 through the following properties:
3546 @cindex chordNameExceptions
3547 @item chordNameExceptions
3548 This is a list that contains the chords that have special formatting.
3550 @inputfileref{input/regression,chord-name-exceptions.ly}.
3551 @cindex exceptions, chord names.
3554 @cindex majorSevenSymbol
3555 @item majorSevenSymbol
3556 This property contains the markup object used for the 7th step, when
3557 it is major. Predefined options are @code{whiteTriangleMarkup} and
3558 @code{blackTriangleMarkup}. See
3559 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3561 @cindex chordNameSeparator
3562 @item chordNameSeparator
3563 Different parts of a chord name are normally separated by a
3564 slash. By setting @code{chordNameSeparator}, you can specify other
3566 @lilypond[fragment,verbatim]
3567 \context ChordNames \chords {
3569 \property ChordNames.chordNameSeparator
3574 @cindex chordRootNamer
3575 @item chordRootNamer
3576 The root of a chord is usually printed as a letter with an optional
3577 alteration. The transformation from pitch to letter is done by this
3578 function. Special note names (for example, the German ``H'' for a
3579 B-chord) can be produced by storing a new function in this property.
3581 @cindex chordNoteNamer
3582 @item chordNoteNamer
3583 The default is to print single notes (as for instance the bass note)
3584 using the @code{chordRootNamer}. However, by setting this function to a non-null
3585 value you can specify a different function. I.e. you could use letters
3586 in lower case for the base note.
3592 @inputfileref{input/regression,chord-name-major7.ly},
3593 @inputfileref{input/regression,chord-name-exceptions.ly},
3594 @inputfileref{input/test,chord-names-german.ly},
3595 @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
3600 Chord names are determined solely from the list of pitches. Chord
3601 inversions are not identified, and neither are added bass notes. This
3602 may result in strange chord names when chords are entered with the
3603 @code{<< .. >>} syntax.
3609 @section Writing parts
3611 Orchestral music involves some special notation, both in the full
3612 score and the individual parts. This section explains how to tackle
3613 some common problems in orchestral music.
3620 * Instrument names::
3622 * Multi measure rests::
3623 * Automatic part combining::
3625 * Sound output for transposing instruments::
3629 @node Rehearsal marks
3630 @subsection Rehearsal marks
3631 @cindex Rehearsal marks
3633 @cindex @code{\mark}
3635 To print a rehearsal mark, use the @code{\mark} command.
3636 @lilypond[fragment,verbatim]
3646 The mark is incremented automatically if you use @code{\mark
3647 \default}. The value to use is stored in the property
3648 @code{rehearsalMark} is used and automatically incremented.
3650 The @code{\mark} command can also be used to put signs like coda,
3651 segno and fermatas on a barline. Use @code{\markup} to
3652 to access the appropriate symbol.
3654 @lilypond[fragment,verbatim,relative=1]
3655 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3659 In this case, during line breaks,
3660 marks must also be printed at the end of the line, and not at the
3661 beginning. Use the following to force that behavior
3663 \property Score.RehearsalMark \override
3664 #'break-visibility = #begin-of-line-invisible
3667 See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
3673 @cindex barlines, putting symbols on
3677 @internalsref{MarkEvent}, @internalsref{RehearsalMark},
3678 @inputfileref{input/test,boxed-molecule.ly}.
3682 @subsection Bar numbers
3686 @cindex measure numbers
3687 @cindex currentBarNumber
3689 Bar numbers are printed by default at the start of the line. The
3690 number itself is stored in the
3691 @code{currentBarNumber} property,
3692 which is normally updated automatically for every measure.
3694 Bar numbers can be typeset at regular intervals instead of at the
3695 beginning of each line. This is illustrated in the following example,
3696 whose source is available as
3697 @inputfileref{input/test,bar-number-every-fifth.ly}
3699 @lilypondfile[notexidoc]{bar-number-every-fifth.ly}
3701 The start of that numbering can also be reset, as demonstrated in
3702 @inputfileref{input/test,bar-number-every-5-reset.ly}.
3704 @lilypondfile[notexidoc]{bar-number-every-5-reset.ly}
3709 @internalsref{BarNumber}.
3710 @inputfileref{input/test,bar-number-every-5-reset.ly}.
3711 @inputfileref{input/test,bar-number-every-fifth.ly}
3715 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
3716 there is one at the top. To solve this, You have to twiddle with the
3717 @internalsref{padding} property of @internalsref{BarNumber} if your
3718 score starts with a @internalsref{StaffGroup}.
3720 @node Instrument names
3721 @subsection Instrument names
3723 In an orchestral score, instrument names are printed left of the
3726 This can be achieved by setting @internalsref{Staff}.@code{instrument}
3727 and @internalsref{Staff}.@code{instr}. This will print a string before
3728 the start of the staff. For the first start, @code{instrument} is
3729 used, for the next ones @code{instr} is used.
3731 @lilypond[verbatim,singleline]
3732 \property Staff.instrument = "ploink " { c''4 }
3735 You can also use markup texts to construct more complicated instrument
3738 @lilypond[fragment,verbatim,singleline]
3739 \notes \context Staff = treble {
3740 \property Staff.instrument = \markup {
3741 \column << "Clarinetti"
3743 \smaller \musicglyph #"accidentals--1"
3754 @internalsref{InstrumentName}
3758 When you put a name on a grand staff or piano staff the width of the
3759 brace is not taken into account. You must add extra spaces to the end of
3760 the name to avoid a collision.
3763 @subsection Transpose
3765 @cindex transposition of pitches
3766 @cindex @code{\transpose}
3768 A music expression can be transposed with @code{\transpose}. The syntax
3771 \transpose @var{from} @var{to} @var{musicexpr}
3774 This means that @var{musicexpr} is transposed by the interval
3775 between @var{from} and @var{to}.
3777 @code{\transpose} distinguishes between enharmonic pitches: both
3778 @code{\transpose c cis} or @code{\transpose c des} will transpose up
3779 half a tone. The first version will print sharps and the second
3780 version will print flats.
3782 @lilypond[singleline, verbatim]
3783 mus =\notes { \key d \major cis d fis g }
3784 \score { \notes \context Staff {
3787 \transpose c g' \mus
3788 \transpose c f' \mus
3794 @internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
3798 If you want to use both @code{\transpose} and @code{\relative}, then
3799 you must put @code{\transpose} outside of @code{\relative}, since
3800 @code{\relative} will have no effect music that appears inside a
3806 @node Multi measure rests
3807 @subsection Multi measure rests
3808 @cindex Multi measure rests
3812 Multi measure rests are entered using `@code{R}'. It is specifically
3813 meant for full bar rests and for entering parts: the rest can expand to
3814 fill a score with rests, or it can be printed as a single multimeasure
3815 rest. This expansion is controlled by the property
3816 @code{Score.skipBars}. If this is set to true, Lily will not expand
3817 empty measures, and the appropriate number is added automatically.
3819 @lilypond[fragment,verbatim]
3820 \time 4/4 r1 | R1 | R1*2
3821 \property Score.skipBars = ##t R1*17 R1*4
3824 The @code{1} in @code{R1} is similar to the duration notation used for
3825 notes. Hence, for time signatures other than 4/4, you must enter other
3826 durations. This can be done with augmentation dots or fractions:
3828 @lilypond[fragment,verbatim]
3829 \property Score.skipBars = ##t
3837 A @code{R} spanning a single measure is printed as a whole rest
3838 centered in the measure (or a breve when the measure lasts longer than
3839 two whole notes), regardless of the time signature.
3843 @cindex text on multi-measure rest
3844 @cindex script on multi-measure rest
3845 @cindex fermata on multi-measure rest
3847 Texts can be added to multi-measure rests by using the
3848 @var{note}-@code{markup} syntax. In this case, the number is
3849 replaced. If you need both texts and the number, you must add the
3850 number by hand. A variable (@code{\fermataMarkup}) is provided for
3854 @lilypond[verbatim,fragment]
3856 R2._\markup { "Ad lib" }
3861 @cindex whole rests for a full measure
3865 @internalsref{MultiMeasureRestEvent},
3866 @internalsref{MultiMeasureTextEvent},
3867 @internalsref{MultiMeasureRestMusicGroup},
3868 @internalsref{MultiMeasureRest}.
3870 The graphical object @internalsref{MultiMeasureRestNumber} is for the
3871 default number, and @internalsref{MultiMeasureRestText} for user
3876 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
3877 over multi-measure rests.
3879 @cindex condensing rests
3881 There is no way to automatically condense multiple rests into a single
3882 multimeasure rest. Multi measure rests do not take part in rest
3885 Be careful when entering multimeasure rests followed by whole notes,
3889 will enter two notes lasting four measures each. When @code{skipBars}
3890 is set, then the result will look OK6, but the bar numbering will be
3893 @node Automatic part combining
3894 @subsection Automatic part combining
3895 @cindex automatic part combining
3896 @cindex part combiner
3899 Automatic part combining is used to merge two parts of music onto a
3900 staff. It is aimed at typesetting orchestral scores. When the two
3901 parts are identical for a period of time, only one is shown. In
3902 places where the two parts differ, they are typeset as separate
3903 voices, and stem directions are set automatically. Also, solo and
3904 @emph{a due} parts are identified and can be marked.
3908 The syntax for part combining is
3911 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3913 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3914 combined into one context of type @var{context}. The music expressions
3915 must be interpreted by contexts whose names should start with @code{one}
3918 The following example demonstrates the basic functionality of the part
3919 combiner: putting parts on one staff, and setting stem directions and
3922 @lilypond[verbatim,singleline,fragment]
3924 \context Voice=one \partcombine Voice
3925 \context Thread=one \relative c'' {
3928 \context Thread=two \relative c'' {
3934 The first @code{g} appears only once, although it was
3935 specified twice (once in each part). Stem, slur and tie directions are
3936 set automatically, depending whether there is a solo or unisono. The
3937 first part (with context called @code{one}) always gets up stems, and
3938 `solo', while the second (called @code{two}) always gets down stems and
3941 If you just want the merging parts, and not the textual markings, you
3942 may set the property @var{soloADue} to false.
3944 @lilypond[verbatim,singleline,fragment]
3946 \property Staff.soloADue = ##f
3947 \context Voice=one \partcombine Voice
3948 \context Thread=one \relative c'' {
3951 \context Thread=two \relative c'' {
3959 @internalsref{PartCombineMusic},
3960 @internalsref{Thread_devnull_engraver},
3961 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
3965 The syntax for naming contexts in inconsistent with the syntax for
3968 In @code{soloADue} mode, when the two voices play the same notes on and
3969 off, the part combiner may typeset @code{a2} more than once in a
3972 @lilypond[fragment,singleline]
3974 \context Voice=one \partcombine Voice
3975 \context Thread=one \relative c'' {
3978 \context Thread=two \relative c'' {
3984 The part combiner is slated to be rewritten [TODO: explain why] .
3986 @cindex @code{Thread_devnull_engraver}
3987 @cindex @code{Voice_engraver}
3988 @cindex @code{A2_engraver}
3990 @node Frenched scores
3991 @subsection Frenched scores
3993 In orchestral scores, staff lines that only have rests are usually removed.
3994 This saves some space. This style is called `French Score'.
3998 This is supported through the @code{RemoveEmptyStaff}. This staff is
3999 removed when it turns out empty (or containing multimeasure rests)
4000 after the line-breaking process.
4002 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4003 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4004 switched on by default. For normal staffs, it is available as a
4005 specialized @internalsref{Staff} context, with the name variable
4006 @code{\RemoveEmptyStaffContext}. Observe how the second staff in this
4007 example disappears in the second line.
4011 \notes \relative c' <
4012 \context Staff = SA { e4 f g a \break c1 }
4013 \context Staff = SB { c4 d e f \break R1 }
4017 \translator { \RemoveEmptyStaffContext }
4023 @node Sound output for transposing instruments
4024 @subsection Sound output for transposing instruments
4026 When you want to make a MIDI file from a score containing transposed
4027 and untransposed instruments, you have to instruct LilyPond the pitch
4028 offset (in semitones) for the transposed instruments. This is done
4029 using the @code{transposing} property. It does not affect printed
4032 @cindex @code{transposing}
4035 \property Staff.instrument = #"Cl. in B-flat"
4036 \property Staff.transposing = #-2
4040 @node Ancient notation
4041 @section Ancient notation
4043 @cindex Vaticana, Editio
4044 @cindex Medicaea, Editio
4049 @c [TODO: write introduction on ancient notation]
4052 * Ancient note heads::
4061 @node Ancient note heads
4062 @subsection Ancient note heads
4064 To get a longa note head, you have to use mensural note heads. This
4065 is accomplished by setting the @code{style} property of the
4066 NoteHead object to @code{mensural}. There is also a note head style
4067 @code{baroque} which gives mensural note heads for @code{\longa} and
4068 @code{\breve} but standard note heads for shorter notes.
4070 @lilypond[fragment,singleline,verbatim]
4071 \property Voice.NoteHead \set #'style = #'mensural
4076 @subsection Ancient clefs
4078 LilyPond supports a variety of clefs, many of them ancient.
4080 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4081 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4084 The following table shows all ancient clefs that are supported via the
4085 @code{\clef} command. Some of the clefs use the same glyph, but
4086 differ only with respect to the line they are printed on. In such
4087 cases, a trailing number in the name is used to enumerate these clefs.
4088 Still, you can manually force a clef glyph to be typeset on an
4089 arbitrary line, as described in section @ref{Clef}. The note printed
4090 to the right side of each clef in the example column denotes the
4091 @code{c'} with respect to that clef.
4093 @multitable @columnfractions .3 .3 .3 .1
4097 @b{Description} @tab
4098 @b{Supported Clefs} @tab
4102 @code{clefs-neo_mensural_c} @tab
4103 modern style mensural C clef @tab
4104 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4105 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4106 @lilypond[relative 0, notime]
4107 \property Staff.TimeSignature \set #'transparent = ##t
4108 \clef "neo_mensural_c2" c
4112 @code{clefs-petrucci_c1}
4113 @code{clefs-petrucci_c2}
4114 @code{clefs-petrucci_c3}
4115 @code{clefs-petrucci_c4}
4116 @code{clefs-petrucci_c5}
4119 petrucci style mensural C clefs, for use on different stafflines
4120 (the examples shows the 2nd staffline C clef).
4130 @lilypond[relative 0, notime]
4131 \property Staff.TimeSignature \set #'transparent = ##t
4132 \clef "petrucci_c2" c
4136 @code{clefs-petrucci_f} @tab
4137 petrucci style mensural F clef @tab
4138 @code{petrucci_f} @tab
4139 @lilypond[relative 0, notime]
4140 \property Staff.TimeSignature \set #'transparent = ##t
4141 \clef "petrucci_f" c
4145 @code{clefs-petrucci_g} @tab
4146 petrucci style mensural G clef @tab
4147 @code{petrucci_g} @tab
4148 @lilypond[relative 0, notime]
4149 \property Staff.TimeSignature \set #'transparent = ##t
4150 \clef "petrucci_g" c
4154 @code{clefs-mensural_c'} @tab
4155 historic style mensural C clef @tab
4156 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4157 @code{mensural_c4} @tab
4158 @lilypond[relative 0, notime]
4159 \property Staff.TimeSignature \set #'transparent = ##t
4160 \clef "mensural_c2" c
4164 @code{clefs-mensural_f} @tab
4165 historic style mensural F clef @tab
4166 @code{mensural_f} @tab
4167 @lilypond[relative 0, notime]
4168 \property Staff.TimeSignature \set #'transparent = ##t
4169 \clef "mensural_f" c
4173 @code{clefs-mensural_g} @tab
4174 historic style mensural G clef @tab
4175 @code{mensural_g} @tab
4176 @lilypond[relative 0, notime]
4177 \property Staff.TimeSignature \set #'transparent = ##t
4178 \clef "mensural_g" c
4182 @code{clefs-vaticana_do} @tab
4183 Editio Vaticana style do clef @tab
4184 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4185 @lilypond[relative 0, notime]
4187 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4188 \property Staff.TimeSignature \set #'transparent = ##t
4189 \clef "vaticana_do2" c
4193 @code{clefs-vaticana_fa} @tab
4194 Editio Vaticana style fa clef @tab
4195 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4196 @lilypond[relative 0, notime]
4198 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4199 \property Staff.TimeSignature \set #'transparent = ##t
4200 \clef "vaticana_fa2" c
4204 @code{clefs-medicaea_do} @tab
4205 Editio Medicaea style do clef @tab
4206 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4207 @lilypond[relative 0, notime]
4209 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4210 \property Staff.TimeSignature \set #'transparent = ##t
4211 \clef "medicaea_do2" c
4215 @code{clefs-medicaea_fa} @tab
4216 Editio Medicaea style fa clef @tab
4217 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4218 @lilypond[relative 0, notime]
4220 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4221 \property Staff.TimeSignature \set #'transparent = ##t
4222 \clef "medicaea_fa2" c
4226 @code{clefs-hufnagel_do} @tab
4227 historic style hufnagel do clef @tab
4228 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4229 @lilypond[relative 0, notime]
4231 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4232 \property Staff.TimeSignature \set #'transparent = ##t
4233 \clef "hufnagel_do2" c
4237 @code{clefs-hufnagel_fa} @tab
4238 historic style hufnagel fa clef @tab
4239 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4240 @lilypond[relative 0, notime]
4242 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4243 \property Staff.TimeSignature \set #'transparent = ##t
4244 \clef "hufnagel_fa2" c
4248 @code{clefs-hufnagel_do_fa} @tab
4249 historic style hufnagel combined do/fa clef @tab
4250 @code{hufnagel_do_fa} @tab
4251 @lilypond[relative 0, notime]
4252 \property Staff.TimeSignature \set #'transparent = ##t
4253 \clef "hufnagel_do_fa" c
4258 @c --- This should go somewhere else: ---
4259 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4262 @c @code{percussion}
4264 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4266 @c @item modern style tab clef (glyph: @code{clefs-tab})
4271 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4273 @emph{Modern style} means ``as is typeset in contemporary editions of
4274 transcribed mensural music''.
4276 @emph{Petrucci style} means ``inspired by printings published by the
4277 famous engraver Petrucci (1466-1539)''.
4279 @emph{Historic style} means ``as was typeset or written in historic
4280 editions (other than those of Petrucci)''.
4282 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4284 Petrucci used C clefs with differently balanced left-side vertical
4285 beams, depending on which staffline it is printed.
4289 @subsection Custodes
4294 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4295 symbol that appears at the end of a staff. It anticipates the pitch
4296 of the first note(s) of the following line and thus helps the player
4297 or singer to manage line breaks during performance, thus enhancing
4298 readability of a score.
4300 Custodes were frequently used in music notation until the 17th
4301 century. Nowadays, they have survived only in a few particular forms
4302 of musical notation such as contemporary editions of Gregorian chant
4303 like the @emph{editio vaticana}. There are different custos glyphs
4304 used in different flavours of notational style.
4306 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4307 @internalsref{Staff} context when declaring the @code{\paper} block,
4308 as shown in the following example.
4314 \consists Custos_engraver
4315 Custos \override #'style = #'mensural
4320 The result looks like this:
4326 \property Staff.Custos \set #'style = #'mensural
4333 \consists Custos_engraver
4340 The custos glyph is selected by the @code{style} property. The styles
4341 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4342 @code{mensural}. They are demonstrated in the following fragment:
4352 { " " \musicglyph #"custodes-vaticana-u0" }
4356 { " " \musicglyph #"custodes-medicaea-u0" }
4360 { " " \musicglyph #"custodes-hufnagel-u0" }
4364 { " " \musicglyph #"custodes-mensural-u0" }
4373 \remove "Bar_number_engraver"
4377 \remove "Clef_engraver"
4378 \remove "Key_engraver"
4379 \remove "Time_signature_engraver"
4380 \remove "Staff_symbol_engraver"
4381 minimumVerticalExtent = ##f
4387 If the boolean property @code{adjust-if-on-staffline} is set to
4388 @code{#t} (which it is by default), lily typesets slightly different
4389 variants of the custos glyph, depending on whether the custos, is
4390 typeset on or between stafflines. The glyph will
4391 optically fit well into the staff, with the appendage on the right of
4392 the custos always ending at the same vertical position between two
4393 stafflines regardless of the pitch. If you set
4394 @code{adjust-if-on-staffline} to @code{#f}, then
4395 a compromise between both forms is used.
4397 Just like stems can be attached to noteheads in two directions
4398 @emph{up} and @emph{down}, each custos glyph is available with its
4399 appendage pointing either up or down. If the pitch of a custos is
4400 above a selectable position, the appendage will point downwards; if
4401 the pitch is below this position, the appendage will point upwards.
4402 Use property @code{neutral-position} to select this position. By
4403 default, it is set to @code{0}, such that the neutral position is the
4404 center of the staff. Use property @code{neutral-direction} to control
4405 what happens if a custos is typeset on the neutral position itself.
4406 By default, this property is set to @code{-1}, such that the appendage
4407 will point downwards. If set to @code{1}, the appendage will point
4408 upwards. Other values such as @code{0} are reserved for future
4409 extensions and should not be used.
4414 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4415 @inputfileref{input/regression,custos.ly}.
4419 @subsection Divisiones
4425 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4426 `division') is a staff context symbol that is used to structure
4427 Gregorian music into phrases and sections. The musical meaning of
4428 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4429 can be characterized as short, medium and long pause, somewhat like
4430 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4431 a chant, but is also frequently used within a single
4432 antiphonal/responsorial chant to mark the end of each section.
4436 To use divisiones, include the file @code{gregorian-init.ly}. It
4437 contains definitions that you can apply by just inserting
4438 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4439 and @code{\finalis} at proper places in the input. Some editions use
4440 @emph{virgula} or @emph{caesura} instead of divisio minima.
4441 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4445 @lilypondfile[notexidoc]{divisiones.ly}
4449 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4450 @inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
4453 @subsection Ligatures
4457 @c TODO: Should double check if I recalled things correctly when I wrote
4458 @c down the following paragraph by heart.
4460 In musical terminology, a ligature is a coherent graphical symbol that
4461 represents at least two different notes. Ligatures originally appeared
4462 in the manuscripts of Gregorian chant notation roughly since the 9th
4463 century as an allusion to the accent symbols of greek lyric poetry to
4464 denote ascending or descending sequences of notes. Both, the shape and
4465 the exact meaning of ligatures changed tremendously during the following
4466 centuries: In early notation, ligatures where used for monophonic tunes
4467 (Gregorian chant) and very soon denoted also the way of performance in
4468 the sense of articulation. With upcoming multiphony, the need for a
4469 metric system arised, since multiple voices of a piece have to be
4470 synchronized some way. New notation systems were invented that used
4471 the manifold shapes of ligatures to now denote rhythmical patterns
4472 (e.g. black mensural notation, mannered notation, ars nova). With the
4473 invention of the metric system of the white mensural notation, the need
4474 for ligatures to denote such patterns disappeared. Nevertheless,
4475 ligatures were still in use in the mensural system for a couple of
4476 decades until they finally disappeared during the late 16th / early 17th
4477 century. Still, ligatures have survived in contemporary editions of
4478 Gregorian chant such as the Editio Vaticana from 1905/08.
4482 Syntactically, ligatures are simply enclosed by @code{\[} and
4483 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4484 additional input syntax specific for this particular type of ligature.
4485 By default, the @internalsref{LigatureBracket} engraver just puts a
4486 square bracket above the ligature.
4488 @lilypond[singleline,verbatim]
4490 \notes \transpose c c' {
4498 To select a specific style of ligatures, a proper ligature engraver
4499 has to be added to the @internalsref{Voice} context, as explained in
4500 the following subsections. Currently, only white mensural ligatures
4501 are supported with certain limitations. Support for Editio Vaticana
4502 will be added in the future.
4505 * White mensural ligatures::
4506 * Gregorian square neumes ligatures::
4509 @node White mensural ligatures
4510 @subsubsection White mensural ligatures
4512 @cindex Mensural ligatures
4513 @cindex White mensural ligatures
4515 There is limited support for white mensural ligatures. The
4516 implementation is still experimental; it currently may output strange
4517 warnings or even crash in some cases or produce weird results on more
4518 complex ligatures. To engrave white mensural ligatures, in the paper
4519 block the @internalsref{Mensural_ligature_engraver} has to be put into
4520 the @internalsref{Voice} context, and remove the
4521 @internalsref{Ligature_bracket_engraver}:
4527 \remove Ligature_bracket_engraver
4528 \consists Mensural_ligature_engraver
4533 There is no additional input language to describe the shape of a
4534 white mensural ligature. The shape is rather determined solely from
4535 the pitch and duration of the enclosed notes. While this approach may
4536 take a new user a while to get accustomed, it has the great advantage
4537 that the full musical information of the ligature is known internally.
4538 This is not only required for correct MIDI output, but also allows for
4539 automatic transcription of the ligatures.
4544 \property Score.timing = ##f
4545 \property Score.defaultBarType = "empty"
4546 \property Voice.NoteHead \set #'style = #'neo_mensural
4547 \property Staff.TimeSignature \set #'style = #'neo_mensural
4549 \[ g\longa c\breve a\breve f\breve d'\longa \]
4551 \[ e1 f1 a\breve g\longa \]
4553 @lilypond[singleline]
4555 \notes \transpose c c' {
4556 \property Score.timing = ##f
4557 \property Score.defaultBarType = "empty"
4558 \property Voice.NoteHead \set #'style = #'neo_mensural
4559 \property Staff.TimeSignature \set #'style = #'neo_mensural
4561 \[ g\longa c\breve a\breve f\breve d'\longa \]
4563 \[ e1 f1 a\breve g\longa \]
4568 \remove Ligature_bracket_engraver
4569 \consists Mensural_ligature_engraver
4575 Without replacing @internalsref{Ligature_bracket_engraver} with
4576 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4579 @lilypond[singleline]
4581 \notes \transpose c c' {
4582 \property Score.timing = ##f
4583 \property Score.defaultBarType = "empty"
4584 \property Voice.NoteHead \set #'style = #'neo_mensural
4585 \property Staff.TimeSignature \set #'style = #'neo_mensural
4587 \[ g\longa c\breve a\breve f\breve d'\longa \]
4589 \[ e1 f1 a\breve g\longa \]
4594 @node Gregorian square neumes ligatures
4595 @subsubsection Gregorian square neumes ligatures
4597 @cindex Square neumes ligatures
4598 @cindex Gregorian square neumes ligatures
4600 Gregorian square neumes notation (following the style of the Editio
4601 Vaticana) is under heavy development, but not yet really usable for
4602 production purposes. Core ligatures can already be typeset, but
4603 essential issues for serious typesetting are still under development,
4604 such as (among others) horizontal alignment of multiple ligatures,
4605 lyrics alignment and proper accidentals handling. Still, this section
4606 gives a sneak preview of what Gregorian chant may look like once it
4609 The following table contains the extended neumes table of the 2nd
4610 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
4611 1983 by the monks of Solesmes.
4613 @multitable @columnfractions .4 .2 .2 .2
4616 @b{Neuma aut@*Neumarum Elementa} @tab
4617 @b{Figurae@*Rectae} @tab
4618 @b{Figurae@*Liquescentes Auctae} @tab
4619 @b{Figurae@*Liquescentes Deminutae}
4621 @c TODO: \paper block is identical in all of the below examples.
4622 @c Therefore, it should somehow be included rather than duplicated all
4625 @c why not make identifiers in ly/engraver-init.ly? --hwn
4630 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
4631 \include "gregorian-init.ly"
4633 \notes \transpose c c' {
4636 \noBreak s^\markup {"a"} \noBreak
4638 % Punctum Inclinatum
4640 \noBreak s^\markup {"b"}
4646 \remove "Bar_number_engraver"
4650 \remove "Clef_engraver"
4651 \remove "Key_engraver"
4652 \remove "Staff_symbol_engraver"
4653 \remove "Time_signature_engraver"
4654 \remove "Bar_engraver"
4655 minimumVerticalExtent = ##f
4659 \remove Ligature_bracket_engraver
4660 \consists Vaticana_ligature_engraver
4661 NoteHead \set #'style = #'vaticana_punctum
4662 Stem \set #'transparent = ##t
4668 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
4669 \include "gregorian-init.ly"
4671 \notes \transpose c c' {
4672 % Punctum Auctum Ascendens
4673 \[ \auctum \ascendens b \]
4674 \noBreak s^\markup {"c"} \noBreak
4676 % Punctum Auctum Descendens
4677 \[ \auctum \descendens b \]
4678 \noBreak s^\markup {"d"} \noBreak
4680 % Punctum Inclinatum Auctum
4681 \[ \inclinatum \auctum b \]
4682 \noBreak s^\markup {"e"}
4688 \remove "Bar_number_engraver"
4692 \remove "Clef_engraver"
4693 \remove "Key_engraver"
4694 \remove "Staff_symbol_engraver"
4695 \remove "Time_signature_engraver"
4696 \remove "Bar_engraver"
4697 minimumVerticalExtent = ##f
4701 \remove Ligature_bracket_engraver
4702 \consists Vaticana_ligature_engraver
4703 NoteHead \set #'style = #'vaticana_punctum
4704 Stem \set #'transparent = ##t
4710 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4711 \include "gregorian-init.ly"
4713 \notes \transpose c c' {
4714 % Punctum Inclinatum Parvum
4715 \[ \inclinatum \deminutum b \]
4716 \noBreak s^\markup {"f"}
4722 \remove "Bar_number_engraver"
4726 \remove "Clef_engraver"
4727 \remove "Key_engraver"
4728 \remove "Staff_symbol_engraver"
4729 \remove "Time_signature_engraver"
4730 \remove "Bar_engraver"
4731 minimumVerticalExtent = ##f
4735 \remove Ligature_bracket_engraver
4736 \consists Vaticana_ligature_engraver
4737 NoteHead \set #'style = #'vaticana_punctum
4738 Stem \set #'transparent = ##t
4747 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4748 \include "gregorian-init.ly"
4750 \notes \transpose c c' {
4753 \noBreak s^\markup {"g"}
4759 \remove "Bar_number_engraver"
4763 \remove "Clef_engraver"
4764 \remove "Key_engraver"
4765 \remove "Staff_symbol_engraver"
4766 \remove "Time_signature_engraver"
4767 \remove "Bar_engraver"
4768 minimumVerticalExtent = ##f
4772 \remove Ligature_bracket_engraver
4773 \consists Vaticana_ligature_engraver
4774 NoteHead \set #'style = #'vaticana_punctum
4775 Stem \set #'transparent = ##t
4784 @code{3. Apostropha vel Stropha}
4786 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4787 \include "gregorian-init.ly"
4789 \notes \transpose c c' {
4792 \noBreak s^\markup {"h"}
4798 \remove "Bar_number_engraver"
4802 \remove "Clef_engraver"
4803 \remove "Key_engraver"
4804 \remove "Staff_symbol_engraver"
4805 \remove "Time_signature_engraver"
4806 \remove "Bar_engraver"
4807 minimumVerticalExtent = ##f
4811 \remove Ligature_bracket_engraver
4812 \consists Vaticana_ligature_engraver
4813 NoteHead \set #'style = #'vaticana_punctum
4814 Stem \set #'transparent = ##t
4820 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4821 \include "gregorian-init.ly"
4823 \notes \transpose c c' {
4825 \[ \stropha \auctum b \]
4826 \noBreak s^\markup {"i"}
4832 \remove "Bar_number_engraver"
4836 \remove "Clef_engraver"
4837 \remove "Key_engraver"
4838 \remove "Staff_symbol_engraver"
4839 \remove "Time_signature_engraver"
4840 \remove "Bar_engraver"
4841 minimumVerticalExtent = ##f
4845 \remove Ligature_bracket_engraver
4846 \consists Vaticana_ligature_engraver
4847 NoteHead \set #'style = #'vaticana_punctum
4848 Stem \set #'transparent = ##t
4858 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4859 \include "gregorian-init.ly"
4861 \notes \transpose c c' {
4864 \noBreak s^\markup {"j"}
4870 \remove "Bar_number_engraver"
4874 \remove "Clef_engraver"
4875 \remove "Key_engraver"
4876 \remove "Staff_symbol_engraver"
4877 \remove "Time_signature_engraver"
4878 \remove "Bar_engraver"
4879 minimumVerticalExtent = ##f
4883 \remove Ligature_bracket_engraver
4884 \consists Vaticana_ligature_engraver
4885 NoteHead \set #'style = #'vaticana_punctum
4886 Stem \set #'transparent = ##t
4895 @code{5. Clivis vel Flexa}
4897 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4898 \include "gregorian-init.ly"
4900 \notes \transpose c c' {
4909 \remove "Bar_number_engraver"
4913 \remove "Clef_engraver"
4914 \remove "Key_engraver"
4915 \remove "Staff_symbol_engraver"
4916 \remove "Time_signature_engraver"
4917 \remove "Bar_engraver"
4918 minimumVerticalExtent = ##f
4922 \remove Ligature_bracket_engraver
4923 \consists Vaticana_ligature_engraver
4924 NoteHead \set #'style = #'vaticana_punctum
4925 Stem \set #'transparent = ##t
4931 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
4932 \include "gregorian-init.ly"
4934 \notes \transpose c c' {
4935 % Clivis Aucta Descendens
4936 \[ b \flexa \auctum \descendens g \]
4937 \noBreak s^\markup {"l"} \noBreak
4939 % Clivis Aucta Ascendens
4940 \[ b \flexa \auctum \ascendens g \]
4941 \noBreak s^\markup {"m"}
4947 \remove "Bar_number_engraver"
4951 \remove "Clef_engraver"
4952 \remove "Key_engraver"
4953 \remove "Staff_symbol_engraver"
4954 \remove "Time_signature_engraver"
4955 \remove "Bar_engraver"
4956 minimumVerticalExtent = ##f
4960 \remove Ligature_bracket_engraver
4961 \consists Vaticana_ligature_engraver
4962 NoteHead \set #'style = #'vaticana_punctum
4963 Stem \set #'transparent = ##t
4969 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4970 \include "gregorian-init.ly"
4972 \notes \transpose c c' {
4974 \[ b \flexa \deminutum g \]
4981 \remove "Bar_number_engraver"
4985 \remove "Clef_engraver"
4986 \remove "Key_engraver"
4987 \remove "Staff_symbol_engraver"
4988 \remove "Time_signature_engraver"
4989 \remove "Bar_engraver"
4990 minimumVerticalExtent = ##f
4994 \remove Ligature_bracket_engraver
4995 \consists Vaticana_ligature_engraver
4996 NoteHead \set #'style = #'vaticana_punctum
4997 Stem \set #'transparent = ##t
5004 @code{6. Podatus vel Pes}
5006 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5007 \include "gregorian-init.ly"
5009 \notes \transpose c c' {
5018 \remove "Bar_number_engraver"
5022 \remove "Clef_engraver"
5023 \remove "Key_engraver"
5024 \remove "Staff_symbol_engraver"
5025 \remove "Time_signature_engraver"
5026 \remove "Bar_engraver"
5027 minimumVerticalExtent = ##f
5031 \remove Ligature_bracket_engraver
5032 \consists Vaticana_ligature_engraver
5033 NoteHead \set #'style = #'vaticana_punctum
5034 Stem \set #'transparent = ##t
5040 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5041 \include "gregorian-init.ly"
5043 \notes \transpose c c' {
5044 % Pes Auctus Descendens
5045 \[ g \pes \auctum \descendens b \]
5046 \noBreak s^\markup {"p"} \noBreak
5048 % Pes Auctus Ascendens
5049 \[ g \pes \auctum \ascendens b \]
5050 \noBreak s^\markup {"q"}
5056 \remove "Bar_number_engraver"
5060 \remove "Clef_engraver"
5061 \remove "Key_engraver"
5062 \remove "Staff_symbol_engraver"
5063 \remove "Time_signature_engraver"
5064 \remove "Bar_engraver"
5065 minimumVerticalExtent = ##f
5069 \remove Ligature_bracket_engraver
5070 \consists Vaticana_ligature_engraver
5071 NoteHead \set #'style = #'vaticana_punctum
5072 Stem \set #'transparent = ##t
5078 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5079 \include "gregorian-init.ly"
5081 \notes \transpose c c' {
5083 \[ g \pes \deminutum b \]
5090 \remove "Bar_number_engraver"
5094 \remove "Clef_engraver"
5095 \remove "Key_engraver"
5096 \remove "Staff_symbol_engraver"
5097 \remove "Time_signature_engraver"
5098 \remove "Bar_engraver"
5099 minimumVerticalExtent = ##f
5103 \remove Ligature_bracket_engraver
5104 \consists Vaticana_ligature_engraver
5105 NoteHead \set #'style = #'vaticana_punctum
5106 Stem \set #'transparent = ##t
5113 @code{7. Pes Quassus}
5115 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5116 \include "gregorian-init.ly"
5118 \notes \transpose c c' {
5120 \[ \oriscus g \pes \virga b \]
5127 \remove "Bar_number_engraver"
5131 \remove "Clef_engraver"
5132 \remove "Key_engraver"
5133 \remove "Staff_symbol_engraver"
5134 \remove "Time_signature_engraver"
5135 \remove "Bar_engraver"
5136 minimumVerticalExtent = ##f
5140 \remove Ligature_bracket_engraver
5141 \consists Vaticana_ligature_engraver
5142 NoteHead \set #'style = #'vaticana_punctum
5143 Stem \set #'transparent = ##t
5149 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5150 \include "gregorian-init.ly"
5152 \notes \transpose c c' {
5153 % Pes Quassus Auctus Descendens
5154 \[ \oriscus g \pes \auctum \descendens b \]
5161 \remove "Bar_number_engraver"
5165 \remove "Clef_engraver"
5166 \remove "Key_engraver"
5167 \remove "Staff_symbol_engraver"
5168 \remove "Time_signature_engraver"
5169 \remove "Bar_engraver"
5170 minimumVerticalExtent = ##f
5174 \remove Ligature_bracket_engraver
5175 \consists Vaticana_ligature_engraver
5176 NoteHead \set #'style = #'vaticana_punctum
5177 Stem \set #'transparent = ##t
5185 @code{8. Quilisma Pes}
5187 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5188 \include "gregorian-init.ly"
5190 \notes \transpose c c' {
5192 \[ \quilisma g \pes b \]
5199 \remove "Bar_number_engraver"
5203 \remove "Clef_engraver"
5204 \remove "Key_engraver"
5205 \remove "Staff_symbol_engraver"
5206 \remove "Time_signature_engraver"
5207 \remove "Bar_engraver"
5208 minimumVerticalExtent = ##f
5212 \remove Ligature_bracket_engraver
5213 \consists Vaticana_ligature_engraver
5214 NoteHead \set #'style = #'vaticana_punctum
5215 Stem \set #'transparent = ##t
5221 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5222 \include "gregorian-init.ly"
5224 \notes \transpose c c' {
5225 % Quilisma Pes Auctus Descendens
5226 \[ \quilisma g \pes \auctum \descendens b \]
5233 \remove "Bar_number_engraver"
5237 \remove "Clef_engraver"
5238 \remove "Key_engraver"
5239 \remove "Staff_symbol_engraver"
5240 \remove "Time_signature_engraver"
5241 \remove "Bar_engraver"
5242 minimumVerticalExtent = ##f
5246 \remove Ligature_bracket_engraver
5247 \consists Vaticana_ligature_engraver
5248 NoteHead \set #'style = #'vaticana_punctum
5249 Stem \set #'transparent = ##t
5257 @code{9. Podatus Initio Debilis}
5259 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5260 \include "gregorian-init.ly"
5262 \notes \transpose c c' {
5263 % Pes Initio Debilis
5264 \[ \deminutum g \pes b \]
5271 \remove "Bar_number_engraver"
5275 \remove "Clef_engraver"
5276 \remove "Key_engraver"
5277 \remove "Staff_symbol_engraver"
5278 \remove "Time_signature_engraver"
5279 \remove "Bar_engraver"
5280 minimumVerticalExtent = ##f
5284 \remove Ligature_bracket_engraver
5285 \consists Vaticana_ligature_engraver
5286 NoteHead \set #'style = #'vaticana_punctum
5287 Stem \set #'transparent = ##t
5293 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5294 \include "gregorian-init.ly"
5296 \notes \transpose c c' {
5297 % Pes Auctus Descendens Initio Debilis
5298 \[ \deminutum g \pes \auctum \descendens b \]
5305 \remove "Bar_number_engraver"
5309 \remove "Clef_engraver"
5310 \remove "Key_engraver"
5311 \remove "Staff_symbol_engraver"
5312 \remove "Time_signature_engraver"
5313 \remove "Bar_engraver"
5314 minimumVerticalExtent = ##f
5318 \remove Ligature_bracket_engraver
5319 \consists Vaticana_ligature_engraver
5320 NoteHead \set #'style = #'vaticana_punctum
5321 Stem \set #'transparent = ##t
5331 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5332 \include "gregorian-init.ly"
5334 \notes \transpose c c' {
5336 \[ a \pes b \flexa g \]
5343 \remove "Bar_number_engraver"
5347 \remove "Clef_engraver"
5348 \remove "Key_engraver"
5349 \remove "Staff_symbol_engraver"
5350 \remove "Time_signature_engraver"
5351 \remove "Bar_engraver"
5352 minimumVerticalExtent = ##f
5356 \remove Ligature_bracket_engraver
5357 \consists Vaticana_ligature_engraver
5358 NoteHead \set #'style = #'vaticana_punctum
5359 Stem \set #'transparent = ##t
5365 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5366 \include "gregorian-init.ly"
5368 \notes \transpose c c' {
5369 % Torculus Auctus Descendens
5370 \[ a \pes b \flexa \auctum \descendens g \]
5377 \remove "Bar_number_engraver"
5381 \remove "Clef_engraver"
5382 \remove "Key_engraver"
5383 \remove "Staff_symbol_engraver"
5384 \remove "Time_signature_engraver"
5385 \remove "Bar_engraver"
5386 minimumVerticalExtent = ##f
5390 \remove Ligature_bracket_engraver
5391 \consists Vaticana_ligature_engraver
5392 NoteHead \set #'style = #'vaticana_punctum
5393 Stem \set #'transparent = ##t
5399 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5400 \include "gregorian-init.ly"
5402 \notes \transpose c c' {
5403 % Torculus Deminutus
5404 \[ a \pes b \flexa \deminutum g \]
5411 \remove "Bar_number_engraver"
5415 \remove "Clef_engraver"
5416 \remove "Key_engraver"
5417 \remove "Staff_symbol_engraver"
5418 \remove "Time_signature_engraver"
5419 \remove "Bar_engraver"
5420 minimumVerticalExtent = ##f
5424 \remove Ligature_bracket_engraver
5425 \consists Vaticana_ligature_engraver
5426 NoteHead \set #'style = #'vaticana_punctum
5427 Stem \set #'transparent = ##t
5434 @code{11. Torculus Initio Debilis}
5436 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5437 \include "gregorian-init.ly"
5439 \notes \transpose c c' {
5440 % Torculus Initio Debilis
5441 \[ \deminutum a \pes b \flexa g \]
5448 \remove "Bar_number_engraver"
5452 \remove "Clef_engraver"
5453 \remove "Key_engraver"
5454 \remove "Staff_symbol_engraver"
5455 \remove "Time_signature_engraver"
5456 \remove "Bar_engraver"
5457 minimumVerticalExtent = ##f
5461 \remove Ligature_bracket_engraver
5462 \consists Vaticana_ligature_engraver
5463 NoteHead \set #'style = #'vaticana_punctum
5464 Stem \set #'transparent = ##t
5470 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5471 \include "gregorian-init.ly"
5473 \notes \transpose c c' {
5474 % Torculus Auctus Descendens Initio Debilis
5475 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5482 \remove "Bar_number_engraver"
5486 \remove "Clef_engraver"
5487 \remove "Key_engraver"
5488 \remove "Staff_symbol_engraver"
5489 \remove "Time_signature_engraver"
5490 \remove "Bar_engraver"
5491 minimumVerticalExtent = ##f
5495 \remove Ligature_bracket_engraver
5496 \consists Vaticana_ligature_engraver
5497 NoteHead \set #'style = #'vaticana_punctum
5498 Stem \set #'transparent = ##t
5504 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5505 \include "gregorian-init.ly"
5507 \notes \transpose c c' {
5508 % Torculus Deminutus Initio Debilis
5509 \[ \deminutum a \pes b \flexa \deminutum g \]
5516 \remove "Bar_number_engraver"
5520 \remove "Clef_engraver"
5521 \remove "Key_engraver"
5522 \remove "Staff_symbol_engraver"
5523 \remove "Time_signature_engraver"
5524 \remove "Bar_engraver"
5525 minimumVerticalExtent = ##f
5529 \remove Ligature_bracket_engraver
5530 \consists Vaticana_ligature_engraver
5531 NoteHead \set #'style = #'vaticana_punctum
5532 Stem \set #'transparent = ##t
5539 @code{12. Porrectus}
5541 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5542 \include "gregorian-init.ly"
5544 \notes \transpose c c' {
5546 \[ a \flexa g \pes b \]
5553 \remove "Bar_number_engraver"
5557 \remove "Clef_engraver"
5558 \remove "Key_engraver"
5559 \remove "Staff_symbol_engraver"
5560 \remove "Time_signature_engraver"
5561 \remove "Bar_engraver"
5562 minimumVerticalExtent = ##f
5566 \remove Ligature_bracket_engraver
5567 \consists Vaticana_ligature_engraver
5568 NoteHead \set #'style = #'vaticana_punctum
5569 Stem \set #'transparent = ##t
5575 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5576 \include "gregorian-init.ly"
5578 \notes \transpose c c' {
5579 % Porrectus Auctus Descendens
5580 \[ a \flexa g \pes \auctum \descendens b \]
5587 \remove "Bar_number_engraver"
5591 \remove "Clef_engraver"
5592 \remove "Key_engraver"
5593 \remove "Staff_symbol_engraver"
5594 \remove "Time_signature_engraver"
5595 \remove "Bar_engraver"
5596 minimumVerticalExtent = ##f
5600 \remove Ligature_bracket_engraver
5601 \consists Vaticana_ligature_engraver
5602 NoteHead \set #'style = #'vaticana_punctum
5603 Stem \set #'transparent = ##t
5609 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5610 \include "gregorian-init.ly"
5612 \notes \transpose c c' {
5613 % Porrectus Deminutus
5614 \[ a \flexa g \pes \deminutum b \]
5621 \remove "Bar_number_engraver"
5625 \remove "Clef_engraver"
5626 \remove "Key_engraver"
5627 \remove "Staff_symbol_engraver"
5628 \remove "Time_signature_engraver"
5629 \remove "Bar_engraver"
5630 minimumVerticalExtent = ##f
5634 \remove Ligature_bracket_engraver
5635 \consists Vaticana_ligature_engraver
5636 NoteHead \set #'style = #'vaticana_punctum
5637 Stem \set #'transparent = ##t
5646 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5647 \include "gregorian-init.ly"
5649 \notes \transpose c c' {
5651 \[ \virga b \inclinatum a \inclinatum g \]
5658 \remove "Bar_number_engraver"
5662 \remove "Clef_engraver"
5663 \remove "Key_engraver"
5664 \remove "Staff_symbol_engraver"
5665 \remove "Time_signature_engraver"
5666 \remove "Bar_engraver"
5667 minimumVerticalExtent = ##f
5671 \remove Ligature_bracket_engraver
5672 \consists Vaticana_ligature_engraver
5673 NoteHead \set #'style = #'vaticana_punctum
5674 Stem \set #'transparent = ##t
5680 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5681 \include "gregorian-init.ly"
5683 \notes \transpose c c' {
5685 \[ \virga b \inclinatum a \inclinatum \auctum g \]
5692 \remove "Bar_number_engraver"
5696 \remove "Clef_engraver"
5697 \remove "Key_engraver"
5698 \remove "Staff_symbol_engraver"
5699 \remove "Time_signature_engraver"
5700 \remove "Bar_engraver"
5701 minimumVerticalExtent = ##f
5705 \remove Ligature_bracket_engraver
5706 \consists Vaticana_ligature_engraver
5707 NoteHead \set #'style = #'vaticana_punctum
5708 Stem \set #'transparent = ##t
5714 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5715 \include "gregorian-init.ly"
5717 \notes \transpose c c' {
5718 % Climacus Deminutus
5719 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
5726 \remove "Bar_number_engraver"
5730 \remove "Clef_engraver"
5731 \remove "Key_engraver"
5732 \remove "Staff_symbol_engraver"
5733 \remove "Time_signature_engraver"
5734 \remove "Bar_engraver"
5735 minimumVerticalExtent = ##f
5739 \remove Ligature_bracket_engraver
5740 \consists Vaticana_ligature_engraver
5741 NoteHead \set #'style = #'vaticana_punctum
5742 Stem \set #'transparent = ##t
5749 @code{14. Scandicus}
5751 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5752 \include "gregorian-init.ly"
5754 \notes \transpose c c' {
5756 \[ g \pes a \virga b \]
5763 \remove "Bar_number_engraver"
5767 \remove "Clef_engraver"
5768 \remove "Key_engraver"
5769 \remove "Staff_symbol_engraver"
5770 \remove "Time_signature_engraver"
5771 \remove "Bar_engraver"
5772 minimumVerticalExtent = ##f
5776 \remove Ligature_bracket_engraver
5777 \consists Vaticana_ligature_engraver
5778 NoteHead \set #'style = #'vaticana_punctum
5779 Stem \set #'transparent = ##t
5785 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5786 \include "gregorian-init.ly"
5788 \notes \transpose c c' {
5789 % Scandicus Auctus Descendens
5790 \[ g \pes a \pes \auctum \descendens b \]
5797 \remove "Bar_number_engraver"
5801 \remove "Clef_engraver"
5802 \remove "Key_engraver"
5803 \remove "Staff_symbol_engraver"
5804 \remove "Time_signature_engraver"
5805 \remove "Bar_engraver"
5806 minimumVerticalExtent = ##f
5810 \remove Ligature_bracket_engraver
5811 \consists Vaticana_ligature_engraver
5812 NoteHead \set #'style = #'vaticana_punctum
5813 Stem \set #'transparent = ##t
5819 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5820 \include "gregorian-init.ly"
5822 \notes \transpose c c' {
5823 % Scandicus Deminutus
5824 \[ g \pes a \pes \deminutum b \]
5831 \remove "Bar_number_engraver"
5835 \remove "Clef_engraver"
5836 \remove "Key_engraver"
5837 \remove "Staff_symbol_engraver"
5838 \remove "Time_signature_engraver"
5839 \remove "Bar_engraver"
5840 minimumVerticalExtent = ##f
5844 \remove Ligature_bracket_engraver
5845 \consists Vaticana_ligature_engraver
5846 NoteHead \set #'style = #'vaticana_punctum
5847 Stem \set #'transparent = ##t
5856 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5857 \include "gregorian-init.ly"
5859 \notes \transpose c c' {
5861 \[ g \oriscus a \pes \virga b \]
5868 \remove "Bar_number_engraver"
5872 \remove "Clef_engraver"
5873 \remove "Key_engraver"
5874 \remove "Staff_symbol_engraver"
5875 \remove "Time_signature_engraver"
5876 \remove "Bar_engraver"
5877 minimumVerticalExtent = ##f
5881 \remove Ligature_bracket_engraver
5882 \consists Vaticana_ligature_engraver
5883 NoteHead \set #'style = #'vaticana_punctum
5884 Stem \set #'transparent = ##t
5890 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5891 \include "gregorian-init.ly"
5893 \notes \transpose c c' {
5894 % Salicus Auctus Descendens
5895 \[ g \oriscus a \pes \auctum \descendens b \]
5902 \remove "Bar_number_engraver"
5906 \remove "Clef_engraver"
5907 \remove "Key_engraver"
5908 \remove "Staff_symbol_engraver"
5909 \remove "Time_signature_engraver"
5910 \remove "Bar_engraver"
5911 minimumVerticalExtent = ##f
5915 \remove Ligature_bracket_engraver
5916 \consists Vaticana_ligature_engraver
5917 NoteHead \set #'style = #'vaticana_punctum
5918 Stem \set #'transparent = ##t
5928 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5929 \include "gregorian-init.ly"
5931 \notes \transpose c c' {
5933 \[ \stropha b \stropha b \stropha a \]
5940 \remove "Bar_number_engraver"
5944 \remove "Clef_engraver"
5945 \remove "Key_engraver"
5946 \remove "Staff_symbol_engraver"
5947 \remove "Time_signature_engraver"
5948 \remove "Bar_engraver"
5949 minimumVerticalExtent = ##f
5953 \remove Ligature_bracket_engraver
5954 \consists Vaticana_ligature_engraver
5955 NoteHead \set #'style = #'vaticana_punctum
5956 Stem \set #'transparent = ##t
5967 Unlike most other neumes notation systems, the input language for
5968 neumes does not necessarily reflect directly the typographical
5969 appearance, but is designed to solely focuse on musical meaning. For
5970 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
5971 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
5972 a torculus with a curved flexa shape and only a single Punctum head.
5973 There is no command to explicitly typeset the curved flexa shape; the
5974 decision of when to typeset a curved flexa shape is purely taken from
5975 the musical input. The idea of this approach is to separate the
5976 musical aspects of the input from the notation style of the output.
5977 This way, the same input can be reused to typeset the same music in a
5978 different style of Gregorian chant notation such as Hufnagel (also
5979 known as German gothic neumes) or Medicaea (kind of a very simple
5980 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
5981 engraver and Medicaea ligature engraver will have been implemented, it
5982 will be as simple as replacing the ligature engraver in the
5983 VoiceContext to get the desired notation style from the same input.
5985 The following table shows the code fragments that produce the
5986 ligatures in the above neumes table. The letter in the first column
5987 in each line of the below table indicates to which ligature in the
5988 above table it refers. The second column gives the name of the
5989 ligature. The third column shows the code fragment that produces this
5990 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
5992 @multitable @columnfractions .1 .4 .5
6006 Punctum Inclinatum @tab
6007 @code{\[ \inclinatum b \]}
6011 Punctum Auctum Ascendens @tab
6012 @code{\[ \auctum \ascendens b \]}
6016 Punctum Auctum Descendens @tab
6017 @code{\[ \auctum \descendens b \]}
6021 Punctum Inclinatum Auctum @tab
6022 @code{\[ \inclinatum \auctum b \]}
6026 Punctum Inclinatum Parvum @tab
6027 @code{\[ \inclinatum \deminutum b \]}
6032 @code{\[ \virga b \]}
6037 @code{\[ \stropha b \]}
6042 @code{\[ \stropha \auctum b \]}
6047 @code{\[ \oriscus b \]}
6051 Clivis vel Flexa @tab
6052 @code{\[ b \flexa g \]}
6056 Clivis Aucta Descendens @tab
6057 @code{\[ b \flexa \auctum \descendens g \]}
6061 Clivis Aucta Ascendens @tab
6062 @code{\[ b \flexa \auctum \ascendens g \]}
6067 @code{\[ b \flexa \deminutum g \]}
6071 Podatus vel Pes @tab
6072 @code{\[ g \pes b \]}
6076 Pes Auctus Descendens @tab
6077 @code{\[ g \pes \auctum \descendens b \]}
6081 Pes Auctus Ascendens @tab
6082 @code{\[ g \pes \auctum \ascendens b \]}
6087 @code{\[ g \pes \deminutum b \]}
6092 @code{\[ \oriscus g \pes \virga b \]}
6096 Pes Quassus Auctus Descendens @tab
6097 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6102 @code{\[ \quilisma g \pes b \]}
6106 Quilisma Pes Auctus Descendens @tab
6107 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6111 Pes Initio Debilis @tab
6112 @code{\[ \deminutum g \pes b \]}
6116 Pes Auctus Descendens Initio Debilis @tab
6117 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6122 @code{\[ a \pes b \flexa g \]}
6126 Torculus Auctus Descendens @tab
6127 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6131 Torculus Deminutus @tab
6132 @code{\[ a \pes b \flexa \deminutum g \]}
6136 Torculus Initio Debilis @tab
6137 @code{\[ \deminutum a \pes b \flexa g \]}
6141 Torculus Auctus Descendens Initio Debilis @tab
6142 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6146 Torculus Deminutus Initio Debilis @tab
6147 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6152 @code{\[ a \flexa g \pes b \]}
6156 Porrectus Auctus Descendens @tab
6157 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6161 Porrectus Deminutus @tab
6162 @code{\[ a \flexa g \pes \deminutum b \]}
6167 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6171 Climacus Auctus @tab
6172 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6176 Climacus Deminutus @tab
6177 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6182 @code{\[ g \pes a \virga b \]}
6186 Scandicus Auctus Descendens @tab
6187 @code{\[ g \pes a \pes \auctum \descendens b \]}
6191 Scandicus Deminutus @tab
6192 @code{\[ g \pes a \pes \deminutum b \]}
6197 @code{\[ g \oriscus a \pes \virga b \]}
6201 Salicus Auctus Descendens @tab
6202 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6207 @code{\[ \stropha b \stropha b \stropha a \]}
6213 Use special heads for lower/upper head of Pes only when heads are
6216 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6217 Semivocalis head; this looks awful.
6219 Trigonus: apply equal spacing, regardless of pitch.
6222 @subsection Figured bass
6224 @cindex Basso continuo
6226 @c TODO: musicological blurb about FB
6230 LilyPond has limited support for figured bass:
6232 @lilypond[verbatim,fragment]
6234 \context Voice \notes { \clef bass dis4 c d ais}
6235 \context FiguredBass
6237 < 6 >4 < 7 >8 < 6+ [_!] >
6243 The support for figured bass consists of two parts: there is an input
6244 mode, introduced by @code{\figures}, where you can enter bass figures
6245 as numbers, and there is a context called @internalsref{FiguredBass}
6246 that takes care of making @internalsref{BassFigure} objects.
6248 In figures input mode, a group of bass figures is delimited by
6249 @code{<} and @code{>}. The duration is entered after the @code{>}.
6254 \context FiguredBass
6258 Accidentals are added to the numbers if you alterate them by
6259 appending @code{-}, @code{!} and @code{+}.
6265 \context FiguredBass
6266 \figures { <4- 6+ 7!> }
6269 Spaces or dashes may be inserted by using @code{_}. Brackets are
6270 introduced with @code{[} and @code{]}.
6276 \context FiguredBass
6277 \figures { < [4 6] 8 [_ 12]> }
6280 Although the support for figured bass may superficially resemble chord
6281 support, it works much simpler. The @code{\figures} mode simply
6282 stores the numbers , and @internalsref{FiguredBass} context prints
6283 them as entered. There is no conversion to pitches, and no
6284 realizations of the bass are played in the MIDI file.
6286 Internally, the code produces markup texts. You can use any of the
6287 markup text properties to override formatting. For example, the
6288 vertical spacing of the figures may be set with @code{baseline-skip}.
6292 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
6293 @internalsref{FiguredBass} context
6297 Slash notation for alterations is not supported.
6300 @node Contemporary notation
6301 @section Contemporary notation
6303 In the 20th century, composers have greatly expanded the musical
6304 vocabulary. With this expansion, many innovations in musical notation
6305 have been tried. For a comprehensive overview, refer to @cite{Stone
6306 1980} (see @ref{Literature}). In general, the use of new, innovative
6307 notation makes a piece harder to understand and perform and its use
6308 should therefore be avoided if possible. For this reason, support for
6309 contemporary notation in LilyPond is limited.
6318 @subsection Clusters
6322 In musical terminology, a @emph{cluster} denotes a range of
6323 simultaneously sounding pitches that may change over time. The set of
6324 available pitches to apply usually depends on the accoustic source.
6325 Thus, in piano music, a cluster typically consists of a continous range
6326 of the semitones as provided by the piano's fixed set of a chromatic
6327 scale. In choral music, each singer of the choir typically may sing an
6328 arbitrary pitch within the cluster's range that is not bound to any
6329 diatonic, chromatic or other scale. In electronic music, a cluster
6330 (theoretically) may even cover a continuous range of pitches, thus
6331 resulting in coloured noise, such as pink noise.
6333 Clusters can be denoted in the context of ordinary staff notation by
6334 engraving simple geometrical shapes that replace ordinary notation of
6335 notes. Ordinary notes as musical events specify starting time and
6336 duration of pitches; however, the duration of a note is expressed by the
6337 shape of the note head rather than by the horizontal graphical extent of
6338 the note symbol. In contrast, the shape of a cluster geometrically
6339 describes the development of a range of pitches (vertical extent) over
6340 time (horizontal extent). Still, the geometrical shape of a cluster
6341 covers the area in wich any single pitch contained in the cluster would
6342 be notated as an ordinary note. From this point of view, it is
6343 reasonable to specify a cluster as the envelope of a set of notes.
6347 A cluster is engraved as the envelope of a set of notes. The starting
6348 note is marked with @code{\startCluster}, and the ending note with
6349 @code{\stopCluster}, e.g.,
6357 The following example (from
6358 @inputfileref{input/regression,cluster.ly}) shows what the result
6361 @lilypondfile[notexidoc]{cluster.ly}
6363 By default, @internalsref{Cluster_engraver} is in the
6364 @internalsref{Voice} context. This allows putting ordinary notes and
6365 clusters together in the same staff, even simultaneously. In such a
6366 case no attempt is made to automatically avoid collisions between
6367 ordinary notes and clusters.
6371 @internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
6372 @internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
6376 When a cluster is active, note heads must be switched off manually using
6379 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
6380 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
6385 @subsection Fermatas
6391 Contemporary music notation frequently uses special fermata symbols to
6392 indicate fermatas of differing lengths.
6396 The following are supported
6398 @lilypond[singleline]
6421 \context Lyrics \lyrics {
6422 "shortfermata" "fermata" "longfermata" "verylongfermata"
6427 See @ref{Articulations} for general instructions how to apply scripts
6428 such as fermatas to a @code{\notes@{@}} block.
6431 @section Tuning output
6433 There are situations where default layout decisions are not
6434 sufficient. In this section we discuss ways to override these
6437 Formatting is internally done by manipulating so called objects (graphic
6438 objects). Each object carries with it a set of properties (object
6439 properties) specific to that object. For example, a stem object has
6440 properties that specify its direction, length and thickness.
6442 The most direct way of tuning the output is by altering the values of
6443 these properties. There are two ways of doing that: first, you can
6444 temporarily change the definition of one type of object, thus
6445 affecting a whole set of objects. Second, you can select one specific
6446 object, and set a object property in that object.
6456 @node Tuning objects
6457 @subsection Tuning objects
6459 @cindex object description
6461 The definition of an object is actually a list of default object
6462 properties. For example, the definition of the Stem object (available
6463 in @file{scm/grob-description.scm}), includes the following definitions for
6468 (beamed-lengths . (0.0 2.5 2.0 1.5))
6469 (Y-extent-callback . ,Stem::height)
6474 By adding variables on top of these existing definitions, the system
6475 defaults is overriden, and the appearance of a graphical objects is
6481 Changing a variable for only one object is commonly achieved with
6485 \once \property @var{context}.@var{grobname}
6486 \override @var{symbol} = @var{value}
6488 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
6489 and @var{grobname} is a string and @var{value} is a Scheme expression.
6490 This command applies a setting only during one moment in the score.
6492 In the following example, only one @internalsref{Stem} object is
6493 changed from its original setting:
6495 @lilypond[verbatim, fragment, relative=1]
6497 \once \property Voice.Stem \set #'thickness = #4
6501 @cindex @code{\once}
6503 For changing more objects, the same command, without @code{\once} can
6506 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
6508 This command adds @code{@var{symbol} = @var{value}} to the definition
6509 of @var{grobname} in the context @var{context}, and this definition
6510 stays in place until it is removed.
6512 An existing definition may be removed by the following command
6515 \property @var{context}.@var{grobname} \revert @var{symbol}
6518 All @code{\override} and @code{\revert} commands should be balanced.
6519 The @code{\set} shorthand, performs a revert followed by an override,
6520 and is often more convenient to use
6523 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
6527 @lilypond[verbatim,quote]
6528 c'4 \property Voice.Stem \override #'thickness = #4.0
6530 c'4 \property Voice.Stem \revert #'thickness
6534 The following example gives exactly the same result as the previous
6535 one (assuming the system default for stem thickness is 1.3).
6537 @lilypond[verbatim,quote]
6538 c'4 \property Voice.Stem \set #'thickness = #4.0
6540 c'4 \property Voice.Stem \set #'thickness = #1.3
6544 Reverting a setting which was not set in the first place has no
6545 effect. However, if the setting was set as a system default, this may
6546 remove the default value, and this may give surprising results,
6547 including crashes. In other words, @code{\override} and
6548 @code{\revert} must be carefully balanced.
6550 These are examples of correct nesting of @code{\override}, @code{\set},
6553 A clumsy but correct form:
6555 \override \revert \override \revert \override \revert
6558 Shorter version of the same:
6560 \override \set \set \revert
6563 A short form, using only @code{\set}. This requires you to know the
6566 \set \set \set \set @var{to default value}
6569 If there is no default (i.e. by default, the object property is unset),
6572 \set \set \set \revert
6575 For the digirati, the object description is an Scheme association
6576 list. Since a Scheme list is a singly linked list, we can treat it as
6577 a stack, and @code{\override} and @code{\revert} are push and pop
6578 operations. The association list is stored in a normal context
6581 \property Voice.NoteHead = #'()
6583 will effectively erase @internalsref{NoteHead}s from the current
6584 @internalsref{Voice}. However, this mechanism is not guaranteed to
6585 work, and may cause crashes or other anomalous behavior.
6589 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
6590 @internalsref{PropertySet}, @internalsref{backend properties},
6591 @internalsref{All Graphical Objects}.
6596 The backend is not very strict in type-checking object properties.
6597 Cyclic references in @var{value} cause hangs and/or crashes.
6598 Similarly, reverting properties that are system defaults may also lead
6603 @subsection Applyoutput
6605 The most versatile way of tuning object is @code{\applyoutput}. Its
6608 \applyoutput @var{proc}
6610 where @var{proc} is a Scheme function, taking four arguments.
6612 When interpreted, the function @var{proc} is called for every grob found
6613 in the context, with the following arguments:
6615 @item the grob itself
6616 @item the context where the grob was created
6617 @item the context where @code{\applyoutput} is processed.
6620 In addition, the cause of the grob, i.e. the music expression or object
6621 that was responsible for creating the object, is in the object property
6622 @code{cause}. For example, for a note head, this is a
6623 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
6624 this is a @internalsref{NoteHead} object.
6627 @node Outputproperty
6628 @subsection Outputproperty
6630 @cindex \outputproperty
6632 Another way of tuning objects is the more arcane @code{\outputproperty}
6633 feature. The syntax is as follows:
6635 \outputproperty @var{predicate} @var{symbol} = @var{value}
6637 Here @code{predicate} is a Scheme function taking an object argument, and
6638 returning a boolean. This statement is processed by the
6639 @code{Output_property_engraver}. It instructs the engraver to feed all
6640 objects that it sees to @var{predicate}. Whenever the predicate returns
6641 true, the object property @var{symbol} will be set to @var{value}.
6643 You will need to combine this statement with @code{\context} to select
6644 the appropriate context to apply this to.
6645 @inputfileref{input/regression,output-property.ly} shows an example of
6646 the use of @code{\outputproperty}.
6650 If possible, avoid this feature: the semantics are not very clean, and
6651 the syntax and semantics are up for rewrite.
6654 @node Font selection
6655 @subsection Font selection
6657 The most common thing to change about the appearance of fonts is
6658 their size. The font size of any context can be easily
6659 changed by setting the @code{fontSize} property for that context:
6661 @lilypond[fragment,relative=1,verbatim,quote]
6662 c4 c4 \property Voice.fontSize = #-1
6665 This command will set @code{font-relative-size} (see below),
6666 and does not change the size of variable symbols, such as
6667 beams or slurs. You can use this command to get smaller symbol for
6668 cue notes, but that involves some more subtleties. An elaborate
6669 example of those is in @inputfileref{input/test,cue-notes.ly}.
6671 @cindex magnification
6673 The size of the font may be scaled with the object property
6674 @code{font-magnification}. For example, @code{2.0} blows up all
6675 letters by a factor 2 in both directions.
6684 The font used for printing a object can be selected by setting
6685 @code{font-name}, e.g.
6687 \property Staff.TimeSignature
6688 \set #'font-name = #"cmr17"
6690 You may use any font which is available to @TeX{}, such as foreign
6691 fonts or fonts that do not belong to the Computer Modern font family.
6693 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
6694 can also be adjusted with a more fine-grained mechanism. By setting
6695 the object properties described below, you can select a different font.
6696 All three mechanisms work for every object that supports
6697 @code{font-interface}.
6701 A symbol indicating the general class of the typeface. Supported are
6702 @code{roman} (Computer Modern), @code{braces} (for piano staff
6703 braces), @code{music} (the standard music font, including ancient
6704 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
6707 A symbol indicating the shape of the font, there are typically several
6708 font shapes available for each font family. Choices are @code{italic},
6709 @code{caps} and @code{upright}
6712 A symbol indicating the series of the font. There are typically several
6713 font series for each font family and shape. Choices are @code{medium}
6716 @item font-relative-size
6717 A number indicating the size relative the standard size. For example,
6718 with 20pt staff height, relative size -1 corresponds to 16pt staff
6719 height, and relative size +1 corresponds to 23 pt staff height.
6721 There are small differences in design between fonts designed for
6722 different sizes, hence @code{font-relative-size} is preferred over
6723 @code{font-magnification} for changing font sizes.
6726 @item font-design-size
6727 A number indicating the design size of the font.
6729 This is a feature of the Computer Modern Font: each point size has a
6730 slightly different design. Smaller design sizes are relatively wider,
6731 which enhances readability.
6734 For any of these properties, the value @code{*} (i.e. the symbol
6735 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
6736 to override default setting, which are always present. For example:
6738 \property Lyrics.LyricText \override #'font-series = #'bold
6739 \property Lyrics.LyricText \override #'font-family = #'typewriter
6740 \property Lyrics.LyricText \override #'font-shape = #'*
6743 @cindex @code{font-style}
6749 Relative size is not linked to any real size.
6751 There is no style sheet provided for other fonts besides the @TeX{}
6752 family, and the style sheet cannot be modified easily.
6754 @cindex font selection
6755 @cindex font magnification
6756 @cindex @code{font-interface}
6760 @subsection Text markup
6765 @cindex typeset text
6767 LilyPond has an internal mechanism to typeset texts. You can access it
6768 with the keyword @code{\markup}. Within markup mode, you can enter texts
6769 similar to lyrics: simply enter them, surrounded by spaces.
6772 @lilypond[verbatim,fragment,relative=1]
6773 c1^\markup { hello }
6774 c1_\markup { hi there }
6775 c1^\markup { hi \bold there, is \italic anyone home? }
6778 @cindex font switching
6780 The line of the example demonstrates font switching commands. The
6781 command only apply to the first following word; enclose a set of texts
6782 with braces to apply a command to more words.
6784 \markup @{ \bold @{ hi there @} @}
6786 For clarity, you can also do this for single arguments, e.g.
6788 \markup @{ is \italic @{ anyone @} home @}
6791 @cindex font size, texts
6793 The following size commands set abolute sizes
6809 You can also make letter larger or smaller relative to their neighbors,
6810 with the commands @code{\larger} and @code{\smaller}.
6814 @cindex font style, for texts
6820 The following font change commands are defined:
6823 This changes to the font used for dynamic signs. This font does not
6824 contain all characters of the alphabet, so when producing ``piu f'',
6825 the ``piu'' should be done in a different font.
6829 This changes to the font used for time signatures. It only contains
6830 numbers and a few punctuation marks.
6832 Changes @code{font-shape} to @code{italic}
6834 Changes @code{font-series} to @code{bold}
6837 @cindex raising text
6838 @cindex lowering text
6840 @cindex translating text
6845 Raising and lowering texts can be done with @code{\super} and
6848 @lilypond[verbatim,fragment,relative=1]
6849 c1^\markup { E "=" mc \super "2" }
6854 If you want to give an explicit amount for lowering or raising, use
6855 @code{\raise}. This command takes a Scheme valued first argument, and
6856 a markup object as second argument
6858 @lilypond[verbatim,fragment,relative=1,quote]
6859 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
6861 The argument to @code{\raise} is the vertical displacement amount,
6862 measured in (global) staff spaces.
6864 Other commands taking single arguments include
6867 @item \bracket, \hbracket
6868 Bracket the argument markup with normal and horizontal brackets
6873 This is converted to a musical symbol, e.g. @code{\musicglyph
6874 #"accidentals-0"} will select the natural sign from the music font.
6875 See @ref{The Feta font} for a complete listing of the possible glyphs.
6877 This produces a single character, e.g. @code{\char #65} produces the
6880 @item \hspace #@var{amount}
6882 This produces a invisible object taking horizontal space.
6884 \markup @{ A \hspace #2.0 B @}
6886 will put extra space between A and B, on top of the space that is
6887 normally inserted before elements on a line.
6889 @item \fontsize #@var{size}
6891 This sets the relative font size, eg.
6893 A \fontsize #2 @{ B C @} D
6897 This will enlarge the B and the C by two steps.
6898 @item \translate #(cons @var{x} @var{y})
6900 This translates an object. Its first argument is a cons of numbers
6902 A \translate #(cons 2 -3) @{ B C @} D
6904 This moves `B C' 2 spaces to the right, and 3 down.
6906 @item \magnify #@var{mag}
6908 This sets the font magnification for the its argument. In the following
6909 example, the middle A will be 10% larger.
6911 A \magnify #1.1 @{ A @} A
6915 @item \override #(@var{key} . @var{value})
6917 This overrides a formatting property for its argument. The argument
6918 should be a key/value pair, e.g.
6920 m \override #'(font-family . math) m m
6924 In markup mode you can compose expressions, similar to mathematical
6925 expressions, XML documents and music expressions. The braces group
6926 notes into horizontal lines. Other types of lists also exist: you can
6927 stack expressions grouped with @code{<<}, and @code{>>} vertically with
6928 the command @code{\column}. Similarly, @code{\center} aligns texts by
6931 @lilypond[verbatim,fragment,relative=1]
6932 c1^\markup { \column << a bbbb c >> }
6933 c1^\markup { \center << a bbbb c >> }
6934 c1^\markup { \line << a b c >> }
6937 The markup mechanism is extensible. Refer to
6938 @file{scm/new-markup.scm} for more information on extending the markup
6945 @internalsref{Markup functions}, @file{scm/new-markup.scm}
6952 Text layout is ultimately done by @TeX{}, which does kerning of
6953 letters. LilyPond does not account for kerning, so texts will be
6954 spaced slightly too wide.
6956 Syntax errors for markup mode are confusing.
6960 @section Global layout
6962 The global layout determined by three factors: the page layout, the
6963 line breaks and the spacing. These all influence each other. The
6964 choice of spacing determines how densely each system of music is set,
6965 which influences where line breaks breaks are chosen, and thus
6966 ultimately how many pages a piece of music takes. In this section, the
6967 algorithm for spacing music is explained, and how spacing can be
6970 Globally spoken, this procedure happens in three steps: first,
6971 flexible distances (``springs'') are chosen, based on durations. All
6972 possible line breaking combination are tried, and the one with the
6973 best results---a layout that has uniform density and requires as
6974 little stretching or cramping as possible---is chosen. When the score
6975 is processed by @TeX{}, each page is filled with systems, and page breaks
6976 are chosen whenever the page gets full.
6981 * Vertical spacing::
6982 * Horizontal spacing::
6989 @node Vertical spacing
6990 @subsection Vertical spacing
6992 @cindex vertical spacing
6993 @cindex distance between staves
6994 @cindex staff distance
6995 @cindex between staves, distance
6996 @cindex staffs per page
6999 The height of each system is determined automatically by lilypond, to
7000 keep systems from bumping into each other, some minimum distances are
7001 set. By changing these, you can put staves closer together, and thus
7002 put more systems onto one page.
7004 Normally staves are stacked vertically. To make
7005 staves maintain a distance, their vertical size is padded. This is
7006 done with the property @code{minimumVerticalExtent}. It takes a pair
7007 of numbers, so if you want to make it smaller from its, then you could
7010 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7012 This sets the vertical size of the current staff to 4 staff-space on
7013 either side of the center staff line. The argument of
7014 @code{minimumVerticalExtent} is interpreted as an interval, where the
7015 center line is the 0, so the first number is generally negative. The
7016 staff can be made larger at the bottom by setting it to @code{(-6
7019 The piano staves are handled a little differently: to make cross-staff
7020 beaming work correctly, it necessary that the distance between staves
7021 is fixed beforehand. This is also done with a
7022 @internalsref{VerticalAlignment} object, created in
7023 @internalsref{PianoStaff}. In this object the distance between the
7024 staves is fixed by setting @code{forced-distance}. If you want to
7025 override this, use a @code{\translator} block as follows:
7029 VerticalAlignment \override #'forced-distance = #9
7032 This would bring the staves together at a distance of 9 staff spaces,
7033 measured from the center line of each staff.
7037 Vertical aligment of staves is handled by the
7038 @internalsref{VerticalAlignment} object.
7042 @node Horizontal spacing
7043 @subsection Horizontal Spacing
7045 The spacing engine translates differences in durations into
7046 stretchable distances (``springs'') of differing lengths. Longer
7047 durations get more space, shorter durations get less. The shortest
7048 durations get a fixed amount of space (which is controlled by
7049 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
7050 object). The longer the duration, the more space it gets: doubling a
7051 duration adds a fixed amount (this amount is controlled by
7052 @code{spacing-increment}) of space to the note.
7054 For example, the following piece contains lots of half, quarter and
7055 8th notes, the eighth note is followed by 1 note head width (NHW).
7056 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
7057 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
7061 Normally, @code{shortest-duration-space} is set to 1.2, which is the
7062 width of a note head, and @code{shortest-duration-space} is set to
7063 2.0, meaning that the shortest note gets 2 NHW (2 times
7064 @code{shortest-duration-space}) of space. For normal notes, this space
7065 is always counted from the left edge of the symbol, so the shortest
7066 notes are generally followed by one NHW of space.
7068 If one would follow the above procedure exactly, then adding a single
7069 32th note to a score that uses 8th and 16th notes, would widen up the
7070 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
7071 thus adding 2 noteheads of space to every note. To prevent this, the
7072 shortest duration for spacing is not the shortest note in the score,
7073 but the most commonly found shortest note. Notes that are even
7074 shorter this are followed by a space that is proportonial to their
7075 duration relative to the common shortest note. So if we were to add
7076 only a few 16th notes to the example above, they would be followed by
7079 @lilypond[fragment, verbatim, relative=2]
7080 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
7083 The most common shortest duration is determined as follows: in every
7084 measure, the shortest duration is determined. The most common short
7085 duration, is taken as the basis for the spacing, with the stipulation
7086 that this shortest duration should always be equal to or shorter than
7087 1/8th note. The shortest duration is printed when you run lilypond
7088 with @code{--verbose}. These durations may also be customized. If you
7089 set the @code{common-shortest-duration} in
7090 @internalsref{SpacingSpanner}, then this sets the base duration for
7091 spacing. The maximum duration for this base (normally 1/8th), is set
7092 through @code{base-shortest-duration}.
7094 @cindex @code{common-shortest-duration}
7095 @cindex @code{base-shortest-duration}
7096 @cindex @code{stem-spacing-correction}
7097 @cindex @code{spacing}
7099 In the introduction it was explained that stem directions influence
7100 spacing. This is controlled with @code{stem-spacing-correction}
7101 property in @internalsref{NoteSpacing}, which are generated for every
7102 @internalsref{Voice} context. The @code{StaffSpacing} object
7103 (generated at @internalsref{Staff} context) contains the same property
7104 for controlling the stem/barline spacing. The following example
7105 shows these corrections, once with default settings, and once with
7106 exaggerated corrections.
7112 \property Staff.NoteSpacing \override #'stem-spacing-correction
7114 \property Staff.StaffSpacing \override #'stem-spacing-correction
7119 \paper { raggedright = ##t } }
7122 @cindex SpacingSpanner, overriding properties
7124 Properties of the @internalsref{SpacingSpanner} must be overriden
7125 from the @code{\paper} block, since the @internalsref{SpacingSpanner}
7126 is created before any @code{\property} statements are interpreted.
7128 \paper @{ \translator @{
7130 SpacingSpanner \override #'spacing-increment = #3.0
7137 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
7138 @internalsref{StaffSpacing}, @internalsref{SeparationItem},
7139 @internalsref{SeparatingGroupSpanner}.
7143 Spacing is determined on a score wide basis. If you have a score that
7144 changes its character (measured in durations) halfway during the
7145 score, the part containing the longer durations will be spaced too
7148 There is no convenient mechanism to manually override spacing.
7153 @subsection Font size
7154 @cindex font size, setting
7155 @cindex staff size, setting
7156 @cindex @code{paper} file
7158 The Feta font provides musical symbols at seven different sizes.
7159 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
7160 26 point. The point size of a font is the height of the corresponding
7161 staff (excluding line thicknesses).
7163 Definitions for these sizes are the files @file{paperSZ.ly}, where
7164 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
7165 of these files, the variables @code{paperEleven},
7166 @code{paperThirteen}, @code{paperSixteen},
7167 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
7168 are defined respectively. The default @code{\paper} block is also
7169 set. These files should be imported at toplevel, i.e.
7171 \include "paper26.ly"
7175 The font definitions are generated using a Scheme function. For more
7176 details, see the file @file{scm/font.scm}.
7181 @subsection Line breaking
7184 @cindex breaking lines
7186 Line breaks are normally computed automatically. They are chosen such
7187 that lines look neither cramped nor loose, and that consecutive lines
7188 have similar density.
7190 Occasionally you might want to override the automatic breaks; you can
7191 do this by specifying @code{\break}. This will force a line break at
7192 this point. Line breaks can only occur at places where there are bar
7193 lines. If you want to have a line break where there is no bar line,
7194 you can force an invisible bar line by entering @code{\bar
7195 ""}. Similarly, @code{\noBreak} forbids a line break at a
7199 @cindex regular line breaks
7200 @cindex four bar music.
7202 If you want linebreaks at regular intervals, you can use the following:
7204 < \repeat unfold 7 @{ s1 * 4 \break @}
7205 @emph{the real music}
7208 This makes the following 28 measures (assuming 4/4 time) be broken every
7213 @internalsref{BreakEvent}
7217 @subsection Page layout
7220 @cindex breaking pages
7222 @cindex @code{indent}
7223 @cindex @code{linewidth}
7225 The most basic settings influencing the spacing are @code{indent} and
7226 @code{linewidth}. They are set in the @code{\paper} block. They
7227 control the indentation of the first line of music, and the lengths of
7230 If @code{raggedright} is set to true in the @code{\paper}
7231 block, then the lines are justified at their natural length. This
7232 useful for short fragments, and for checking how tight the natural
7236 @cindex vertical spacing
7238 The page layout process happens outside the LilyPond formatting
7239 engine: variables controlling page layout are passed to the output,
7240 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
7241 to the following variables in the @code{\paper} block. The variable
7242 @code{textheight} sets the total height of the music on each page.
7243 The spacing between systems is controlled with @code{interscoreline},
7244 its default is 16pt. The distance between the score lines will
7245 stretch in order to fill the full page @code{interscorelinefill} is
7246 set to a positive number. In that case @code{interscoreline}
7247 specifies the minimum spacing.
7249 @cindex @code{textheight}
7250 @cindex @code{interscoreline}
7251 @cindex @code{interscorelinefill}
7253 If the variable @code{lastpagefill} is defined,
7254 @c fixme: this should only be done if lastpagefill == #t
7255 systems are evenly distributed vertically on the last page. This
7256 might produce ugly results in case there are not enough systems on the
7257 last page. The @command{lilypond-book} command ignores
7258 @code{lastpagefill}. See @ref{lilypond-book manual} for more
7261 @cindex @code{lastpagefill}
7263 Page breaks are normally computed by @TeX{}, so they are not under
7264 direct control of LilyPond. However, you can insert a commands into
7265 the @file{.tex} output to instruct @TeX{} where to break pages. This
7266 is done by setting the @code{between-systems-strings} on the
7267 @internalsref{NonMusicalPaperColumn} where the system is broken.
7268 An example is shown in @inputfileref{input/regression,between-systems.ly}.
7272 @cindex @code{papersize}
7274 To change the paper size, you must first set the
7275 @code{papersize} paper variable variable. Set it to
7276 the strings @code{a4}, @code{letter}, or @code{legal}. After this
7277 specification, you must set the font as described above. If you want
7278 the default font, then use the 20 point font.
7281 \paper@{ papersize = "a4" @}
7282 \include "paper16.ly"
7285 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
7286 will set the paper variables @code{hsize} and @code{vsize} (used by
7287 Lilypond and @code{ly2dvi})
7292 @ref{Invoking ly2dvi},
7293 @inputfileref{input/regression,between-systems.ly},
7294 @internalsref{NonMusicalPaperColumn}.
7298 There is no concept of page breaking, which makes it difficult to
7299 choose sensible page breaks in multi-page pieces.
7308 Entered music can also be converted to MIDI output. The performance
7309 is good enough for proof-hearing the music for errors.
7311 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7312 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7313 marks translate to a fixed fraction of the available MIDI volume
7314 range, crescendi and decrescendi make the volume vary linearly between
7315 their two extremities. The fractions be adjusted by
7316 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7317 For each type of MIDI instrument, a volume range can be defined. This
7318 gives you basic equalizer control, which can enhance the quality of
7319 the MIDI output remarkably. The equalizer can be controlled by
7320 setting @code{instrumentEqualizer}.
7324 Many musically interesting effects, such as swing, articulation,
7325 slurring, etc., are not translated to MIDI.
7330 * MIDI instrument names::
7335 @subsection MIDI block
7339 The MIDI block is analogous to the paper block, but it is somewhat
7340 simpler. The @code{\midi} block can contain:
7344 @item a @code{\tempo} definition
7345 @item context definitions
7348 Assignments in the @code{\midi} block are not allowed.
7352 @cindex context definition
7354 Context definitions follow precisely the same syntax as within the
7355 \paper block. Translation modules for sound are called performers.
7356 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7359 @node MIDI instrument names
7360 @subsection MIDI instrument names
7362 @cindex instrument names
7363 @cindex @code{Staff.midiInstrument}
7364 @cindex @code{Staff.instrument}
7366 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7367 property or, if that property is not set, the @code{Staff.instrument}
7368 property. The instrument name should be chosen from the list in
7369 @ref{MIDI instruments}.
7373 If the selected string does not exactly match, then LilyPond uses the
7374 default (Grand Piano). It is not possible to select an instrument by