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::
60 * Easy Notation note heads ::
68 A note is printed by specifying its pitch and then its duration.
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C.
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch
103 name and a flat is formed by adding @code{-es}. Double sharps and
104 double flats are obtained by adding @code{-isis} or @code{-eses}.
106 These default names are the Dutch note names. In Dutch, @code{aes} is
107 contracted to @code{as} in Dutch, but both forms are
108 accepted. Similarly, both @code{es} and @code{ees} are accepted.
110 There are predefined sets of note names for various other languages.
111 To use them, include the language specific init file. For
112 example: @code{\include "english.ly"}. The available language files
113 and the note names they define are:
118 Note Names sharp flat
119 nederlands.ly c d e f g a bes b -is -es
120 english.ly c d e f g a bf b -s/-sharp -f/-flat
121 deutsch.ly c d e f g a b h -is -es
122 norsk.ly c d e f g a b h -iss/-is -ess/-es
123 svenska.ly c d e f g a b h -iss -ess
124 italiano.ly do re mi fa sol la sib si -d -b
125 catalan.ly do re mi fa sol la sib si -d/-s -b
126 espanol.ly do re mi fa sol la sib si -s -b
135 The optional octave specification takes the form of a series of
136 single quote (`@code{'}') characters or a series of comma
137 (`@code{,}') characters. Each @code{'} raises the pitch by one
138 octave; each @code{,} lowers the pitch by an octave.
140 @lilypond[fragment,verbatim,center]
141 c' c'' es' g' as' gisis' ais'
145 The verbose syntax for pitch specification is
147 @cindex @code{\pitch}
149 \pitch @var{scmpitch}
152 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
157 @internalsref{NoteEvent}, @internalsref{NoteHead}
159 @node Chromatic alterations
160 @subsection Chromatic alterations
162 Normally accidentals are printed automatically, but you may also
163 print them manually. A reminder accidental
164 @cindex reminder accidental
166 can be forced by adding an exclamation mark @code{!}
167 after the pitch. A cautionary accidental
168 @cindex cautionary accidental
169 @cindex parenthesized accidental
170 (an accidental within parentheses) can be obtained by adding the
171 question mark `@code{?}' after the pitch.
173 @lilypond[fragment,verbatim]
174 cis' cis' cis'! cis'?
178 The automatic production of accidentals can be tuned in many
179 ways. For more information, refer to @ref{Accidentals}.
184 A chord is formed by a enclosing a set of pitches in @code{<<} and
185 @code{>>}. A chord may be followed by a duration, and a set of
186 articulations, just like simple notes.
188 Additionally, fingerings and articulations may be attached to
189 individual pitches of the chord:
191 @lilypond[singleline,verbatim,relative 1]
204 Rests are entered like notes, with the note name @code{r}.
206 @lilypond[singleline,verbatim]
210 Whole bar rests, centered in middle of the bar, are specified using
211 @code{R} (capital R); see @ref{Multi measure rests}. See also
214 For some music, you may wish to explicitly specify the rest's vertical
215 position. This can be achieved by entering a note with the @code{\rest}
216 keyword appended. Rest collision testing will leave these rests alone.
218 @lilypond[singleline,verbatim]
224 @internalsref{RestEvent}, @internalsref{Rest}
231 @cindex Invisible rest
234 An invisible rest (also called a `skip') can be entered like a note
235 with note name `@code{s}' or with @code{\skip @var{duration}}:
237 @lilypond[singleline,verbatim]
241 The @code{s} syntax is only available in Note mode and Chord
242 mode. In other situations, you should use the @code{\skip} command,
243 which will work outside of those two modes:
245 @lilypond[singleline,verbatim]
248 { \time 4/8 \skip 2 \time 4/4 }
249 \notes\relative c'' { a2 a1 }
254 The skip command is merely an empty musical placeholder. It does not
255 produce any output, not even transparent output.
259 @internalsref{SkipEvent}
264 @subsection Durations
268 @cindex @code{\duration}
271 In Note, Chord, and Lyrics mode, durations are designated by numbers
272 and dots: durations are entered as their reciprocal values. For example,
273 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
274 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
275 longer than a whole you must use variables.
277 @c FIXME: what is an identifier? I do not think it's been introduced yet.
278 @c and if it has, I obviously skipped that part. - Graham
282 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
284 r1 r2 r4 r8 r16 r32 r64 r64
289 \notes \relative c'' {
291 a1 a2 a4 a8 a16 a32 a64 a64
293 r1 r2 r4 r8 r16 r32 r64 r64
298 \remove "Clef_engraver"
299 \remove "Staff_symbol_engraver"
300 \remove "Time_signature_engraver"
301 \consists "Pitch_squash_engraver"
308 If the duration is omitted then it is set to the previously entered
309 duration. Default for the first note is a quarter note. The duration
310 can be followed by dots (`@code{.}') in order to obtain dotted note
314 @lilypond[fragment,verbatim,center]
315 a' b' c''8 b' a'4 a'4. b'4.. c'8.
320 You can alter the length of duration by a fraction @var{N/M}
321 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
322 will not affect the appearance of the notes or rests produced.
324 @lilypond[fragment,verbatim]
325 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
328 Durations can also be produced through GUILE extension mechanism.
329 @lilypond[verbatim,fragment]
330 c'\duration #(ly:make-duration 2 1)
336 Dot placement for chords is not perfect. In some cases, dots overlap:
349 A tie connects two adjacent note heads of the same pitch. The tie in
350 effect extends the length of a note. Ties should not be confused with
351 slurs, which indicate articulation, or phrasing slurs, which indicate
352 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
354 @lilypond[fragment,verbatim,center]
355 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
358 When a tie is applied to a chord, all note heads whose pitches match
359 are connected. When no note heads match, no ties will be created.
361 In its meaning a tie is just a way of extending a note duration, similar
362 to the augmentation dot: the following example are two ways of notating
363 exactly the same concept.
365 @lilypond[fragment, singleline,quote]
366 \time 3/4 c'2. c'2 ~ c'4
368 If you need to tie notes over bars, it may be easier to use automatic
369 note splitting (See @ref{Automatic note splitting}).
374 @internalsref{TieEvent}, @internalsref{NewTieEvent},
375 @internalsref{Tie}, @ref{Automatic note splitting}.
378 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
382 Tieing only a subset of the note heads of a pair of chords is not
383 supported in a simple way. It can be achieved by moving the
384 tie-engraver into the @internalsref{Thread} context and turning on and
385 off ties per @internalsref{Thread}.
387 Switching staves when a tie is active, will produce a horizontal tie
390 Formatting of ties is a difficult subject. The results are often not
400 @cindex @code{\times}
402 Tuplets are made out of a music expression by multiplying all durations
405 @cindex @code{\times}
407 \times @var{fraction} @var{musicexpr}
410 The duration of @var{musicexpr} will be multiplied by the fraction.
411 In the sheet music, the fraction's denominator will be printed over
412 the notes, optionally with a bracket. The most common tuplet is the
413 triplet in which 3 notes have the length of 2, so the notes are 2/3
414 of their written length:
416 @lilypond[fragment,verbatim,center]
417 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
420 The property @code{tupletSpannerDuration} specifies how long each bracket
421 should last. With this, you can make lots of tuplets while typing
422 @code{\times} only once, saving lots of typing.
424 @lilypond[fragment, relative, singleline, verbatim]
425 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
426 \times 2/3 { c'8 c c c c c }
429 The format of the number is determined by the property
430 @code{tupletNumberFormatFunction}. The default prints only the
431 denominator, but if it is set to the Scheme function
432 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
436 @cindex @code{tupletNumberFormatFunction}
437 @cindex tuplet formatting
441 @seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
445 Nested tuplets are not formatted automatically. In this case, outer
446 tuplet brackets should be moved manually.
448 @node Easy Notation note heads
449 @subsection Easy Notation note heads
451 @cindex easy notation
454 The `easyplay' note head includes a note name inside the head. It is
455 used in music aimed at beginners.
457 @lilypond[singleline,verbatim,26pt]
459 \notes { c'2 e'4 f' | g'1 }
460 \paper { \translator { \EasyNotation } }
464 The @code{EasyNotation} variable overrides a @internalsref{Score}
465 context. You probably will want to print it with magnification or a
466 large font size to make it more readable. To print with
467 magnification, you must create a DVI file (with @file{ly2dvi}) and
468 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
469 See @file{man dvips} for details. To print with a larger font, see
476 If you view the result with Xdvi, then staff lines will show through
477 the letters. Printing the PostScript file obtained with ly2dvi does
478 produce the correct result.
481 @node Easier music entry
482 @section Easier music entry
485 When entering music it is easy to introduce errors. This section deals
486 with tricks and features of the input language that help when entering
487 music, and find and correct mistakes.
489 Some features of the input language ease entering music, for example
490 the use of variables (for splitting up large pieces of music), and
491 unfolded repeats for writing repetitive parts. They are described in
492 other sections (see @ref{Repeats} and @ref{Assignments}), since they
493 are not especially aimed at easing entry
495 It is also possible to use external programs, for example GUI
496 interfaces, or MIDI transcription programs, to enter or edit
497 music. Refer to the website for more information. Finally, there are
498 tools make debugging easier, by linking the input file and the output
499 shown on screen. See @ref{Point and click} for more information.
505 * Skipping corrected music::
506 * Automatic note splitting ::
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 @c [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
1643 slurs. Putting phrasing slurs over rests leads to spurious warnings.
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 You can use the thumb-script to indicate that a note should be
1853 played with your thumb (used in cello music):
1855 @lilypond[verbatim, singleline, fragmnt]
1856 <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
1857 <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
1860 Fingering for chords can be notated like this:
1862 @lilypond[verbatim,singleline,fragment,relative=1]
1863 << c-1 e-2 g-3 b-5 >> 4
1864 \property Voice.fingerHorizontalDirection = #LEFT
1865 << c-1 es-3 g-5 >> 4
1866 \property Voice.fingerHorizontalDirection = #RIGHT
1867 << c-1 e-2 g-3 b-5 >>4
1868 \property Voice.fingerHorizontalDirection = #LEFT
1869 << c_1 e-2 g-3 b^5 >>4
1874 @internalsref{FingerEvent} and @internalsref{Fingering}.
1885 @subsection Text scripts
1886 @cindex Text scripts
1888 It is possible to place arbitrary strings of text or markup text (see
1889 @ref{Text markup}) above or below notes by using a string:
1890 @code{c^"text"}. By default, these indications do not influence the
1891 note spacing, but by using the command @code{\fatText}, the widths
1892 will be taken into account.
1894 @lilypond[fragment,singleline,verbatim] \relative c' {
1895 c4^"longtext" \fatText c4_"longlongtext" c4 }
1898 It is possible to use @TeX{} commands in the strings, but this should be
1899 avoided because it makes it impossible for LilyPond to compute the
1900 exact length of the string, which may lead to collisions. Also, @TeX{}
1901 commands will not work with direct PostScript output.
1906 @internalsref{TextScriptEvent}, @internalsref{TextScript},
1912 @subsection Grace notes
1916 @cindex @code{\grace}
1920 Grace notes are ornaments that are written out
1922 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
1926 In normal notation, grace notes take up no logical
1927 time in a measure. Such an idea is practical for normal notation, but
1928 is not strict enough to put it into a program. The model that LilyPond
1929 uses for grace notes internally is that all timing is done in two
1932 Every point in musical time consists of two rational numbers: one
1933 denotes the logical time, one denotes the grace timing. The above
1934 example is shown here with timing tuples.
1937 \score { \notes \relative c''{
1938 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1939 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1941 \paper { linewidth = 8.\cm }
1946 The placement of these grace notes is synchronized between different
1949 @lilypond[relative=2,verbatim,fragment]
1950 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
1951 \context Staff = SB { c'4 \grace { g8 b } c4 } >
1955 Unbeamed eighth notes and shorter by default have a slash through the
1956 stem. This can be controlled with object property @code{stroke-style} of
1957 @internalsref{Stem}. For proper matching of override and reverts of
1958 such properties, it is necessary to use a Scheme function.
1960 The following fragment overrides the default formatting Grace style stems.
1962 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
1965 The @code{\override} is carefully matched with a @code{\revert}.
1970 @lilypond[fragment,verbatim]
1971 \relative c'' \context Voice {
1972 \grace c8 c4 \grace { c16-[ c16-] } c4
1974 \property Voice.Stem \override #'stroke-style = #'()
1976 \property Voice.Stem \revert #'stroke-style
1981 If you want to end a note with a grace note, then the standard trick
1982 is to put the grace notes before a phantom ``space note'', e.g.
1983 @lilypond[fragment,verbatim, relative=2]
1986 { s2 \grace { c16-[ d-] } } >
1991 A @code{\grace} section has some default values, and LilyPond will
1992 use those default values unless you specify otherwise inside the
1993 @code{\grace} section. For example, if you specify \slurUp
1994 @emph{before} your @code{\grace} section, a slur which starts inside
1995 the @code{\grace} will not be forced up, even if the slur ends outside
1996 of the @code{\grace}. Note the difference between the first and
1997 second bars in this example:
1999 @lilypond[fragment,verbatim]
2000 \relative c'' \context Voice {
2018 @internalsref{GraceMusic}.
2022 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2024 Grace note synchronization can also lead to surprises. Staff notation,
2025 such as key signatures, barlines, etc. are also synchronized. Take
2026 care when you mix staves with grace notes and staves without.
2028 @lilypond[relative=2,verbatim,fragment]
2029 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2030 \context Staff = SB { c4 \bar "|:" d4 } >
2033 Grace sections should only be used within sequential music
2034 expressions. Nesting, juxtaposing, or ending sequential music with a
2035 grace section is not supported, and might produce crashes or other
2038 Overriding settings for grace music using @code{add-to-grace-init}
2039 cannot be done in a modular way.
2043 @subsection Glissando
2046 @cindex @code{\glissando}
2048 A glissando is a smooth change in pitch. It is denoted by a line or a
2049 wavy line between two notes.
2053 A glissando line can be requested by attaching a @code{\glissando} to
2056 @lilypond[fragment,relative,verbatim]
2062 @internalsref{Glissando}, @internalsref{GlissandoEvent}.
2067 Printing of an additional text (such as @emph{gliss.}) must be done
2072 @subsection Dynamics
2085 @cindex @code{\ffff}
2095 Absolute dynamic marks are specified using an variable after a
2096 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2097 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2098 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2099 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2101 @lilypond[verbatim,singleline,fragment,relative]
2102 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2108 @cindex @code{\decr}
2109 @cindex @code{\rced}
2116 A crescendo mark is started with @code{\cr} and terminated with
2117 @code{\endcr}, and decrescendi similarly with @code{\decr} and
2118 @code{\enddecr}. There are also shorthands for these marks. A
2119 crescendo can be started with @code{\<} and a decrescendo can be
2120 started with @code{\>}. Either one can be terminated with @code{\!}.
2121 Because these marks are bound to notes, if you must use spacer notes
2122 if multiple marks during one note are needed.
2124 @lilypond[fragment,verbatim,center,quote]
2125 c''-\< c''-\! d''-\decr e''-\rced
2126 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2128 This may give rise to very short hairpins. Use @code{minimum-length}
2129 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2133 \property Staff.Hairpin \override #'minimum-length = #5
2136 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2137 is an example how to do it:
2139 @lilypond[fragment,relative=2,verbatim]
2140 c4 \cresc c4 \endcresc c4
2147 You can also supply your own texts:
2148 @lilypond[fragment,relative,verbatim]
2150 \property Voice.crescendoText = "cresc. poco"
2151 \property Voice.crescendoSpanner = #'dashed-line
2160 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
2161 @internalsref{AbsoluteDynamicEvent}.
2163 Dynamics are objects of @internalsref{DynamicText} and
2164 @internalsref{Hairpin}. Vertical positioning of these symbols is
2165 handled by the @internalsref{DynamicLineSpanner} object.
2167 If you want to adjust padding or vertical direction of the dynamics,
2168 you must set properties for the @internalsref{DynamicLineSpanner}
2169 object. Predefined variables to set the vertical direction are
2170 @code{\dynamicUp} and @code{\dynamicDown}.
2172 @cindex direction, of dynamics
2173 @cindex @code{\dynamicDown}
2174 @cindex @code{\dynamicUp}
2182 @cindex @code{\repeat}
2185 Repetition is a central concept in music, and multiple notations exist
2186 for repetitions. In LilyPond, most of these notations can be captured
2187 in a uniform syntax. One of the advantages is, all these repetitions
2188 can be rendered in MIDI accurately.
2190 The following types of repetition are supported:
2194 Repeated music is fully written (played) out. Useful for MIDI
2195 output, and entering repetitive music.
2198 This is the normal notation: Repeats are not written out, but
2199 alternative endings (voltas) are printed, left to right.
2203 Alternative endings are written stacked. This has limited use but may be
2204 used to typeset two lines of lyrics in songs with repeats, see
2205 @inputfileref{input,star-spangled-banner.ly}.
2212 Make beat or measure repeats. These look like percent signs.
2218 * Repeats and MIDI::
2219 * Manual repeat commands::
2221 * Tremolo subdivisions::
2226 @subsection Repeat syntax
2230 LilyPond has one syntactic construct for specifying different types of
2231 repeats. The syntax is
2234 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2237 If you have alternative endings, you may add
2238 @cindex @code{\alternative}
2240 \alternative @code{@{} @var{alternative1}
2242 @var{alternative3} @dots{} @code{@}}
2244 where each @var{alternative} is a music expression. If you do not
2245 give enough alternatives for all of the repeats, then the first
2246 alternative is assumed to be played more than once.
2248 Normal notation repeats are used like this:
2249 @lilypond[fragment,verbatim]
2251 \repeat volta 2 { c'4 d' e' f' }
2252 \repeat volta 2 { f' e' d' c' }
2255 With alternative endings:
2256 @lilypond[fragment,verbatim]
2258 \repeat volta 2 {c'4 d' e' f'}
2259 \alternative { {d'2 d'} {f' f} }
2263 @lilypond[fragment,verbatim]
2267 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2268 \alternative { { g4 g g } { a | a a a a | b2. } }
2275 If you do a nested repeat like
2284 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2285 belongs. This ambiguity is resolved by always having the
2286 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2287 it is advisable to use braces in such situations.
2290 @node Repeats and MIDI
2291 @subsection Repeats and MIDI
2293 @cindex expanding repeats
2295 For instructions on how to unfold repeats for MIDI output, see the
2296 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2301 Timing information is not remembered at the start of an alternative,
2302 so you have to reset timing information after a repeat, e.g. using a
2303 bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
2304 or entering @code{\partial}. Similarly, slurs or ties are also not
2308 @node Manual repeat commands
2309 @subsection Manual repeat commands
2311 @cindex @code{repeatCommands}
2313 The property @code{repeatCommands} can be used to control the layout of
2314 repeats. Its value is a Scheme list of repeat commands, where each repeat
2322 @item (volta . @var{text})
2323 Print a volta bracket saying @var{text}. The text can be specified as
2324 a text string or as a markup text, see @ref{Text markup}. Do not
2325 forget to change the font, as the default number font does not contain
2326 alphabetic characters.
2328 Stop a running volta bracket
2331 @lilypond[verbatim, fragment]
2333 \property Score.repeatCommands = #'((volta "93") end-repeat)
2335 \property Score.repeatCommands = #'((volta #f))
2342 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2343 @internalsref{VoltaRepeatedMusic},
2344 @internalsref{UnfoldedRepeatedMusic}
2345 @internalsref{FoldedRepeatedMusic}.
2347 @node Tremolo repeats
2348 @subsection Tremolo repeats
2349 @cindex tremolo beams
2351 To place tremolo marks between notes, use @code{\repeat} with tremolo
2353 @lilypond[verbatim,center,singleline]
2355 \context Voice \notes\relative c' {
2356 \repeat "tremolo" 8 { c16 d16 }
2357 \repeat "tremolo" 4 { c16 d16 }
2358 \repeat "tremolo" 2 { c16 d16 }
2359 \repeat "tremolo" 4 c16
2366 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2367 @internalsref{StemTremolo}. @internalsref{TremoloEvent}.
2372 The single stem tremolo @emph{must} be entered without @code{@{} and
2375 @node Tremolo subdivisions
2376 @subsection Tremolo subdivisions
2377 @cindex tremolo marks
2378 @cindex @code{tremoloFlags}
2380 Tremolo marks can be printed on a single note by adding
2381 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2382 A @var{length} value of 8 gives one line across the note stem. If the
2383 length is omitted, then then the last value (stored in
2384 @code{Voice.tremoloFlags}) is used.
2386 @lilypond[verbatim,fragment,center]
2387 c'2:8 c':32 | c': c': |
2390 @c [TODO : stok is te kort bij 32en]
2394 Tremolos in this style do not carry over into the MIDI output.
2397 @node Measure repeats
2398 @subsection Measure repeats
2400 @cindex percent repeats
2401 @cindex measure repeats
2403 In the @code{percent} style, a note pattern can be repeated. It is
2404 printed once, and then the pattern is replaced with a special sign.
2405 Patterns of a one and two measures are replaced by percent-like signs,
2406 patterns that divide the measure length are replaced by slashes.
2408 @lilypond[verbatim,singleline]
2409 \context Voice { \repeat "percent" 4 { c'4 }
2410 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2416 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2417 @internalsref{PercentRepeatedMusic}, and
2418 @internalsref{DoublePercentRepeat}.
2423 Single measure and double measure percent-repeats cannot be nested.
2425 @node Rhythmic music
2426 @section Rhythmic music
2428 Sometimes you might want to show only the rhythm of a melody. This
2429 can be done with the rhythmic staff. All pitches of notes on such a
2430 staff are squashed, and the staff itself has a single line:
2432 @lilypond[fragment,relative,verbatim]
2433 \context RhythmicStaff {
2435 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2440 * Percussion staves::
2441 * Percussion midi output::
2444 @node Percussion staves
2445 @subsection Percussion staves
2449 To typeset more than one piece of percussion to be played by the same
2450 musician one typically uses a multiline staff where each staff
2451 position refers to a specific piece of percussion.
2455 Percussion staves are typeset with help of a set of Scheme
2456 functions. The system is based on the general MIDI drum-pitches.
2457 Include @file{ly/drumpitch-init.ly} to use drum pitches. This file
2458 defines the pitches from the Scheme variable @code{drum-pitch-names},
2459 the definition of which can be read in @file{scm/drums.scm}. Each
2460 piece of percussion has a full name and an abbreviated name, and both
2461 the full name or the abbreviation may be used in input files.
2463 To typeset the music on a staff apply the function @code{drums->paper}
2464 to the percussion music. This function takes a list of percussion
2465 instrument names, notehead scripts and staff positions (that is:
2466 pitches relative to the C-clef) and transforms the input
2467 music by moving the pitch, changing the notehead and (optionally)
2470 @lilypond[singleline,verbatim,quote]
2471 \include "drumpitch-init.ly"
2472 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2473 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2475 \apply #(drums->paper 'drums) \context Staff <
2477 \context Voice = up { \voiceOne \up }
2478 \context Voice = down { \voiceTwo \down }
2483 In the above example the music was transformed using the list @code{'drums}.
2484 Currently the following lists are defined in @file{scm/drums.scm}:
2487 To typeset a typical drum kit on a five-line staff.
2490 \include "drumpitch-init.ly"
2491 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2492 bd sn ss tomh tommh tomml toml tomfh tomfl }
2493 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2494 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2497 \apply #(drums->paper 'drums) \context Staff <
2501 \context Lyrics \nam
2504 linewidth = 100.0\mm
2507 \remove Bar_engraver
2508 \remove Time_signature_engraver
2509 minimumVerticalExtent = #'(-4.0 . 5.0)
2513 \remove Stem_engraver
2519 The drum scheme supports six different toms. When there fewer toms, simply
2520 select the toms that produce the desired result, i.e., to get toms on
2521 the three middle lines you use @code{tommh}, @code{tomml} and
2524 Because general MIDI does not contain rimshots the sidestick is used
2525 for this purpose instead.
2527 To typeset timbales on a two line staff.
2529 @lilypond[singleline]
2530 \include "drumpitch-init.ly"
2531 nam = \lyrics { timh ssh timl ssl cb }
2532 mus = \notes { timh ssh timl ssl cb s16 }
2535 \apply #(drums->paper 'timbales) \context Staff <
2539 \context Lyrics \nam
2544 \remove Bar_engraver
2545 \remove Time_signature_engraver
2546 StaffSymbol \override #'line-count = #2
2547 StaffSymbol \override #'staff-space = #2
2548 minimumVerticalExtent = #'(-3.0 . 4.0)
2552 \remove Stem_engraver
2559 To typeset congas on a two line staff.
2561 @lilypond[singleline]
2562 \include "drumpitch-init.ly"
2563 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2564 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2567 \apply #(drums->paper 'congas) \context Staff <
2571 \context Lyrics \nam
2576 \remove Bar_engraver
2577 \remove Time_signature_engraver
2578 StaffSymbol \override #'line-count = #2
2579 StaffSymbol \override #'staff-space = #2
2580 minimumVerticalExtent = #'(-3.0 . 4.0)
2584 \remove Stem_engraver
2590 To typeset bongos on a two line staff.
2592 @lilypond[singleline]
2593 \include "drumpitch-init.ly"
2594 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2595 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2598 \apply #(drums->paper 'bongos) \context Staff <
2602 \context Lyrics \nam
2607 \remove Bar_engraver
2608 \remove Time_signature_engraver
2609 StaffSymbol \override #'line-count = #2
2610 StaffSymbol \override #'staff-space = #2
2611 minimumVerticalExtent = #'(-3.0 . 4.0)
2615 \remove Stem_engraver
2621 To typeset all kinds of simple percussion on one line staves.
2622 @lilypond[singleline]
2623 \include "drumpitch-init.ly"
2624 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2625 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2628 \apply #(drums->paper 'percussion) \context Staff <
2632 \context Lyrics \nam
2637 \remove Bar_engraver
2638 \remove Time_signature_engraver
2639 StaffSymbol \override #'line-count = #1
2640 minimumVerticalExtent = #'(-2.0 . 3.0)
2644 \remove Stem_engraver
2651 If you do not like any of the predefined lists you can define your own
2652 list at the top of your file:
2654 @lilypond[singleline, verbatim]
2656 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2657 (snare default #f ,(ly:make-pitch 0 1 0))
2658 (hihat cross #f ,(ly:make-pitch 0 5 0))
2659 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2660 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2662 \include "drumpitch-init.ly"
2663 up = \notes { hh8 hh hh hh hhp4 hhp }
2664 down = \notes { bd4 sn bd toml8 toml }
2666 \apply #(drums->paper 'mydrums) \context Staff <
2668 \context Voice = up { \voiceOne \up }
2669 \context Voice = down { \voiceTwo \down }
2674 To use a modified existing list, one can prepend modifications to the
2678 #(define mydrums (append `(
2679 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2680 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2684 The file @file{drumpitch-init.ly} replaces the normal pitch names, so
2685 you have to reinclude @file{nederlands.ly} after the
2686 drum-pattern-definitions to enter normal notes.
2688 @lilypond[singleline,verbatim]
2689 \include "drumpitch-init.ly"
2690 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2691 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2692 \include "nederlands.ly"
2693 bass = \notes \transpose c c,, { a4. e8 r e g e }
2696 \apply #(drums->paper 'drums) \context Staff = drums <
2698 \context Voice = up { \voiceOne \up }
2699 \context Voice = down { \voiceTwo \down }
2701 \context Staff = bass { \clef "F_8" \bass }
2706 @node Percussion midi output
2707 @subsection Percussion midi output
2709 In order to produce correct midi output you need to produce two score
2710 blocks---one for the paper and one for the midi output. To use the
2711 percussion channel you set the property @code{instrument} to
2712 @code{'drums}. Because the drum-pitches themself are similar to the
2713 general midi pitches all you have to do is to insert the voices with
2714 none of the scheme functions to get the correct midi output:
2718 \apply #(drums->paper 'mydrums) \context Staff <
2727 \property Staff.instrument = #'drums
2736 This scheme is to be considered a temporary implementation.
2740 @section Piano music
2742 Piano staves are two normal staves coupled with a brace. The staves
2743 are largely independent, but sometimes voices can cross between the
2744 two staves. The same notation is also used for harps and other key
2745 instruments. The @internalsref{PianoStaff} is especially built to
2746 handle this cross-staffing behavior. In this section we discuss the
2747 @internalsref{PianoStaff} and some other pianistic peculiarities.
2751 * Automatic staff changes::
2752 * Manual staff switches::
2755 * Staff switch lines::
2760 There is no support for putting chords across staves. You can get
2761 this result by increasing the length of the stem in the lower stave so
2762 it reaches the stem in the upper stave, or vice versa. An example is
2763 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2765 Dynamics are not centered, but kludges do exist. See
2766 @inputfileref{input/templates,piano-dynamics.ly}.
2768 @cindex cross staff stem
2769 @cindex stem, cross staff
2772 @c fixme: should have hyperlinks as well.
2778 @node Automatic staff changes
2779 @subsection Automatic staff changes
2780 @cindex Automatic staff changes
2782 Voices can switch automatically between the top and the bottom
2783 staff. The syntax for this is
2785 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2787 The autochanger switches on basis of pitch (central C is the turning
2788 point), and it looks ahead skipping over rests to switch rests in
2789 advance. Here is a practical example:
2791 @lilypond[verbatim,singleline,quote]
2792 \score { \notes \context PianoStaff <
2793 \context Staff = "up" {
2794 \autochange Staff \context Voice = VA < \relative c' {
2795 g4 a b c d r4 a g } > }
2796 \context Staff = "down" {
2801 Spacer rests are used to prevent the bottom staff from
2802 terminating too soon.
2807 The staff switches often do not end up in optimal places. For high
2808 quality output staff switches should be specified manually.
2812 @node Manual staff switches
2813 @subsection Manual staff switches
2815 @cindex manual staff switches
2816 @cindex staff switch, manual
2818 Voices can be switched between staves manually, using the following command:
2820 \translator Staff = @var{staffname} @var{music}
2822 The string @var{staffname} is the name of the staff. It switches the
2823 current voice from its current staff to the Staff called
2824 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2832 Pianos have pedals that alter the way sound are produced. Generally, a
2833 piano has three pedals, sustain, una corda, and sostenuto.
2837 Piano pedal instruction can be expressed by attaching
2838 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2839 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
2842 The symbols that are printed can be modified by setting
2843 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2844 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
2845 of @internalsref{SustainPedal} for more information.
2847 Pedals can also be indicated by a sequence of brackets, by setting the
2848 @code{pedal-type} property of @internalsref{SustainPedal} objects:
2850 @lilypond[fragment,verbatim]
2851 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2852 c''4-\sustainDown d''4 e''4
2853 a'4-\sustainUp-\sustainDown
2854 f'4 g'4 a'4-\sustainUp
2857 A third style of pedal notation is a mixture of text and brackets,
2858 obtained by setting @code{pedal-type} to @code{mixed}:
2860 @lilypond[fragment,verbatim]
2861 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2862 c''4-\sustainDown d''4 e''4
2863 c'4-\sustainUp-\sustainDown
2864 f'4 g'4 a'4-\sustainUp
2867 The default `*Ped' style for sustain and damper pedals corresponds to
2868 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2869 for a sostenuto pedal:
2871 @lilypond[fragment,verbatim]
2872 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
2875 For fine-tuning of the appearance of a pedal bracket, the properties
2876 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2877 @code{PianoPedalBracket} objects (see the detailed documentation of
2878 @internalsref{PianoPedalBracket}) can be modified. For example, the bracket
2879 may be extended to the end of the note head.
2881 @lilypond[fragment,verbatim]
2882 \property Staff.PianoPedalBracket \override
2883 #'shorten-pair = #'(0 . -1.0)
2884 c''4-\sostenutoDown d''4 e''4 c'4
2885 f'4 g'4 a'4-\sostenutoUp
2889 @subsection Arpeggio
2892 @cindex broken arpeggio
2893 @cindex @code{\arpeggio}
2895 You can specify an arpeggio sign on a chord by attaching an
2896 @code{\arpeggio} to a chord.
2899 @lilypond[fragment,relative,verbatim]
2900 <<c e g c>>-\arpeggio
2903 When an arpeggio crosses staves in piano music, you attach an arpeggio
2904 to the chords in both staves, and set
2905 @internalsref{PianoStaff}.@code{connectArpeggios}.
2907 @lilypond[fragment,relative,verbatim]
2908 \context PianoStaff <
2909 \property PianoStaff.connectArpeggios = ##t
2910 \context Voice = one { <<c' e g c>>-\arpeggio }
2911 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
2915 This command creates @internalsref{Arpeggio} objects. Cross staff
2916 arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
2918 The direction of the arpeggio is sometimes denoted by adding an
2919 arrowhead to the wiggly line. This can be typeset by setting
2920 @code{arpeggio-direction}.
2922 @lilypond[fragment,relative,verbatim]
2924 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2925 <<c e g c>>-\arpeggio
2926 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2927 <<c e g c>>-\arpeggio
2931 A square bracket on the left indicates that the player should not
2932 arpeggiate the chord. To draw these brackets, set the
2933 @code{molecule-callback} property of @code{Arpeggio} or
2934 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
2935 @code{\arpeggio} statements within the chords as before.
2937 @lilypond[fragment,relative,verbatim]
2938 \property PianoStaff.Arpeggio \override
2939 #'molecule-callback = \arpeggioBracket
2940 <<c' e g c>>-\arpeggio
2946 It is not possible to mix connected arpeggios and unconnected
2947 arpeggios in one @internalsref{PianoStaff} at the same time.
2949 @node Staff switch lines
2950 @subsection Staff switch lines
2953 @cindex follow voice
2954 @cindex staff switching
2957 @cindex @code{followVoice}
2959 Whenever a voice switches to another staff a line connecting the notes
2960 can be printed automatically. This is enabled if the property
2961 @code{PianoStaff.followVoice} is set to true:
2963 @lilypond[fragment,relative,verbatim]
2964 \context PianoStaff <
2965 \property PianoStaff.followVoice = ##t
2966 \context Staff \context Voice {
2968 \translator Staff=two
2971 \context Staff=two { \clef bass \skip 1*2 }
2975 The associated object is @internalsref{VoiceFollower}.
2979 @section Vocal music
2981 This section discusses how to enter, and print lyrics.
2985 * The Lyrics context::
2990 @node Entering lyrics
2991 @subsection Entering lyrics
2995 @cindex @code{\lyrics}
2998 Lyrics are entered in a special input mode. This mode is is introduced
2999 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3000 punctuation and accents without any hassle. Syllables are entered like
3001 notes, but with pitches replaced by text. For example,
3003 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3006 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3007 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3008 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3009 any 8-bit character with ASCII code over 127, or a two-character
3010 combination of a backslash followed by one of @code{`}, @code{'},
3011 @code{"}, or @code{^}.
3013 Subsequent characters of a word can be any character that is not a digit
3014 and not white space. One important consequence of this is that a word
3015 can end with @code{@}}. The following example is usually a bug. The
3016 syllable includes a @code{@}}, and hence the opening brace is not balanced.
3018 \lyrics @{ twinkle@}
3020 which may be confusing.
3022 @cindex @code{\property}, in @code{\lyrics}
3023 Similarly, a period following a alphabetic sequence, is included in the
3024 resulting string. As a consequence, spaces must be inserted around
3025 @code{\property} commands:
3027 \property Lyrics . LyricText \set #'font-shape = #'italic
3031 @cindex spaces, in lyrics
3032 @cindex quotes, in lyrics
3034 Any @code{_} character which appears in an unquoted word is converted
3035 to a space. This provides a mechanism for introducing spaces into words
3036 without using quotes. Quoted words can also be used in Lyrics mode to
3037 specify words that cannot be written with the above rules:
3040 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3044 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3049 These will be attached to the end of the first syllable.
3051 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3052 as a separate word between syllables. The hyphen will have variable
3053 length depending on the space between the syllables and it will be
3054 centered between the syllables.
3059 When a lyric is sung over many notes (this is called a melisma), this is
3060 indicated with a horizontal line centered between a syllable and the
3061 next one. Such a line is called an extender line, and it is entered as
3066 @internalsref{LyricEvent}, @internalsref{HyphenEvent},
3067 @internalsref{ExtenderEvent}.
3071 The definition of lyrics mode is too complex.
3073 @node The Lyrics context
3074 @subsection The Lyrics context
3076 Lyrics are printed by interpreting them in @internalsref{Lyrics}
3079 \context Lyrics \lyrics @dots{}
3082 @cindex automatic syllable durations
3083 @cindex @code{\addlyrics}
3084 @cindex lyrics and melodies
3086 This will place the lyrics according to the durations that were
3087 entered. The lyrics can also be aligned under a given melody
3088 automatically. In this case, it is no longer necessary to enter the
3089 correct duration for each syllable. This is achieved by combining the
3090 melody and the lyrics with the @code{\addlyrics} expression
3094 \context Lyrics @dots{}
3097 @cindex staff order, with @code{\addlyrics}
3099 Normally, this will put the lyrics below the staff. For different or
3100 more complex orderings, the best way is to setup the hierarchy of
3101 staffs and lyrics first, e.g.
3103 \context ChoirStaff \notes <
3104 \context Lyrics = LA @{ s1 @}
3105 \context Staff = SA @{ s1 @}
3106 \context Lyrics = LB @{ s1 @}
3107 \context Staff = SB @{ s1 @}
3110 and then combine the appropriate melodies and lyric lines:
3113 \context Staff = SA @emph{the music}
3114 \context Lyrics = LA @emph{the lyrics}
3117 putting both together, you would get
3119 \context ChoirStaff \notes <
3120 \context Lyrics = LA @dots{}
3121 \context Staff = SB @dots{}
3127 @cindex choral score
3129 An example of a SATB score setup is in the file
3130 @inputfileref{input/template,satb}.
3134 @internalsref{LyricCombineMusic}, @internalsref{Lyrics},
3135 @inputfileref{input/template,satb}.
3139 @code{\addlyrics} is not automatic enough: melismata are not detected
3140 automatically, and melismata are not stopped when they hit a rest. A
3141 melisma on the last note in a melody is not printed.
3145 @subsection More stanzas
3148 @cindex phrasing, in lyrics
3150 When multiple stanzas are printed underneath each other, the vertical
3151 groups of syllables should be aligned around punctuation. This can be
3152 done automatically when corresponding lyric lines and melodies are
3155 To this end, give the @internalsref{Voice} context an identity,
3157 \context Voice = duet @{
3162 Then set the @internalsref{LyricsVoice} contexts to names starting with
3163 that identity followed by a dash. In the preceding example, the
3164 @internalsref{Voice} identity is @code{duet}, so the identities of the
3165 @internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}.
3167 \context LyricsVoice = "duet-1" @{
3168 Hi, my name is bert. @}
3169 \context LyricsVoice = "duet-2" @{
3170 Ooooo, ch\'e -- ri, je t'aime. @}
3172 The convention for naming @internalsref{LyricsVoice} and
3173 @internalsref{Voice} must also be used to get melismata on rests
3176 The complete example is shown here.
3177 @lilypond[singleline,verbatim]
3180 \notes \relative c'' \context Voice = duet { \time 3/4
3182 \lyrics \context Lyrics <
3183 \context LyricsVoice = "duet-1" {
3184 \property LyricsVoice . stanza = "Bert"
3185 Hi, my name is bert. }
3186 \context LyricsVoice = "duet-2" {
3187 \property LyricsVoice . stanza = "Ernie"
3188 Ooooo, ch\'e -- ri, je t'aime. }
3193 Stanza numbers, or the names of the singers can be added by setting
3194 @code{LyricsVoice.Stanza} (for the first system) and
3195 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3196 surrounded with spaces in @code{\lyrics} mode.
3199 \property LyricsVoice . stanza = "Bert"
3201 \property LyricsVoice . stanza = "Ernie"
3204 You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
3205 lyrics. This can confuse the LilyPond -- for example, this might put
3206 (empty) lyrics under rests. To remedy this, use @code{\skip} instead.
3214 Input for lyrics introduces a syntactical ambiguity:
3221 is interpreted as assigning a string identifier @code{\foo} such that
3222 it contains @code{"bar"}. However, it could also be interpreted as
3223 making or a music identifier @code{\foo} containing the syllable
3224 `bar'. The force the latter interpretation, use
3234 The term @emph{ambitus} denotes a range of pitches for a given voice in
3235 a part of music. It also may denote the pitch range that a musical
3236 instrument is capable of playing. Most musical instruments have their
3237 ambitus standardized (or at least there is agreement upon the minimal
3238 ambitus of a particular type of instrument), such that a composer or
3239 arranger of a piece of music can easily meet the ambitus constraints of
3240 the targeted instrument. However, the ambitus of the human voice
3241 depends on individual physiological state, including education and
3242 training of the voice. Therefore, a singer potentially has to check for
3243 each piece of music if the ambitus of that piece meets his individual
3244 capabilities. This is why the ambitus of a piece may be of particular
3245 value to vocal performers.
3247 The ambitus is typically notated on a per-voice basis at the very
3248 beginning of a piece, e.g. nearby the initial clef or time signature of
3249 each staff. The range is graphically specified by two noteheads, that
3250 represent the minimum and maximum pitch. Some publishers use a textual
3251 notation: they put the range in words in front of the corresponding
3252 staff. Lilypond currently only supports the graphical ambitus notation.
3254 To apply, add the @internalsref{Ambitus_engraver} to the
3255 @internalsref{Voice} context, i.e.
3258 \paper @{ \translator @{
3260 \consists Ambitus_engraver
3266 @lilypond[singleline]
3267 upper = \notes \relative c {
3270 as'' c e2 bes f cis d4 e f2 g
3272 lower = \notes \relative c {
3275 e'4 b g a c es fis a cis b a g f e d2
3278 \context ChoirStaff {
3280 \context Staff = one { \upper }
3281 \context Staff = three { \lower }
3287 \consists Ambitus_engraver
3296 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
3301 Tablature notation is used for notating music for plucked string
3302 instruments. It notates pitches not by using note heads, but by
3303 indicating on which string and fret a note must be played. LilyPond
3304 offers limited support for tablature.
3307 * Tablatures basic::
3308 * Non-guitar tablatures::
3311 @node Tablatures basic
3312 @subsection Tablatures basic
3313 @cindex Tablatures basic
3315 The string number associated to a note is given as a backslash
3316 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3317 string. By default, string 1 is the highest one, and the tuning
3318 defaults to the standard guitar tuning (with 6 strings). The notes
3319 are printed as tablature, by using @internalsref{TabStaff} and
3320 @internalsref{TabVoice} contexts.
3322 @lilypond[fragment,verbatim]
3323 \notes \context TabStaff {
3329 If you do not specify a string number then one is selected
3330 automatically: the first string that does not give a fret number less
3331 than @code{minimumFret} is selected. The default value for
3332 @code{minimumFret} is 0.
3336 e8 fis gis a b cis' dis' e'
3337 \property TabStaff.minimumFret = #8
3338 e8 fis gis a b cis' dis' e'
3343 e8 fis gis a b cis' dis' e'
3344 \property TabStaff.minimumFret = #8
3345 e8 fis gis a b cis' dis' e'
3348 \context StaffGroup <
3349 \context Staff { \clef "G_8" \frag }
3350 \context TabStaff { \frag }
3357 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3358 @internalsref{StringNumberEvent}.
3362 Chords are not handled in a special way, and hence the automatic
3363 string selector may easily select the same string to two notes in a
3367 @node Non-guitar tablatures
3368 @subsection Non-guitar tablatures
3369 @cindex Non-guitar tablatures
3371 You can change the number of strings, by setting the number of lines
3372 in the @internalsref{TabStaff} (the @code{line-count} property of
3373 @internalsref{TabStaff} can only be changed using
3374 @code{\outputproperty}, for more information, see @ref{Tuning objects}.
3376 You can change the tuning of the strings. A string tuning is given as
3377 a Scheme list with one integer number for each string, the number
3378 being the pitch (measured in semitones relative to central C) of an
3379 open string. The numbers specified for @code{stringTuning} are the
3380 numbers of semitones to subtract or add, starting the specified pitch
3381 by default middle C, in string order: thus the notes are e, a, d, and
3384 @lilypond[fragment,verbatim]
3387 \outputproperty #(make-type-checker 'staff-symbol-interface)
3389 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3392 a,4 c' a e' e c' a e'
3397 It is possible to change the Scheme function to format the tablature
3398 note text. The default is @code{fret-number-tablature-format}, which
3399 uses the fret number. For instruments that do not use this notation,
3400 you can create a special tablature formatting function. This function
3401 takes three argument: the string number, the string tuning and the
3406 As tablature is a recent feature, most of the guitar special effects
3407 such as bend are not yet supported.
3411 @section Chord names
3414 LilyPond has support for both entering and printing named chords.
3415 These chords are internally represented as a set of pitches. Therefore
3416 they can be entered by name and printed as notes, entered as notes and
3417 printed as chord names, or (the most common case) entered them by
3418 name, and print them as name. The following fragment shows these
3421 @lilypond[verbatim,singleline]
3422 twoWays = \notes \transpose c c' {
3432 < \context ChordNames \twoWays
3433 \context Voice \twoWays > }
3436 This example also shows that the chord printing routines do not try to
3437 be intelligent. The chord @code{f bes d}, is not interpreted as an
3443 * Printing chord names::
3448 @subsection Chords mode
3451 Chord mode is a mode where you can input sets of pitches using common
3452 names. It is introduced by the keyword @code{\chords}.
3453 In chords mode, a chord is entered by the root, which is entered
3454 like a common pitch, for example,
3455 @lilypond[fragment,verbatim,quote, relative=1]
3456 \chords { es4. d8 c2 }
3461 Other chords may be entered by suffixing a colon, and introducing a
3462 modifier, and optionally, a number, for example
3464 @lilypond[fragment,verbatim,quote]
3465 \chords { e1:m e1:7 e1:m7 }
3467 The first number following the root is taken to be the `type' of the
3468 chord, thirds are added to the root until it reaches the specified
3469 number, for example.
3470 @lilypond[fragment,verbatim]
3471 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3474 @cindex root of chord
3475 @cindex additions, in chords
3476 @cindex removals, in chords
3478 More complex chords may also be constructed adding separate steps
3479 to a chord. Additions are added after the number following
3480 the colon, and are separated by dots. For example
3482 @lilypond[verbatim,fragment,quote]
3483 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3485 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3486 to the number, for example:
3487 @lilypond[verbatim,fragment,quote]
3488 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3490 Removals are specified similarly, and are introduced by a caret. They
3491 must come after the additions.
3492 @lilypond[verbatim,fragment]
3493 \chords { c^3 c:7^5 c:9^3.5 }
3496 Modifiers can be used to change pitches. The following modifiers are
3500 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3502 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3505 is the augmented chord. This modifier raises the 5th step.
3507 is the major 7th chord. This modifier raises the 7th step if present.
3509 is the suspended 4th or 2nd. This modifier removes the 3rd
3510 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3513 Modifiers can be mixed with additions.
3514 @lilypond[verbatim,fragment]
3515 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3518 @cindex modifiers, in chords.
3525 Since the unaltered 11 does sound well when combined with the
3526 unaltered 3, the 11 is removed in this case, unless it is added
3527 explicitly). For example,
3528 @lilypond[fragment,verbatim]
3529 \chords { c:13 c:13.11 c:m13 }
3534 An inversion (putting one pitch of the chord on the bottom), as well
3535 as bass notes, can be specified by appending
3536 @code{/}@var{pitch} to the chord.
3537 @lilypond[fragment,verbatim,center]
3538 \chords { c1 c/g c/f }
3541 If you do not want to remove the bass note from the chord, but rather
3542 add the note, then you can use @code{/+}@var{pitch}.
3544 @lilypond[fragment,verbatim,center]
3545 \chords { c1 c/+g c/+f }
3548 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3549 of the commands continue to work, for example, @code{r} and
3550 @code{\skip} can be used to insert rests and spaces, and
3551 @code{\property} may be used to change various settings.
3557 Each step can only be present in a chord once. The following
3558 simply produces the augmented chord, since @code{5+} is interpreted
3561 @lilypond[verbatim,fragment]
3562 \chords { c:5.5-.5+ }
3565 In chord mode, dashes and carets are used to indicate chord additions
3566 and subtractions, so articulation scripts cannot be entered.
3569 @node Printing chord names
3570 @subsection Printing chord names
3572 @cindex printing chord names
3576 For displaying printed chord names, use the @internalsref{ChordNames}
3577 context. The chords may be entered either using the notation
3578 described above, or directly using @code{<<} and @code{>>}.
3580 @lilypond[verbatim,singleline]
3582 \chords {a1 b c} <<d' f' g'>> <<e' g' b'>>
3586 \context ChordNames \scheme
3587 \context Staff \scheme
3592 You can make the chord changes stand out by setting
3593 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3594 display chord names when there is a change in the chords scheme and at
3595 the start of a new line.
3599 c1:m c:m \break c:m c:m d
3603 \context ChordNames {
3604 \property ChordNames.chordChanges = ##t
3606 \context Staff \transpose c c' \scheme
3608 \paper{linewidth= 9.\cm}
3612 The default chord name layout is a system for Jazz music, proposed by
3613 Klaus Ignatzek (See @ref{Literature}).
3615 The Ignatzek chord name formatting can be tuned in a number of ways
3616 through the following properties:
3619 @cindex chordNameExceptions
3620 @item chordNameExceptions
3621 This is a list that contains the chords that have special formatting.
3623 @inputfileref{input/regression,chord-name-exceptions.ly}.
3624 @cindex exceptions, chord names.
3627 @cindex majorSevenSymbol
3628 @item majorSevenSymbol
3629 This property contains the markup object used for the 7th step, when
3630 it is major. Predefined options are @code{whiteTriangleMarkup} and
3631 @code{blackTriangleMarkup}. See
3632 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3634 @cindex chordNameSeparator
3635 @item chordNameSeparator
3636 Different parts of a chord name are normally separated by a
3637 slash. By setting @code{chordNameSeparator}, you can specify other
3639 @lilypond[fragment,verbatim]
3640 \context ChordNames \chords {
3642 \property ChordNames.chordNameSeparator
3647 @cindex chordRootNamer
3648 @item chordRootNamer
3649 The root of a chord is usually printed as a letter with an optional
3650 alteration. The transformation from pitch to letter is done by this
3651 function. Special note names (for example, the German ``H'' for a
3652 B-chord) can be produced by storing a new function in this property.
3654 @cindex chordNoteNamer
3655 @item chordNoteNamer
3656 The default is to print single notes (as for instance the bass note)
3657 using the @code{chordRootNamer}. However, by setting this function to a non-null
3658 value you can specify a different function. I.e. you could use letters
3659 in lower case for the base note.
3665 @inputfileref{input/regression,chord-name-major7.ly},
3666 @inputfileref{input/regression,chord-name-exceptions.ly},
3667 @inputfileref{input/test,chord-names-german.ly},
3668 @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
3673 Chord names are determined solely from the list of pitches. Chord
3674 inversions are not identified, and neither are added bass notes. This
3675 may result in strange chord names when chords are entered with the
3676 @code{<< .. >>} syntax.
3682 @section Writing parts
3684 Orchestral music involves some special notation, both in the full
3685 score and the individual parts. This section explains how to tackle
3686 some common problems in orchestral music.
3693 * Instrument names::
3695 * Multi measure rests::
3696 * Automatic part combining::
3698 * Sound output for transposing instruments::
3702 @node Rehearsal marks
3703 @subsection Rehearsal marks
3704 @cindex Rehearsal marks
3706 @cindex @code{\mark}
3708 To print a rehearsal mark, use the @code{\mark} command.
3709 @lilypond[fragment,verbatim]
3719 The mark is incremented automatically if you use @code{\mark
3720 \default}. The value to use is stored in the property
3721 @code{rehearsalMark} is used and automatically incremented.
3723 The @code{\mark} command can also be used to put signs like coda,
3724 segno and fermatas on a barline. Use @code{\markup} to
3725 to access the appropriate symbol.
3727 @lilypond[fragment,verbatim,relative=1]
3728 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3732 In this case, during line breaks,
3733 marks must also be printed at the end of the line, and not at the
3734 beginning. Use the following to force that behavior
3736 \property Score.RehearsalMark \override
3737 #'break-visibility = #begin-of-line-invisible
3740 See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
3746 @cindex barlines, putting symbols on
3750 @internalsref{MarkEvent}, @internalsref{RehearsalMark},
3751 @inputfileref{input/test,boxed-molecule.ly}.
3755 @subsection Bar numbers
3759 @cindex measure numbers
3760 @cindex currentBarNumber
3762 Bar numbers are printed by default at the start of the line. The
3763 number itself is stored in the
3764 @code{currentBarNumber} property,
3765 which is normally updated automatically for every measure.
3767 Bar numbers can be typeset at regular intervals instead of at the
3768 beginning of each line. This is illustrated in the following example,
3769 whose source is available as
3770 @inputfileref{input/test,bar-number-every-fifth.ly}
3772 @lilypondfile[notexidoc]{bar-number-every-fifth.ly}
3774 The start of that numbering can also be reset, as demonstrated in
3775 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3777 @lilypondfile[notexidoc]{bar-number-every-five-reset.ly}
3782 @internalsref{BarNumber}.
3783 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3784 @inputfileref{input/test,bar-number-every-fifth.ly}
3788 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
3789 there is one at the top. To solve this, You have to twiddle with the
3790 @internalsref{padding} property of @internalsref{BarNumber} if your
3791 score starts with a @internalsref{StaffGroup}.
3793 @node Instrument names
3794 @subsection Instrument names
3796 In an orchestral score, instrument names are printed left of the
3799 This can be achieved by setting @internalsref{Staff}.@code{instrument}
3800 and @internalsref{Staff}.@code{instr}. This will print a string before
3801 the start of the staff. For the first start, @code{instrument} is
3802 used, for the next ones @code{instr} is used.
3804 @lilypond[verbatim,singleline]
3805 \property Staff.instrument = "ploink " { c''4 }
3808 You can also use markup texts to construct more complicated instrument
3811 @lilypond[fragment,verbatim,singleline]
3812 \notes \context Staff = treble {
3813 \property Staff.instrument = \markup {
3814 \column << "Clarinetti"
3816 \smaller \musicglyph #"accidentals--1"
3827 @internalsref{InstrumentName}
3831 When you put a name on a grand staff or piano staff the width of the
3832 brace is not taken into account. You must add extra spaces to the end of
3833 the name to avoid a collision.
3836 @subsection Transpose
3838 @cindex transposition of pitches
3839 @cindex @code{\transpose}
3841 A music expression can be transposed with @code{\transpose}. The syntax
3844 \transpose @var{from} @var{to} @var{musicexpr}
3847 This means that @var{musicexpr} is transposed by the interval
3848 between @var{from} and @var{to}.
3850 @code{\transpose} distinguishes between enharmonic pitches: both
3851 @code{\transpose c cis} or @code{\transpose c des} will transpose up
3852 half a tone. The first version will print sharps and the second
3853 version will print flats.
3855 @lilypond[singleline, verbatim]
3856 mus =\notes { \key d \major cis d fis g }
3857 \score { \notes \context Staff {
3860 \transpose c g' \mus
3861 \transpose c f' \mus
3867 @internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
3871 If you want to use both @code{\transpose} and @code{\relative}, then
3872 you must put @code{\transpose} outside of @code{\relative}, since
3873 @code{\relative} will have no effect music that appears inside a
3879 @node Multi measure rests
3880 @subsection Multi measure rests
3881 @cindex multi measure rests
3882 @cindex Rests, multi measure
3886 Multi measure rests are entered using `@code{R}'. It is specifically
3887 meant for full bar rests and for entering parts: the rest can expand to
3888 fill a score with rests, or it can be printed as a single multimeasure
3889 rest. This expansion is controlled by the property
3890 @code{Score.skipBars}. If this is set to true, Lily will not expand
3891 empty measures, and the appropriate number is added automatically.
3893 @lilypond[fragment,verbatim]
3894 \time 4/4 r1 | R1 | R1*2
3895 \property Score.skipBars = ##t R1*17 R1*4
3898 The @code{1} in @code{R1} is similar to the duration notation used for
3899 notes. Hence, for time signatures other than 4/4, you must enter other
3900 durations. This can be done with augmentation dots or fractions:
3902 @lilypond[fragment,verbatim]
3903 \property Score.skipBars = ##t
3911 A @code{R} spanning a single measure is printed as a whole rest
3912 centered in the measure (or a breve when the measure lasts longer than
3913 two whole notes), regardless of the time signature.
3917 @cindex text on multi-measure rest
3918 @cindex script on multi-measure rest
3919 @cindex fermata on multi-measure rest
3921 Texts can be added to multi-measure rests by using the
3922 @var{note}-@code{markup} syntax (see @ref{Text markup}) . In this case, the number is
3923 replaced. If you need both texts and the number, you must add the
3924 number by hand. A variable (@code{\fermataMarkup}) is provided for
3928 @lilypond[verbatim,fragment]
3930 R2._\markup { "Ad lib" }
3935 @cindex whole rests for a full measure
3939 @internalsref{MultiMeasureRestEvent},
3940 @internalsref{MultiMeasureTextEvent},
3941 @internalsref{MultiMeasureRestMusicGroup},
3942 @internalsref{MultiMeasureRest},
3944 The graphical object @internalsref{MultiMeasureRestNumber} is for the
3945 default number, and @internalsref{MultiMeasureRestText} for user
3950 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
3951 over multi-measure rests.
3953 @cindex condensing rests
3955 There is no way to automatically condense multiple rests into a single
3956 multimeasure rest. Multi measure rests do not take part in rest
3959 Be careful when entering multimeasure rests followed by whole notes,
3963 will enter two notes lasting four measures each. When @code{skipBars}
3964 is set, then the result will look OK6, but the bar numbering will be
3967 @node Automatic part combining
3968 @subsection Automatic part combining
3969 @cindex automatic part combining
3970 @cindex part combiner
3973 Automatic part combining is used to merge two parts of music onto a
3974 staff. It is aimed at typesetting orchestral scores. When the two
3975 parts are identical for a period of time, only one is shown. In
3976 places where the two parts differ, they are typeset as separate
3977 voices, and stem directions are set automatically. Also, solo and
3978 @emph{a due} parts are identified and can be marked.
3982 The syntax for part combining is
3985 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3987 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3988 combined into one context of type @var{context}. The music expressions
3989 must be interpreted by contexts whose names should start with @code{one}
3992 The following example demonstrates the basic functionality of the part
3993 combiner: putting parts on one staff, and setting stem directions and
3996 @lilypond[verbatim,singleline,fragment]
3998 \context Voice=one \partcombine Voice
3999 \context Thread=one \relative c'' {
4002 \context Thread=two \relative c'' {
4008 The first @code{g} appears only once, although it was
4009 specified twice (once in each part). Stem, slur and tie directions are
4010 set automatically, depending whether there is a solo or unisono. The
4011 first part (with context called @code{one}) always gets up stems, and
4012 `solo', while the second (called @code{two}) always gets down stems and
4015 If you just want the merging parts, and not the textual markings, you
4016 may set the property @var{soloADue} to false.
4018 @lilypond[verbatim,singleline,fragment]
4020 \property Staff.soloADue = ##f
4021 \context Voice=one \partcombine Voice
4022 \context Thread=one \relative c'' {
4025 \context Thread=two \relative c'' {
4033 @internalsref{PartCombineMusic},
4034 @internalsref{Thread_devnull_engraver},
4035 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4039 The syntax for naming contexts in inconsistent with the syntax for
4042 In @code{soloADue} mode, when the two voices play the same notes on and
4043 off, the part combiner may typeset @code{a2} more than once in a
4046 @lilypond[fragment,singleline]
4048 \context Voice=one \partcombine Voice
4049 \context Thread=one \relative c'' {
4052 \context Thread=two \relative c'' {
4058 The part combiner is slated to be rewritten [TODO: explain why] .
4060 @cindex @code{Thread_devnull_engraver}
4061 @cindex @code{Voice_engraver}
4062 @cindex @code{A2_engraver}
4064 @node Frenched scores
4065 @subsection Frenched scores
4067 In orchestral scores, staff lines that only have rests are usually removed.
4068 This saves some space. This style is called `French Score'.
4072 This is supported through the @code{RemoveEmptyStaff}. This staff is
4073 removed when it turns out empty (or containing multimeasure rests)
4074 after the line-breaking process.
4076 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4077 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4078 switched on by default. For normal staffs, it is available as a
4079 specialized @internalsref{Staff} context, with the name variable
4080 @code{\RemoveEmptyStaffContext}. Observe how the second staff in this
4081 example disappears in the second line.
4085 \notes \relative c' <
4086 \context Staff = SA { e4 f g a \break c1 }
4087 \context Staff = SB { c4 d e f \break R1 }
4091 \translator { \RemoveEmptyStaffContext }
4097 @node Sound output for transposing instruments
4098 @subsection Sound output for transposing instruments
4100 When you want to make a MIDI file from a score containing transposed
4101 and untransposed instruments, you have to instruct LilyPond the pitch
4102 offset (in semitones) for the transposed instruments. This is done
4103 using the @code{transposing} property. It does not affect printed
4106 @cindex @code{transposing}
4109 \property Staff.instrument = #"Cl. in B-flat"
4110 \property Staff.transposing = #-2
4114 @node Ancient notation
4115 @section Ancient notation
4117 @cindex Vaticana, Editio
4118 @cindex Medicaea, Editio
4123 @c [TODO: write introduction on ancient notation]
4126 * Ancient note heads::
4135 @node Ancient note heads
4136 @subsection Ancient note heads
4138 To get a longa note head, you have to use mensural note heads. This
4139 is accomplished by setting the @code{style} property of the
4140 NoteHead object to @code{mensural}. There is also a note head style
4141 @code{baroque} which gives mensural note heads for @code{\longa} and
4142 @code{\breve} but standard note heads for shorter notes.
4144 @lilypond[fragment,singleline,verbatim]
4145 \property Voice.NoteHead \set #'style = #'mensural
4150 @subsection Ancient clefs
4152 LilyPond supports a variety of clefs, many of them ancient.
4154 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4155 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4158 The following table shows all ancient clefs that are supported via the
4159 @code{\clef} command. Some of the clefs use the same glyph, but
4160 differ only with respect to the line they are printed on. In such
4161 cases, a trailing number in the name is used to enumerate these clefs.
4162 Still, you can manually force a clef glyph to be typeset on an
4163 arbitrary line, as described in section @ref{Clef}. The note printed
4164 to the right side of each clef in the example column denotes the
4165 @code{c'} with respect to that clef.
4167 @multitable @columnfractions .3 .3 .3 .1
4171 @b{Description} @tab
4172 @b{Supported Clefs} @tab
4176 @code{clefs-neo_mensural_c} @tab
4177 modern style mensural C clef @tab
4178 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4179 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4180 @lilypond[relative 0, notime]
4181 \property Staff.TimeSignature \set #'transparent = ##t
4182 \clef "neo_mensural_c2" c
4186 @code{clefs-petrucci_c1}
4187 @code{clefs-petrucci_c2}
4188 @code{clefs-petrucci_c3}
4189 @code{clefs-petrucci_c4}
4190 @code{clefs-petrucci_c5}
4193 petrucci style mensural C clefs, for use on different stafflines
4194 (the examples shows the 2nd staffline C clef).
4204 @lilypond[relative 0, notime]
4205 \property Staff.TimeSignature \set #'transparent = ##t
4206 \clef "petrucci_c2" c
4210 @code{clefs-petrucci_f} @tab
4211 petrucci style mensural F clef @tab
4212 @code{petrucci_f} @tab
4213 @lilypond[relative 0, notime]
4214 \property Staff.TimeSignature \set #'transparent = ##t
4215 \clef "petrucci_f" c
4219 @code{clefs-petrucci_g} @tab
4220 petrucci style mensural G clef @tab
4221 @code{petrucci_g} @tab
4222 @lilypond[relative 0, notime]
4223 \property Staff.TimeSignature \set #'transparent = ##t
4224 \clef "petrucci_g" c
4228 @code{clefs-mensural_c'} @tab
4229 historic style mensural C clef @tab
4230 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4231 @code{mensural_c4} @tab
4232 @lilypond[relative 0, notime]
4233 \property Staff.TimeSignature \set #'transparent = ##t
4234 \clef "mensural_c2" c
4238 @code{clefs-mensural_f} @tab
4239 historic style mensural F clef @tab
4240 @code{mensural_f} @tab
4241 @lilypond[relative 0, notime]
4242 \property Staff.TimeSignature \set #'transparent = ##t
4243 \clef "mensural_f" c
4247 @code{clefs-mensural_g} @tab
4248 historic style mensural G clef @tab
4249 @code{mensural_g} @tab
4250 @lilypond[relative 0, notime]
4251 \property Staff.TimeSignature \set #'transparent = ##t
4252 \clef "mensural_g" c
4256 @code{clefs-vaticana_do} @tab
4257 Editio Vaticana style do clef @tab
4258 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4259 @lilypond[relative 0, notime]
4261 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4262 \property Staff.TimeSignature \set #'transparent = ##t
4263 \clef "vaticana_do2" c
4267 @code{clefs-vaticana_fa} @tab
4268 Editio Vaticana style fa clef @tab
4269 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4270 @lilypond[relative 0, notime]
4272 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4273 \property Staff.TimeSignature \set #'transparent = ##t
4274 \clef "vaticana_fa2" c
4278 @code{clefs-medicaea_do} @tab
4279 Editio Medicaea style do clef @tab
4280 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4281 @lilypond[relative 0, notime]
4283 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4284 \property Staff.TimeSignature \set #'transparent = ##t
4285 \clef "medicaea_do2" c
4289 @code{clefs-medicaea_fa} @tab
4290 Editio Medicaea style fa clef @tab
4291 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4292 @lilypond[relative 0, notime]
4294 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4295 \property Staff.TimeSignature \set #'transparent = ##t
4296 \clef "medicaea_fa2" c
4300 @code{clefs-hufnagel_do} @tab
4301 historic style hufnagel do clef @tab
4302 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4303 @lilypond[relative 0, notime]
4305 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4306 \property Staff.TimeSignature \set #'transparent = ##t
4307 \clef "hufnagel_do2" c
4311 @code{clefs-hufnagel_fa} @tab
4312 historic style hufnagel fa clef @tab
4313 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4314 @lilypond[relative 0, notime]
4316 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4317 \property Staff.TimeSignature \set #'transparent = ##t
4318 \clef "hufnagel_fa2" c
4322 @code{clefs-hufnagel_do_fa} @tab
4323 historic style hufnagel combined do/fa clef @tab
4324 @code{hufnagel_do_fa} @tab
4325 @lilypond[relative 0, notime]
4326 \property Staff.TimeSignature \set #'transparent = ##t
4327 \clef "hufnagel_do_fa" c
4332 @c --- This should go somewhere else: ---
4333 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4336 @c @code{percussion}
4338 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4340 @c @item modern style tab clef (glyph: @code{clefs-tab})
4345 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4347 @emph{Modern style} means ``as is typeset in contemporary editions of
4348 transcribed mensural music''.
4350 @emph{Petrucci style} means ``inspired by printings published by the
4351 famous engraver Petrucci (1466-1539)''.
4353 @emph{Historic style} means ``as was typeset or written in historic
4354 editions (other than those of Petrucci)''.
4356 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4358 Petrucci used C clefs with differently balanced left-side vertical
4359 beams, depending on which staffline it is printed.
4363 @subsection Custodes
4368 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4369 symbol that appears at the end of a staff. It anticipates the pitch
4370 of the first note(s) of the following line and thus helps the player
4371 or singer to manage line breaks during performance, thus enhancing
4372 readability of a score.
4374 Custodes were frequently used in music notation until the 17th
4375 century. Nowadays, they have survived only in a few particular forms
4376 of musical notation such as contemporary editions of Gregorian chant
4377 like the @emph{editio vaticana}. There are different custos glyphs
4378 used in different flavours of notational style.
4380 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4381 @internalsref{Staff} context when declaring the @code{\paper} block,
4382 as shown in the following example.
4388 \consists Custos_engraver
4389 Custos \override #'style = #'mensural
4394 The result looks like this:
4400 \property Staff.Custos \set #'style = #'mensural
4407 \consists Custos_engraver
4414 The custos glyph is selected by the @code{style} property. The styles
4415 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4416 @code{mensural}. They are demonstrated in the following fragment:
4426 { " " \musicglyph #"custodes-vaticana-u0" }
4430 { " " \musicglyph #"custodes-medicaea-u0" }
4434 { " " \musicglyph #"custodes-hufnagel-u0" }
4438 { " " \musicglyph #"custodes-mensural-u0" }
4447 \remove "Bar_number_engraver"
4451 \remove "Clef_engraver"
4452 \remove "Key_engraver"
4453 \remove "Time_signature_engraver"
4454 \remove "Staff_symbol_engraver"
4455 minimumVerticalExtent = ##f
4461 If the boolean property @code{adjust-if-on-staffline} is set to
4462 @code{#t} (which it is by default), lily typesets slightly different
4463 variants of the custos glyph, depending on whether the custos, is
4464 typeset on or between stafflines. The glyph will
4465 optically fit well into the staff, with the appendage on the right of
4466 the custos always ending at the same vertical position between two
4467 stafflines regardless of the pitch. If you set
4468 @code{adjust-if-on-staffline} to @code{#f}, then
4469 a compromise between both forms is used.
4471 Just like stems can be attached to noteheads in two directions
4472 @emph{up} and @emph{down}, each custos glyph is available with its
4473 appendage pointing either up or down. If the pitch of a custos is
4474 above a selectable position, the appendage will point downwards; if
4475 the pitch is below this position, the appendage will point upwards.
4476 Use property @code{neutral-position} to select this position. By
4477 default, it is set to @code{0}, such that the neutral position is the
4478 center of the staff. Use property @code{neutral-direction} to control
4479 what happens if a custos is typeset on the neutral position itself.
4480 By default, this property is set to @code{-1}, such that the appendage
4481 will point downwards. If set to @code{1}, the appendage will point
4482 upwards. Other values such as @code{0} are reserved for future
4483 extensions and should not be used.
4488 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4489 @inputfileref{input/regression,custos.ly}.
4493 @subsection Divisiones
4499 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4500 `division') is a staff context symbol that is used to structure
4501 Gregorian music into phrases and sections. The musical meaning of
4502 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4503 can be characterized as short, medium and long pause, somewhat like
4504 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4505 a chant, but is also frequently used within a single
4506 antiphonal/responsorial chant to mark the end of each section.
4510 To use divisiones, include the file @code{gregorian-init.ly}. It
4511 contains definitions that you can apply by just inserting
4512 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4513 and @code{\finalis} at proper places in the input. Some editions use
4514 @emph{virgula} or @emph{caesura} instead of divisio minima.
4515 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4519 @lilypondfile[notexidoc]{divisiones.ly}
4523 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4524 @inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
4527 @subsection Ligatures
4531 @c TODO: Should double check if I recalled things correctly when I wrote
4532 @c down the following paragraph by heart.
4534 In musical terminology, a ligature is a coherent graphical symbol that
4535 represents at least two different notes. Ligatures originally appeared
4536 in the manuscripts of Gregorian chant notation roughly since the 9th
4537 century as an allusion to the accent symbols of greek lyric poetry to
4538 denote ascending or descending sequences of notes. Both, the shape and
4539 the exact meaning of ligatures changed tremendously during the following
4540 centuries: In early notation, ligatures where used for monophonic tunes
4541 (Gregorian chant) and very soon denoted also the way of performance in
4542 the sense of articulation. With upcoming multiphony, the need for a
4543 metric system arised, since multiple voices of a piece have to be
4544 synchronized some way. New notation systems were invented that used
4545 the manifold shapes of ligatures to now denote rhythmical patterns
4546 (e.g. black mensural notation, mannered notation, ars nova). With the
4547 invention of the metric system of the white mensural notation, the need
4548 for ligatures to denote such patterns disappeared. Nevertheless,
4549 ligatures were still in use in the mensural system for a couple of
4550 decades until they finally disappeared during the late 16th / early 17th
4551 century. Still, ligatures have survived in contemporary editions of
4552 Gregorian chant such as the Editio Vaticana from 1905/08.
4556 Syntactically, ligatures are simply enclosed by @code{\[} and
4557 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4558 additional input syntax specific for this particular type of ligature.
4559 By default, the @internalsref{LigatureBracket} engraver just puts a
4560 square bracket above the ligature.
4562 @lilypond[singleline,verbatim]
4564 \notes \transpose c c' {
4572 To select a specific style of ligatures, a proper ligature engraver
4573 has to be added to the @internalsref{Voice} context, as explained in
4574 the following subsections. Currently, only white mensural ligatures
4575 are supported with certain limitations. Support for Editio Vaticana
4576 will be added in the future.
4579 * White mensural ligatures::
4580 * Gregorian square neumes ligatures::
4583 @node White mensural ligatures
4584 @subsubsection White mensural ligatures
4586 @cindex Mensural ligatures
4587 @cindex White mensural ligatures
4589 There is limited support for white mensural ligatures. The
4590 implementation is still experimental; it currently may output strange
4591 warnings or even crash in some cases or produce weird results on more
4592 complex ligatures. To engrave white mensural ligatures, in the paper
4593 block the @internalsref{Mensural_ligature_engraver} has to be put into
4594 the @internalsref{Voice} context, and remove the
4595 @internalsref{Ligature_bracket_engraver}:
4601 \remove Ligature_bracket_engraver
4602 \consists Mensural_ligature_engraver
4607 There is no additional input language to describe the shape of a
4608 white mensural ligature. The shape is rather determined solely from
4609 the pitch and duration of the enclosed notes. While this approach may
4610 take a new user a while to get accustomed, it has the great advantage
4611 that the full musical information of the ligature is known internally.
4612 This is not only required for correct MIDI output, but also allows for
4613 automatic transcription of the ligatures.
4618 \property Score.timing = ##f
4619 \property Score.defaultBarType = "empty"
4620 \property Voice.NoteHead \set #'style = #'neo_mensural
4621 \property Staff.TimeSignature \set #'style = #'neo_mensural
4623 \[ g\longa c\breve a\breve f\breve d'\longa \]
4625 \[ e1 f1 a\breve g\longa \]
4627 @lilypond[singleline]
4629 \notes \transpose c c' {
4630 \property Score.timing = ##f
4631 \property Score.defaultBarType = "empty"
4632 \property Voice.NoteHead \set #'style = #'neo_mensural
4633 \property Staff.TimeSignature \set #'style = #'neo_mensural
4635 \[ g\longa c\breve a\breve f\breve d'\longa \]
4637 \[ e1 f1 a\breve g\longa \]
4642 \remove Ligature_bracket_engraver
4643 \consists Mensural_ligature_engraver
4649 Without replacing @internalsref{Ligature_bracket_engraver} with
4650 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4653 @lilypond[singleline]
4655 \notes \transpose c c' {
4656 \property Score.timing = ##f
4657 \property Score.defaultBarType = "empty"
4658 \property Voice.NoteHead \set #'style = #'neo_mensural
4659 \property Staff.TimeSignature \set #'style = #'neo_mensural
4661 \[ g\longa c\breve a\breve f\breve d'\longa \]
4663 \[ e1 f1 a\breve g\longa \]
4668 @node Gregorian square neumes ligatures
4669 @subsubsection Gregorian square neumes ligatures
4671 @cindex Square neumes ligatures
4672 @cindex Gregorian square neumes ligatures
4674 Gregorian square neumes notation (following the style of the Editio
4675 Vaticana) is under heavy development, but not yet really usable for
4676 production purposes. Core ligatures can already be typeset, but
4677 essential issues for serious typesetting are still under development,
4678 such as (among others) horizontal alignment of multiple ligatures,
4679 lyrics alignment and proper accidentals handling. Still, this section
4680 gives a sneak preview of what Gregorian chant may look like once it
4683 The following table contains the extended neumes table of the 2nd
4684 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
4685 1983 by the monks of Solesmes.
4687 @multitable @columnfractions .4 .2 .2 .2
4690 @b{Neuma aut@*Neumarum Elementa} @tab
4691 @b{Figurae@*Rectae} @tab
4692 @b{Figurae@*Liquescentes Auctae} @tab
4693 @b{Figurae@*Liquescentes Deminutae}
4695 @c TODO: \paper block is identical in all of the below examples.
4696 @c Therefore, it should somehow be included rather than duplicated all
4699 @c why not make identifiers in ly/engraver-init.ly? --hwn
4701 @c Because it's just used to typeset plain notes without
4702 @c a staff for demonstration purposes rather than something
4703 @c special of Gregorian chant notation. --jr
4708 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
4709 \include "gregorian-init.ly"
4711 \notes \transpose c c' {
4714 \noBreak s^\markup {"a"} \noBreak
4716 % Punctum Inclinatum
4718 \noBreak s^\markup {"b"}
4724 \remove "Bar_number_engraver"
4728 \remove "Clef_engraver"
4729 \remove "Key_engraver"
4730 StaffSymbol \set #'transparent = ##t
4731 \remove "Time_signature_engraver"
4732 \remove "Bar_engraver"
4733 minimumVerticalExtent = ##f
4737 \remove Ligature_bracket_engraver
4738 \consists Vaticana_ligature_engraver
4739 NoteHead \set #'style = #'vaticana_punctum
4740 Stem \set #'transparent = ##t
4746 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
4747 \include "gregorian-init.ly"
4749 \notes \transpose c c' {
4750 % Punctum Auctum Ascendens
4751 \[ \auctum \ascendens b \]
4752 \noBreak s^\markup {"c"} \noBreak
4754 % Punctum Auctum Descendens
4755 \[ \auctum \descendens b \]
4756 \noBreak s^\markup {"d"} \noBreak
4758 % Punctum Inclinatum Auctum
4759 \[ \inclinatum \auctum b \]
4760 \noBreak s^\markup {"e"}
4766 \remove "Bar_number_engraver"
4770 \remove "Clef_engraver"
4771 \remove "Key_engraver"
4772 StaffSymbol \set #'transparent = ##t
4773 \remove "Time_signature_engraver"
4774 \remove "Bar_engraver"
4775 minimumVerticalExtent = ##f
4779 \remove Ligature_bracket_engraver
4780 \consists Vaticana_ligature_engraver
4781 NoteHead \set #'style = #'vaticana_punctum
4782 Stem \set #'transparent = ##t
4788 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4789 \include "gregorian-init.ly"
4791 \notes \transpose c c' {
4792 % Punctum Inclinatum Parvum
4793 \[ \inclinatum \deminutum b \]
4794 \noBreak s^\markup {"f"}
4800 \remove "Bar_number_engraver"
4804 \remove "Clef_engraver"
4805 \remove "Key_engraver"
4806 StaffSymbol \set #'transparent = ##t
4807 \remove "Time_signature_engraver"
4808 \remove "Bar_engraver"
4809 minimumVerticalExtent = ##f
4813 \remove Ligature_bracket_engraver
4814 \consists Vaticana_ligature_engraver
4815 NoteHead \set #'style = #'vaticana_punctum
4816 Stem \set #'transparent = ##t
4825 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4826 \include "gregorian-init.ly"
4828 \notes \transpose c c' {
4831 \noBreak s^\markup {"g"}
4837 \remove "Bar_number_engraver"
4841 \remove "Clef_engraver"
4842 \remove "Key_engraver"
4843 StaffSymbol \set #'transparent = ##t
4844 \remove "Time_signature_engraver"
4845 \remove "Bar_engraver"
4846 minimumVerticalExtent = ##f
4850 \remove Ligature_bracket_engraver
4851 \consists Vaticana_ligature_engraver
4852 NoteHead \set #'style = #'vaticana_punctum
4853 Stem \set #'transparent = ##t
4862 @code{3. Apostropha vel Stropha}
4864 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4865 \include "gregorian-init.ly"
4867 \notes \transpose c c' {
4870 \noBreak s^\markup {"h"}
4876 \remove "Bar_number_engraver"
4880 \remove "Clef_engraver"
4881 \remove "Key_engraver"
4882 StaffSymbol \set #'transparent = ##t
4883 \remove "Time_signature_engraver"
4884 \remove "Bar_engraver"
4885 minimumVerticalExtent = ##f
4889 \remove Ligature_bracket_engraver
4890 \consists Vaticana_ligature_engraver
4891 NoteHead \set #'style = #'vaticana_punctum
4892 Stem \set #'transparent = ##t
4898 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4899 \include "gregorian-init.ly"
4901 \notes \transpose c c' {
4903 \[ \stropha \auctum b \]
4904 \noBreak s^\markup {"i"}
4910 \remove "Bar_number_engraver"
4914 \remove "Clef_engraver"
4915 \remove "Key_engraver"
4916 StaffSymbol \set #'transparent = ##t
4917 \remove "Time_signature_engraver"
4918 \remove "Bar_engraver"
4919 minimumVerticalExtent = ##f
4923 \remove Ligature_bracket_engraver
4924 \consists Vaticana_ligature_engraver
4925 NoteHead \set #'style = #'vaticana_punctum
4926 Stem \set #'transparent = ##t
4936 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4937 \include "gregorian-init.ly"
4939 \notes \transpose c c' {
4942 \noBreak s^\markup {"j"}
4948 \remove "Bar_number_engraver"
4952 \remove "Clef_engraver"
4953 \remove "Key_engraver"
4954 StaffSymbol \set #'transparent = ##t
4955 \remove "Time_signature_engraver"
4956 \remove "Bar_engraver"
4957 minimumVerticalExtent = ##f
4961 \remove Ligature_bracket_engraver
4962 \consists Vaticana_ligature_engraver
4963 NoteHead \set #'style = #'vaticana_punctum
4964 Stem \set #'transparent = ##t
4973 @code{5. Clivis vel Flexa}
4975 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4976 \include "gregorian-init.ly"
4978 \notes \transpose c c' {
4987 \remove "Bar_number_engraver"
4991 \remove "Clef_engraver"
4992 \remove "Key_engraver"
4993 StaffSymbol \set #'transparent = ##t
4994 \remove "Time_signature_engraver"
4995 \remove "Bar_engraver"
4996 minimumVerticalExtent = ##f
5000 \remove Ligature_bracket_engraver
5001 \consists Vaticana_ligature_engraver
5002 NoteHead \set #'style = #'vaticana_punctum
5003 Stem \set #'transparent = ##t
5009 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5010 \include "gregorian-init.ly"
5012 \notes \transpose c c' {
5013 % Clivis Aucta Descendens
5014 \[ b \flexa \auctum \descendens g \]
5015 \noBreak s^\markup {"l"} \noBreak
5017 % Clivis Aucta Ascendens
5018 \[ b \flexa \auctum \ascendens g \]
5019 \noBreak s^\markup {"m"}
5025 \remove "Bar_number_engraver"
5029 \remove "Clef_engraver"
5030 \remove "Key_engraver"
5031 StaffSymbol \set #'transparent = ##t
5032 \remove "Time_signature_engraver"
5033 \remove "Bar_engraver"
5034 minimumVerticalExtent = ##f
5038 \remove Ligature_bracket_engraver
5039 \consists Vaticana_ligature_engraver
5040 NoteHead \set #'style = #'vaticana_punctum
5041 Stem \set #'transparent = ##t
5047 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5048 \include "gregorian-init.ly"
5050 \notes \transpose c c' {
5052 \[ b \flexa \deminutum g \]
5059 \remove "Bar_number_engraver"
5063 \remove "Clef_engraver"
5064 \remove "Key_engraver"
5065 StaffSymbol \set #'transparent = ##t
5066 \remove "Time_signature_engraver"
5067 \remove "Bar_engraver"
5068 minimumVerticalExtent = ##f
5072 \remove Ligature_bracket_engraver
5073 \consists Vaticana_ligature_engraver
5074 NoteHead \set #'style = #'vaticana_punctum
5075 Stem \set #'transparent = ##t
5082 @code{6. Podatus vel Pes}
5084 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5085 \include "gregorian-init.ly"
5087 \notes \transpose c c' {
5096 \remove "Bar_number_engraver"
5100 \remove "Clef_engraver"
5101 \remove "Key_engraver"
5102 StaffSymbol \set #'transparent = ##t
5103 \remove "Time_signature_engraver"
5104 \remove "Bar_engraver"
5105 minimumVerticalExtent = ##f
5109 \remove Ligature_bracket_engraver
5110 \consists Vaticana_ligature_engraver
5111 NoteHead \set #'style = #'vaticana_punctum
5112 Stem \set #'transparent = ##t
5118 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5119 \include "gregorian-init.ly"
5121 \notes \transpose c c' {
5122 % Pes Auctus Descendens
5123 \[ g \pes \auctum \descendens b \]
5124 \noBreak s^\markup {"p"} \noBreak
5126 % Pes Auctus Ascendens
5127 \[ g \pes \auctum \ascendens b \]
5128 \noBreak s^\markup {"q"}
5134 \remove "Bar_number_engraver"
5138 \remove "Clef_engraver"
5139 \remove "Key_engraver"
5140 StaffSymbol \set #'transparent = ##t
5141 \remove "Time_signature_engraver"
5142 \remove "Bar_engraver"
5143 minimumVerticalExtent = ##f
5147 \remove Ligature_bracket_engraver
5148 \consists Vaticana_ligature_engraver
5149 NoteHead \set #'style = #'vaticana_punctum
5150 Stem \set #'transparent = ##t
5156 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5157 \include "gregorian-init.ly"
5159 \notes \transpose c c' {
5161 \[ g \pes \deminutum b \]
5168 \remove "Bar_number_engraver"
5172 \remove "Clef_engraver"
5173 \remove "Key_engraver"
5174 StaffSymbol \set #'transparent = ##t
5175 \remove "Time_signature_engraver"
5176 \remove "Bar_engraver"
5177 minimumVerticalExtent = ##f
5181 \remove Ligature_bracket_engraver
5182 \consists Vaticana_ligature_engraver
5183 NoteHead \set #'style = #'vaticana_punctum
5184 Stem \set #'transparent = ##t
5191 @code{7. Pes Quassus}
5193 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5194 \include "gregorian-init.ly"
5196 \notes \transpose c c' {
5198 \[ \oriscus g \pes \virga b \]
5205 \remove "Bar_number_engraver"
5209 \remove "Clef_engraver"
5210 \remove "Key_engraver"
5211 StaffSymbol \set #'transparent = ##t
5212 \remove "Time_signature_engraver"
5213 \remove "Bar_engraver"
5214 minimumVerticalExtent = ##f
5218 \remove Ligature_bracket_engraver
5219 \consists Vaticana_ligature_engraver
5220 NoteHead \set #'style = #'vaticana_punctum
5221 Stem \set #'transparent = ##t
5227 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5228 \include "gregorian-init.ly"
5230 \notes \transpose c c' {
5231 % Pes Quassus Auctus Descendens
5232 \[ \oriscus g \pes \auctum \descendens b \]
5239 \remove "Bar_number_engraver"
5243 \remove "Clef_engraver"
5244 \remove "Key_engraver"
5245 StaffSymbol \set #'transparent = ##t
5246 \remove "Time_signature_engraver"
5247 \remove "Bar_engraver"
5248 minimumVerticalExtent = ##f
5252 \remove Ligature_bracket_engraver
5253 \consists Vaticana_ligature_engraver
5254 NoteHead \set #'style = #'vaticana_punctum
5255 Stem \set #'transparent = ##t
5263 @code{8. Quilisma Pes}
5265 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5266 \include "gregorian-init.ly"
5268 \notes \transpose c c' {
5270 \[ \quilisma g \pes b \]
5277 \remove "Bar_number_engraver"
5281 \remove "Clef_engraver"
5282 \remove "Key_engraver"
5283 StaffSymbol \set #'transparent = ##t
5284 \remove "Time_signature_engraver"
5285 \remove "Bar_engraver"
5286 minimumVerticalExtent = ##f
5290 \remove Ligature_bracket_engraver
5291 \consists Vaticana_ligature_engraver
5292 NoteHead \set #'style = #'vaticana_punctum
5293 Stem \set #'transparent = ##t
5299 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5300 \include "gregorian-init.ly"
5302 \notes \transpose c c' {
5303 % Quilisma Pes Auctus Descendens
5304 \[ \quilisma g \pes \auctum \descendens b \]
5311 \remove "Bar_number_engraver"
5315 \remove "Clef_engraver"
5316 \remove "Key_engraver"
5317 StaffSymbol \set #'transparent = ##t
5318 \remove "Time_signature_engraver"
5319 \remove "Bar_engraver"
5320 minimumVerticalExtent = ##f
5324 \remove Ligature_bracket_engraver
5325 \consists Vaticana_ligature_engraver
5326 NoteHead \set #'style = #'vaticana_punctum
5327 Stem \set #'transparent = ##t
5335 @code{9. Podatus Initio Debilis}
5337 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5338 \include "gregorian-init.ly"
5340 \notes \transpose c c' {
5341 % Pes Initio Debilis
5342 \[ \deminutum g \pes b \]
5349 \remove "Bar_number_engraver"
5353 \remove "Clef_engraver"
5354 \remove "Key_engraver"
5355 StaffSymbol \set #'transparent = ##t
5356 \remove "Time_signature_engraver"
5357 \remove "Bar_engraver"
5358 minimumVerticalExtent = ##f
5362 \remove Ligature_bracket_engraver
5363 \consists Vaticana_ligature_engraver
5364 NoteHead \set #'style = #'vaticana_punctum
5365 Stem \set #'transparent = ##t
5371 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5372 \include "gregorian-init.ly"
5374 \notes \transpose c c' {
5375 % Pes Auctus Descendens Initio Debilis
5376 \[ \deminutum g \pes \auctum \descendens b \]
5383 \remove "Bar_number_engraver"
5387 \remove "Clef_engraver"
5388 \remove "Key_engraver"
5389 StaffSymbol \set #'transparent = ##t
5390 \remove "Time_signature_engraver"
5391 \remove "Bar_engraver"
5392 minimumVerticalExtent = ##f
5396 \remove Ligature_bracket_engraver
5397 \consists Vaticana_ligature_engraver
5398 NoteHead \set #'style = #'vaticana_punctum
5399 Stem \set #'transparent = ##t
5409 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5410 \include "gregorian-init.ly"
5412 \notes \transpose c c' {
5414 \[ a \pes b \flexa g \]
5421 \remove "Bar_number_engraver"
5425 \remove "Clef_engraver"
5426 \remove "Key_engraver"
5427 StaffSymbol \set #'transparent = ##t
5428 \remove "Time_signature_engraver"
5429 \remove "Bar_engraver"
5430 minimumVerticalExtent = ##f
5434 \remove Ligature_bracket_engraver
5435 \consists Vaticana_ligature_engraver
5436 NoteHead \set #'style = #'vaticana_punctum
5437 Stem \set #'transparent = ##t
5443 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5444 \include "gregorian-init.ly"
5446 \notes \transpose c c' {
5447 % Torculus Auctus Descendens
5448 \[ a \pes b \flexa \auctum \descendens g \]
5455 \remove "Bar_number_engraver"
5459 \remove "Clef_engraver"
5460 \remove "Key_engraver"
5461 StaffSymbol \set #'transparent = ##t
5462 \remove "Time_signature_engraver"
5463 \remove "Bar_engraver"
5464 minimumVerticalExtent = ##f
5468 \remove Ligature_bracket_engraver
5469 \consists Vaticana_ligature_engraver
5470 NoteHead \set #'style = #'vaticana_punctum
5471 Stem \set #'transparent = ##t
5477 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5478 \include "gregorian-init.ly"
5480 \notes \transpose c c' {
5481 % Torculus Deminutus
5482 \[ a \pes b \flexa \deminutum g \]
5489 \remove "Bar_number_engraver"
5493 \remove "Clef_engraver"
5494 \remove "Key_engraver"
5495 StaffSymbol \set #'transparent = ##t
5496 \remove "Time_signature_engraver"
5497 \remove "Bar_engraver"
5498 minimumVerticalExtent = ##f
5502 \remove Ligature_bracket_engraver
5503 \consists Vaticana_ligature_engraver
5504 NoteHead \set #'style = #'vaticana_punctum
5505 Stem \set #'transparent = ##t
5512 @code{11. Torculus Initio Debilis}
5514 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5515 \include "gregorian-init.ly"
5517 \notes \transpose c c' {
5518 % Torculus Initio Debilis
5519 \[ \deminutum a \pes b \flexa g \]
5526 \remove "Bar_number_engraver"
5530 \remove "Clef_engraver"
5531 \remove "Key_engraver"
5532 StaffSymbol \set #'transparent = ##t
5533 \remove "Time_signature_engraver"
5534 \remove "Bar_engraver"
5535 minimumVerticalExtent = ##f
5539 \remove Ligature_bracket_engraver
5540 \consists Vaticana_ligature_engraver
5541 NoteHead \set #'style = #'vaticana_punctum
5542 Stem \set #'transparent = ##t
5548 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5549 \include "gregorian-init.ly"
5551 \notes \transpose c c' {
5552 % Torculus Auctus Descendens Initio Debilis
5553 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5560 \remove "Bar_number_engraver"
5564 \remove "Clef_engraver"
5565 \remove "Key_engraver"
5566 StaffSymbol \set #'transparent = ##t
5567 \remove "Time_signature_engraver"
5568 \remove "Bar_engraver"
5569 minimumVerticalExtent = ##f
5573 \remove Ligature_bracket_engraver
5574 \consists Vaticana_ligature_engraver
5575 NoteHead \set #'style = #'vaticana_punctum
5576 Stem \set #'transparent = ##t
5582 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5583 \include "gregorian-init.ly"
5585 \notes \transpose c c' {
5586 % Torculus Deminutus Initio Debilis
5587 \[ \deminutum a \pes b \flexa \deminutum g \]
5594 \remove "Bar_number_engraver"
5598 \remove "Clef_engraver"
5599 \remove "Key_engraver"
5600 StaffSymbol \set #'transparent = ##t
5601 \remove "Time_signature_engraver"
5602 \remove "Bar_engraver"
5603 minimumVerticalExtent = ##f
5607 \remove Ligature_bracket_engraver
5608 \consists Vaticana_ligature_engraver
5609 NoteHead \set #'style = #'vaticana_punctum
5610 Stem \set #'transparent = ##t
5617 @code{12. Porrectus}
5619 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5620 \include "gregorian-init.ly"
5622 \notes \transpose c c' {
5624 \[ a \flexa g \pes b \]
5631 \remove "Bar_number_engraver"
5635 \remove "Clef_engraver"
5636 \remove "Key_engraver"
5637 StaffSymbol \set #'transparent = ##t
5638 \remove "Time_signature_engraver"
5639 \remove "Bar_engraver"
5640 minimumVerticalExtent = ##f
5644 \remove Ligature_bracket_engraver
5645 \consists Vaticana_ligature_engraver
5646 NoteHead \set #'style = #'vaticana_punctum
5647 Stem \set #'transparent = ##t
5653 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5654 \include "gregorian-init.ly"
5656 \notes \transpose c c' {
5657 % Porrectus Auctus Descendens
5658 \[ a \flexa g \pes \auctum \descendens b \]
5665 \remove "Bar_number_engraver"
5669 \remove "Clef_engraver"
5670 \remove "Key_engraver"
5671 StaffSymbol \set #'transparent = ##t
5672 \remove "Time_signature_engraver"
5673 \remove "Bar_engraver"
5674 minimumVerticalExtent = ##f
5678 \remove Ligature_bracket_engraver
5679 \consists Vaticana_ligature_engraver
5680 NoteHead \set #'style = #'vaticana_punctum
5681 Stem \set #'transparent = ##t
5687 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5688 \include "gregorian-init.ly"
5690 \notes \transpose c c' {
5691 % Porrectus Deminutus
5692 \[ a \flexa g \pes \deminutum b \]
5699 \remove "Bar_number_engraver"
5703 \remove "Clef_engraver"
5704 \remove "Key_engraver"
5705 StaffSymbol \set #'transparent = ##t
5706 \remove "Time_signature_engraver"
5707 \remove "Bar_engraver"
5708 minimumVerticalExtent = ##f
5712 \remove Ligature_bracket_engraver
5713 \consists Vaticana_ligature_engraver
5714 NoteHead \set #'style = #'vaticana_punctum
5715 Stem \set #'transparent = ##t
5724 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5725 \include "gregorian-init.ly"
5727 \notes \transpose c c' {
5729 \[ \virga b \inclinatum a \inclinatum g \]
5736 \remove "Bar_number_engraver"
5740 \remove "Clef_engraver"
5741 \remove "Key_engraver"
5742 StaffSymbol \set #'transparent = ##t
5743 \remove "Time_signature_engraver"
5744 \remove "Bar_engraver"
5745 minimumVerticalExtent = ##f
5749 \remove Ligature_bracket_engraver
5750 \consists Vaticana_ligature_engraver
5751 NoteHead \set #'style = #'vaticana_punctum
5752 Stem \set #'transparent = ##t
5758 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5759 \include "gregorian-init.ly"
5761 \notes \transpose c c' {
5763 \[ \virga b \inclinatum a \inclinatum \auctum g \]
5770 \remove "Bar_number_engraver"
5774 \remove "Clef_engraver"
5775 \remove "Key_engraver"
5776 StaffSymbol \set #'transparent = ##t
5777 \remove "Time_signature_engraver"
5778 \remove "Bar_engraver"
5779 minimumVerticalExtent = ##f
5783 \remove Ligature_bracket_engraver
5784 \consists Vaticana_ligature_engraver
5785 NoteHead \set #'style = #'vaticana_punctum
5786 Stem \set #'transparent = ##t
5792 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5793 \include "gregorian-init.ly"
5795 \notes \transpose c c' {
5796 % Climacus Deminutus
5797 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
5804 \remove "Bar_number_engraver"
5808 \remove "Clef_engraver"
5809 \remove "Key_engraver"
5810 StaffSymbol \set #'transparent = ##t
5811 \remove "Time_signature_engraver"
5812 \remove "Bar_engraver"
5813 minimumVerticalExtent = ##f
5817 \remove Ligature_bracket_engraver
5818 \consists Vaticana_ligature_engraver
5819 NoteHead \set #'style = #'vaticana_punctum
5820 Stem \set #'transparent = ##t
5827 @code{14. Scandicus}
5829 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5830 \include "gregorian-init.ly"
5832 \notes \transpose c c' {
5834 \[ g \pes a \virga b \]
5841 \remove "Bar_number_engraver"
5845 \remove "Clef_engraver"
5846 \remove "Key_engraver"
5847 StaffSymbol \set #'transparent = ##t
5848 \remove "Time_signature_engraver"
5849 \remove "Bar_engraver"
5850 minimumVerticalExtent = ##f
5854 \remove Ligature_bracket_engraver
5855 \consists Vaticana_ligature_engraver
5856 NoteHead \set #'style = #'vaticana_punctum
5857 Stem \set #'transparent = ##t
5863 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5864 \include "gregorian-init.ly"
5866 \notes \transpose c c' {
5867 % Scandicus Auctus Descendens
5868 \[ g \pes a \pes \auctum \descendens b \]
5875 \remove "Bar_number_engraver"
5879 \remove "Clef_engraver"
5880 \remove "Key_engraver"
5881 StaffSymbol \set #'transparent = ##t
5882 \remove "Time_signature_engraver"
5883 \remove "Bar_engraver"
5884 minimumVerticalExtent = ##f
5888 \remove Ligature_bracket_engraver
5889 \consists Vaticana_ligature_engraver
5890 NoteHead \set #'style = #'vaticana_punctum
5891 Stem \set #'transparent = ##t
5897 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5898 \include "gregorian-init.ly"
5900 \notes \transpose c c' {
5901 % Scandicus Deminutus
5902 \[ g \pes a \pes \deminutum b \]
5909 \remove "Bar_number_engraver"
5913 \remove "Clef_engraver"
5914 \remove "Key_engraver"
5915 StaffSymbol \set #'transparent = ##t
5916 \remove "Time_signature_engraver"
5917 \remove "Bar_engraver"
5918 minimumVerticalExtent = ##f
5922 \remove Ligature_bracket_engraver
5923 \consists Vaticana_ligature_engraver
5924 NoteHead \set #'style = #'vaticana_punctum
5925 Stem \set #'transparent = ##t
5934 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5935 \include "gregorian-init.ly"
5937 \notes \transpose c c' {
5939 \[ g \oriscus a \pes \virga b \]
5946 \remove "Bar_number_engraver"
5950 \remove "Clef_engraver"
5951 \remove "Key_engraver"
5952 StaffSymbol \set #'transparent = ##t
5953 \remove "Time_signature_engraver"
5954 \remove "Bar_engraver"
5955 minimumVerticalExtent = ##f
5959 \remove Ligature_bracket_engraver
5960 \consists Vaticana_ligature_engraver
5961 NoteHead \set #'style = #'vaticana_punctum
5962 Stem \set #'transparent = ##t
5968 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5969 \include "gregorian-init.ly"
5971 \notes \transpose c c' {
5972 % Salicus Auctus Descendens
5973 \[ g \oriscus a \pes \auctum \descendens b \]
5980 \remove "Bar_number_engraver"
5984 \remove "Clef_engraver"
5985 \remove "Key_engraver"
5986 StaffSymbol \set #'transparent = ##t
5987 \remove "Time_signature_engraver"
5988 \remove "Bar_engraver"
5989 minimumVerticalExtent = ##f
5993 \remove Ligature_bracket_engraver
5994 \consists Vaticana_ligature_engraver
5995 NoteHead \set #'style = #'vaticana_punctum
5996 Stem \set #'transparent = ##t
6006 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6007 \include "gregorian-init.ly"
6009 \notes \transpose c c' {
6011 \[ \stropha b \stropha b \stropha a \]
6018 \remove "Bar_number_engraver"
6022 \remove "Clef_engraver"
6023 \remove "Key_engraver"
6024 StaffSymbol \set #'transparent = ##t
6025 \remove "Time_signature_engraver"
6026 \remove "Bar_engraver"
6027 minimumVerticalExtent = ##f
6031 \remove Ligature_bracket_engraver
6032 \consists Vaticana_ligature_engraver
6033 NoteHead \set #'style = #'vaticana_punctum
6034 Stem \set #'transparent = ##t
6045 Unlike most other neumes notation systems, the input language for
6046 neumes does not necessarily reflect directly the typographical
6047 appearance, but is designed to solely focuse on musical meaning. For
6048 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6049 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6050 a torculus with a curved flexa shape and only a single Punctum head.
6051 There is no command to explicitly typeset the curved flexa shape; the
6052 decision of when to typeset a curved flexa shape is purely taken from
6053 the musical input. The idea of this approach is to separate the
6054 musical aspects of the input from the notation style of the output.
6055 This way, the same input can be reused to typeset the same music in a
6056 different style of Gregorian chant notation such as Hufnagel (also
6057 known as German gothic neumes) or Medicaea (kind of a very simple
6058 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6059 engraver and Medicaea ligature engraver will have been implemented, it
6060 will be as simple as replacing the ligature engraver in the
6061 VoiceContext to get the desired notation style from the same input.
6063 The following table shows the code fragments that produce the
6064 ligatures in the above neumes table. The letter in the first column
6065 in each line of the below table indicates to which ligature in the
6066 above table it refers. The second column gives the name of the
6067 ligature. The third column shows the code fragment that produces this
6068 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6070 @multitable @columnfractions .1 .4 .5
6084 Punctum Inclinatum @tab
6085 @code{\[ \inclinatum b \]}
6089 Punctum Auctum Ascendens @tab
6090 @code{\[ \auctum \ascendens b \]}
6094 Punctum Auctum Descendens @tab
6095 @code{\[ \auctum \descendens b \]}
6099 Punctum Inclinatum Auctum @tab
6100 @code{\[ \inclinatum \auctum b \]}
6104 Punctum Inclinatum Parvum @tab
6105 @code{\[ \inclinatum \deminutum b \]}
6110 @code{\[ \virga b \]}
6115 @code{\[ \stropha b \]}
6120 @code{\[ \stropha \auctum b \]}
6125 @code{\[ \oriscus b \]}
6129 Clivis vel Flexa @tab
6130 @code{\[ b \flexa g \]}
6134 Clivis Aucta Descendens @tab
6135 @code{\[ b \flexa \auctum \descendens g \]}
6139 Clivis Aucta Ascendens @tab
6140 @code{\[ b \flexa \auctum \ascendens g \]}
6145 @code{\[ b \flexa \deminutum g \]}
6149 Podatus vel Pes @tab
6150 @code{\[ g \pes b \]}
6154 Pes Auctus Descendens @tab
6155 @code{\[ g \pes \auctum \descendens b \]}
6159 Pes Auctus Ascendens @tab
6160 @code{\[ g \pes \auctum \ascendens b \]}
6165 @code{\[ g \pes \deminutum b \]}
6170 @code{\[ \oriscus g \pes \virga b \]}
6174 Pes Quassus Auctus Descendens @tab
6175 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6180 @code{\[ \quilisma g \pes b \]}
6184 Quilisma Pes Auctus Descendens @tab
6185 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6189 Pes Initio Debilis @tab
6190 @code{\[ \deminutum g \pes b \]}
6194 Pes Auctus Descendens Initio Debilis @tab
6195 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6200 @code{\[ a \pes b \flexa g \]}
6204 Torculus Auctus Descendens @tab
6205 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6209 Torculus Deminutus @tab
6210 @code{\[ a \pes b \flexa \deminutum g \]}
6214 Torculus Initio Debilis @tab
6215 @code{\[ \deminutum a \pes b \flexa g \]}
6219 Torculus Auctus Descendens Initio Debilis @tab
6220 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6224 Torculus Deminutus Initio Debilis @tab
6225 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6230 @code{\[ a \flexa g \pes b \]}
6234 Porrectus Auctus Descendens @tab
6235 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6239 Porrectus Deminutus @tab
6240 @code{\[ a \flexa g \pes \deminutum b \]}
6245 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6249 Climacus Auctus @tab
6250 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6254 Climacus Deminutus @tab
6255 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6260 @code{\[ g \pes a \virga b \]}
6264 Scandicus Auctus Descendens @tab
6265 @code{\[ g \pes a \pes \auctum \descendens b \]}
6269 Scandicus Deminutus @tab
6270 @code{\[ g \pes a \pes \deminutum b \]}
6275 @code{\[ g \oriscus a \pes \virga b \]}
6279 Salicus Auctus Descendens @tab
6280 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6285 @code{\[ \stropha b \stropha b \stropha a \]}
6291 Use special heads for lower/upper head of Pes only when heads are
6294 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6295 Semivocalis head; this looks awful.
6297 Trigonus: apply equal spacing, regardless of pitch.
6300 @subsection Figured bass
6302 @cindex Basso continuo
6304 @c TODO: musicological blurb about FB
6308 LilyPond has limited support for figured bass:
6310 @lilypond[verbatim,fragment]
6312 \context Voice \notes { \clef bass dis4 c d ais}
6313 \context FiguredBass
6315 < 6 >4 < 7 >8 < 6+ [_!] >
6321 The support for figured bass consists of two parts: there is an input
6322 mode, introduced by @code{\figures}, where you can enter bass figures
6323 as numbers, and there is a context called @internalsref{FiguredBass}
6324 that takes care of making @internalsref{BassFigure} objects.
6326 In figures input mode, a group of bass figures is delimited by
6327 @code{<} and @code{>}. The duration is entered after the @code{>}.
6332 \context FiguredBass
6336 Accidentals are added to the numbers if you alterate them by
6337 appending @code{-}, @code{!} and @code{+}.
6343 \context FiguredBass
6344 \figures { <4- 6+ 7!> }
6347 Spaces or dashes may be inserted by using @code{_}. Brackets are
6348 introduced with @code{[} and @code{]}.
6354 \context FiguredBass
6355 \figures { < [4 6] 8 [_ 12]> }
6358 Although the support for figured bass may superficially resemble chord
6359 support, it works much simpler. The @code{\figures} mode simply
6360 stores the numbers , and @internalsref{FiguredBass} context prints
6361 them as entered. There is no conversion to pitches, and no
6362 realizations of the bass are played in the MIDI file.
6364 Internally, the code produces markup texts. You can use any of the
6365 markup text properties to override formatting. For example, the
6366 vertical spacing of the figures may be set with @code{baseline-skip}.
6370 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
6371 @internalsref{FiguredBass} context
6375 Slash notation for alterations is not supported.
6378 @node Contemporary notation
6379 @section Contemporary notation
6381 In the 20th century, composers have greatly expanded the musical
6382 vocabulary. With this expansion, many innovations in musical notation
6383 have been tried. For a comprehensive overview, refer to @cite{Stone
6384 1980} (see @ref{Literature}). In general, the use of new, innovative
6385 notation makes a piece harder to understand and perform and its use
6386 should therefore be avoided if possible. For this reason, support for
6387 contemporary notation in LilyPond is limited.
6396 @subsection Clusters
6400 In musical terminology, a @emph{cluster} denotes a range of
6401 simultaneously sounding pitches that may change over time. The set of
6402 available pitches to apply usually depends on the accoustic source.
6403 Thus, in piano music, a cluster typically consists of a continous range
6404 of the semitones as provided by the piano's fixed set of a chromatic
6405 scale. In choral music, each singer of the choir typically may sing an
6406 arbitrary pitch within the cluster's range that is not bound to any
6407 diatonic, chromatic or other scale. In electronic music, a cluster
6408 (theoretically) may even cover a continuous range of pitches, thus
6409 resulting in coloured noise, such as pink noise.
6411 Clusters can be denoted in the context of ordinary staff notation by
6412 engraving simple geometrical shapes that replace ordinary notation of
6413 notes. Ordinary notes as musical events specify starting time and
6414 duration of pitches; however, the duration of a note is expressed by the
6415 shape of the note head rather than by the horizontal graphical extent of
6416 the note symbol. In contrast, the shape of a cluster geometrically
6417 describes the development of a range of pitches (vertical extent) over
6418 time (horizontal extent). Still, the geometrical shape of a cluster
6419 covers the area in wich any single pitch contained in the cluster would
6420 be notated as an ordinary note. From this point of view, it is
6421 reasonable to specify a cluster as the envelope of a set of notes.
6425 A cluster is engraved as the envelope of a set of notes. The starting
6426 note is marked with @code{\startCluster}, and the ending note with
6427 @code{\stopCluster}, e.g.,
6435 The following example (from
6436 @inputfileref{input/regression,cluster.ly}) shows what the result
6439 @lilypondfile[notexidoc]{cluster.ly}
6441 By default, @internalsref{Cluster_engraver} is in the
6442 @internalsref{Voice} context. This allows putting ordinary notes and
6443 clusters together in the same staff, even simultaneously. In such a
6444 case no attempt is made to automatically avoid collisions between
6445 ordinary notes and clusters.
6449 @internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
6450 @internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
6454 When a cluster is active, note heads must be switched off manually using
6457 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
6458 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
6463 @subsection Fermatas
6469 Contemporary music notation frequently uses special fermata symbols to
6470 indicate fermatas of differing lengths.
6474 The following are supported
6476 @lilypond[singleline]
6499 \context Lyrics \lyrics {
6500 "shortfermata" "fermata" "longfermata" "verylongfermata"
6505 See @ref{Articulations} for general instructions how to apply scripts
6506 such as fermatas to a @code{\notes@{@}} block.
6509 @section Tuning output
6511 There are situations where default layout decisions are not
6512 sufficient. In this section we discuss ways to override these
6515 Formatting is internally done by manipulating so called objects (graphic
6516 objects). Each object carries with it a set of properties (object
6517 properties) specific to that object. For example, a stem object has
6518 properties that specify its direction, length and thickness.
6520 The most direct way of tuning the output is by altering the values of
6521 these properties. There are two ways of doing that: first, you can
6522 temporarily change the definition of one type of object, thus
6523 affecting a whole set of objects. Second, you can select one specific
6524 object, and set a object property in that object.
6534 @node Tuning objects
6535 @subsection Tuning objects
6537 @cindex object description
6539 The definition of an object is actually a list of default object
6540 properties. For example, the definition of the Stem object (available
6541 in @file{scm/grob-description.scm}), includes the following definitions for
6546 (beamed-lengths . (0.0 2.5 2.0 1.5))
6547 (Y-extent-callback . ,Stem::height)
6552 By adding variables on top of these existing definitions, the system
6553 defaults is overriden, and the appearance of a graphical objects is
6559 Changing a variable for only one object is commonly achieved with
6563 \once \property @var{context}.@var{grobname}
6564 \override @var{symbol} = @var{value}
6566 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
6567 and @var{grobname} is a string and @var{value} is a Scheme expression.
6568 This command applies a setting only during one moment in the score.
6570 In the following example, only one @internalsref{Stem} object is
6571 changed from its original setting:
6573 @lilypond[verbatim, fragment, relative=1]
6575 \once \property Voice.Stem \set #'thickness = #4
6579 @cindex @code{\once}
6581 For changing more objects, the same command, without @code{\once} can
6584 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
6586 This command adds @code{@var{symbol} = @var{value}} to the definition
6587 of @var{grobname} in the context @var{context}, and this definition
6588 stays in place until it is removed.
6590 An existing definition may be removed by the following command
6593 \property @var{context}.@var{grobname} \revert @var{symbol}
6596 All @code{\override} and @code{\revert} commands should be balanced.
6597 The @code{\set} shorthand, performs a revert followed by an override,
6598 and is often more convenient to use
6601 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
6605 @lilypond[verbatim,quote]
6606 c'4 \property Voice.Stem \override #'thickness = #4.0
6608 c'4 \property Voice.Stem \revert #'thickness
6612 The following example gives exactly the same result as the previous
6613 one (assuming the system default for stem thickness is 1.3).
6615 @lilypond[verbatim,quote]
6616 c'4 \property Voice.Stem \set #'thickness = #4.0
6618 c'4 \property Voice.Stem \set #'thickness = #1.3
6622 Reverting a setting which was not set in the first place has no
6623 effect. However, if the setting was set as a system default, this may
6624 remove the default value, and this may give surprising results,
6625 including crashes. In other words, @code{\override} and
6626 @code{\revert} must be carefully balanced.
6628 These are examples of correct nesting of @code{\override}, @code{\set},
6631 A clumsy but correct form:
6633 \override \revert \override \revert \override \revert
6636 Shorter version of the same:
6638 \override \set \set \revert
6641 A short form, using only @code{\set}. This requires you to know the
6644 \set \set \set \set @var{to default value}
6647 If there is no default (i.e. by default, the object property is unset),
6650 \set \set \set \revert
6653 For the digirati, the object description is an Scheme association
6654 list. Since a Scheme list is a singly linked list, we can treat it as
6655 a stack, and @code{\override} and @code{\revert} are push and pop
6656 operations. The association list is stored in a normal context
6659 \property Voice.NoteHead = #'()
6661 will effectively erase @internalsref{NoteHead}s from the current
6662 @internalsref{Voice}. However, this mechanism is not guaranteed to
6663 work, and may cause crashes or other anomalous behavior.
6667 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
6668 @internalsref{PropertySet}, @internalsref{backend properties},
6669 @internalsref{All Graphical Objects}.
6674 The backend is not very strict in type-checking object properties.
6675 Cyclic references in @var{value} cause hangs and/or crashes.
6676 Similarly, reverting properties that are system defaults may also lead
6681 @subsection Applyoutput
6683 The most versatile way of tuning object is @code{\applyoutput}. Its
6686 \applyoutput @var{proc}
6688 where @var{proc} is a Scheme function, taking four arguments.
6690 When interpreted, the function @var{proc} is called for every grob found
6691 in the context, with the following arguments:
6693 @item the grob itself
6694 @item the context where the grob was created
6695 @item the context where @code{\applyoutput} is processed.
6698 In addition, the cause of the grob, i.e. the music expression or object
6699 that was responsible for creating the object, is in the object property
6700 @code{cause}. For example, for a note head, this is a
6701 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
6702 this is a @internalsref{NoteHead} object.
6705 @node Outputproperty
6706 @subsection Outputproperty
6708 @cindex \outputproperty
6710 Another way of tuning objects is the more arcane @code{\outputproperty}
6711 feature. The syntax is as follows:
6713 \outputproperty @var{predicate} @var{symbol} = @var{value}
6715 Here @code{predicate} is a Scheme function taking an object argument, and
6716 returning a boolean. This statement is processed by the
6717 @code{Output_property_engraver}. It instructs the engraver to feed all
6718 objects that it sees to @var{predicate}. Whenever the predicate returns
6719 true, the object property @var{symbol} will be set to @var{value}.
6721 You will need to combine this statement with @code{\context} to select
6722 the appropriate context to apply this to.
6723 @inputfileref{input/regression,output-property.ly} shows an example of
6724 the use of @code{\outputproperty}.
6728 If possible, avoid this feature: the semantics are not very clean, and
6729 the syntax and semantics are up for rewrite.
6732 @node Font selection
6733 @subsection Font selection
6735 The most common thing to change about the appearance of fonts is
6736 their size. The font size of any context can be easily
6737 changed by setting the @code{fontSize} property for that context:
6739 @lilypond[fragment,relative=1,verbatim,quote]
6740 c4 c4 \property Voice.fontSize = #-1
6743 This command will set @code{font-relative-size} (see below),
6744 and does not change the size of variable symbols, such as
6745 beams or slurs. You can use this command to get smaller symbol for
6746 cue notes, but that involves some more subtleties. An elaborate
6747 example of those is in @inputfileref{input/test,cue-notes.ly}.
6749 @cindex magnification
6751 The size of the font may be scaled with the object property
6752 @code{font-magnification}. For example, @code{2.0} blows up all
6753 letters by a factor 2 in both directions.
6762 The font used for printing a object can be selected by setting
6763 @code{font-name}, e.g.
6765 \property Staff.TimeSignature
6766 \set #'font-name = #"cmr17"
6768 You may use any font which is available to @TeX{}, such as foreign
6769 fonts or fonts that do not belong to the Computer Modern font family.
6771 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
6772 can also be adjusted with a more fine-grained mechanism. By setting
6773 the object properties described below, you can select a different font.
6774 All three mechanisms work for every object that supports
6775 @code{font-interface}.
6779 A symbol indicating the general class of the typeface. Supported are
6780 @code{roman} (Computer Modern), @code{braces} (for piano staff
6781 braces), @code{music} (the standard music font, including ancient
6782 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
6785 A symbol indicating the shape of the font, there are typically several
6786 font shapes available for each font family. Choices are @code{italic},
6787 @code{caps} and @code{upright}
6790 A symbol indicating the series of the font. There are typically several
6791 font series for each font family and shape. Choices are @code{medium}
6794 @item font-relative-size
6795 A number indicating the size relative the standard size. For example,
6796 with 20pt staff height, relative size -1 corresponds to 16pt staff
6797 height, and relative size +1 corresponds to 23 pt staff height.
6799 There are small differences in design between fonts designed for
6800 different sizes, hence @code{font-relative-size} is preferred over
6801 @code{font-magnification} for changing font sizes.
6804 @item font-design-size
6805 A number indicating the design size of the font.
6807 This is a feature of the Computer Modern Font: each point size has a
6808 slightly different design. Smaller design sizes are relatively wider,
6809 which enhances readability.
6812 For any of these properties, the value @code{*} (i.e. the symbol
6813 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
6814 to override default setting, which are always present. For example:
6816 \property Lyrics.LyricText \override #'font-series = #'bold
6817 \property Lyrics.LyricText \override #'font-family = #'typewriter
6818 \property Lyrics.LyricText \override #'font-shape = #'*
6821 @cindex @code{font-style}
6827 Relative size is not linked to any real size.
6829 There is no style sheet provided for other fonts besides the @TeX{}
6830 family, and the style sheet cannot be modified easily.
6832 @cindex font selection
6833 @cindex font magnification
6834 @cindex @code{font-interface}
6838 @subsection Text markup
6843 @cindex typeset text
6845 LilyPond has an internal mechanism to typeset texts. You can access it
6846 with the keyword @code{\markup}. Within markup mode, you can enter texts
6847 similar to lyrics: simply enter them, surrounded by spaces.
6850 @lilypond[verbatim,fragment,relative=1]
6851 c1^\markup { hello }
6852 c1_\markup { hi there }
6853 c1^\markup { hi \bold there, is \italic anyone home? }
6856 @cindex font switching
6858 The line of the example demonstrates font switching commands. The
6859 command only apply to the first following word; enclose a set of texts
6860 with braces to apply a command to more words.
6862 \markup @{ \bold @{ hi there @} @}
6864 For clarity, you can also do this for single arguments, e.g.
6866 \markup @{ is \italic @{ anyone @} home @}
6869 @cindex font size, texts
6871 The following size commands set abolute sizes
6887 You can also make letter larger or smaller relative to their neighbors,
6888 with the commands @code{\larger} and @code{\smaller}.
6892 @cindex font style, for texts
6898 The following font change commands are defined:
6901 This changes to the font used for dynamic signs. This font does not
6902 contain all characters of the alphabet, so when producing ``piu f'',
6903 the ``piu'' should be done in a different font.
6907 This changes to the font used for time signatures. It only contains
6908 numbers and a few punctuation marks.
6910 Changes @code{font-shape} to @code{italic}
6912 Changes @code{font-series} to @code{bold}
6915 @cindex raising text
6916 @cindex lowering text
6918 @cindex translating text
6923 Raising and lowering texts can be done with @code{\super} and
6926 @lilypond[verbatim,fragment,relative=1]
6927 c1^\markup { E "=" mc \super "2" }
6932 If you want to give an explicit amount for lowering or raising, use
6933 @code{\raise}. This command takes a Scheme valued first argument, and
6934 a markup object as second argument
6936 @lilypond[verbatim,fragment,relative=1,quote]
6937 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
6939 The argument to @code{\raise} is the vertical displacement amount,
6940 measured in (global) staff spaces.
6942 Other commands taking single arguments include
6945 @item \bracket, \hbracket
6946 Bracket the argument markup with normal and horizontal brackets
6951 This is converted to a musical symbol, e.g. @code{\musicglyph
6952 #"accidentals-0"} will select the natural sign from the music font.
6953 See @ref{The Feta font} for a complete listing of the possible glyphs.
6955 This produces a single character, e.g. @code{\char #65} produces the
6958 @item \hspace #@var{amount}
6960 This produces a invisible object taking horizontal space.
6962 \markup @{ A \hspace #2.0 B @}
6964 will put extra space between A and B, on top of the space that is
6965 normally inserted before elements on a line.
6967 @item \fontsize #@var{size}
6969 This sets the relative font size, eg.
6971 A \fontsize #2 @{ B C @} D
6975 This will enlarge the B and the C by two steps.
6976 @item \translate #(cons @var{x} @var{y})
6978 This translates an object. Its first argument is a cons of numbers
6980 A \translate #(cons 2 -3) @{ B C @} D
6982 This moves `B C' 2 spaces to the right, and 3 down.
6984 @item \magnify #@var{mag}
6986 This sets the font magnification for the its argument. In the following
6987 example, the middle A will be 10% larger.
6989 A \magnify #1.1 @{ A @} A
6993 @item \override #(@var{key} . @var{value})
6995 This overrides a formatting property for its argument. The argument
6996 should be a key/value pair, e.g.
6998 m \override #'(font-family . math) m m
7002 In markup mode you can compose expressions, similar to mathematical
7003 expressions, XML documents and music expressions. The braces group
7004 notes into horizontal lines. Other types of lists also exist: you can
7005 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7006 the command @code{\column}. Similarly, @code{\center} aligns texts by
7009 @lilypond[verbatim,fragment,relative=1]
7010 c1^\markup { \column << a bbbb c >> }
7011 c1^\markup { \center << a bbbb c >> }
7012 c1^\markup { \line << a b c >> }
7015 The markup mechanism is extensible. Refer to
7016 @file{scm/new-markup.scm} for more information on extending the markup
7023 @internalsref{Markup functions}, @file{scm/new-markup.scm}
7030 Text layout is ultimately done by @TeX{}, which does kerning of
7031 letters. LilyPond does not account for kerning, so texts will be
7032 spaced slightly too wide.
7034 Syntax errors for markup mode are confusing.
7038 @section Global layout
7040 The global layout determined by three factors: the page layout, the
7041 line breaks and the spacing. These all influence each other. The
7042 choice of spacing determines how densely each system of music is set,
7043 which influences where line breaks breaks are chosen, and thus
7044 ultimately how many pages a piece of music takes. In this section, the
7045 algorithm for spacing music is explained, and how spacing can be
7048 Globally spoken, this procedure happens in three steps: first,
7049 flexible distances (``springs'') are chosen, based on durations. All
7050 possible line breaking combination are tried, and the one with the
7051 best results---a layout that has uniform density and requires as
7052 little stretching or cramping as possible---is chosen. When the score
7053 is processed by @TeX{}, each page is filled with systems, and page breaks
7054 are chosen whenever the page gets full.
7059 * Vertical spacing::
7060 * Horizontal spacing::
7067 @node Vertical spacing
7068 @subsection Vertical spacing
7070 @cindex vertical spacing
7071 @cindex distance between staves
7072 @cindex staff distance
7073 @cindex between staves, distance
7074 @cindex staffs per page
7077 The height of each system is determined automatically by lilypond, to
7078 keep systems from bumping into each other, some minimum distances are
7079 set. By changing these, you can put staves closer together, and thus
7080 put more systems onto one page.
7082 Normally staves are stacked vertically. To make
7083 staves maintain a distance, their vertical size is padded. This is
7084 done with the property @code{minimumVerticalExtent}. It takes a pair
7085 of numbers, so if you want to make it smaller from its, then you could
7088 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7090 This sets the vertical size of the current staff to 4 staff-space on
7091 either side of the center staff line. The argument of
7092 @code{minimumVerticalExtent} is interpreted as an interval, where the
7093 center line is the 0, so the first number is generally negative. The
7094 staff can be made larger at the bottom by setting it to @code{(-6
7097 The piano staves are handled a little differently: to make cross-staff
7098 beaming work correctly, it necessary that the distance between staves
7099 is fixed beforehand. This is also done with a
7100 @internalsref{VerticalAlignment} object, created in
7101 @internalsref{PianoStaff}. In this object the distance between the
7102 staves is fixed by setting @code{forced-distance}. If you want to
7103 override this, use a @code{\translator} block as follows:
7107 VerticalAlignment \override #'forced-distance = #9
7110 This would bring the staves together at a distance of 9 staff spaces,
7111 measured from the center line of each staff.
7115 Vertical aligment of staves is handled by the
7116 @internalsref{VerticalAlignment} object.
7120 @node Horizontal spacing
7121 @subsection Horizontal Spacing
7123 The spacing engine translates differences in durations into
7124 stretchable distances (``springs'') of differing lengths. Longer
7125 durations get more space, shorter durations get less. The shortest
7126 durations get a fixed amount of space (which is controlled by
7127 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
7128 object). The longer the duration, the more space it gets: doubling a
7129 duration adds a fixed amount (this amount is controlled by
7130 @code{spacing-increment}) of space to the note.
7132 For example, the following piece contains lots of half, quarter and
7133 8th notes, the eighth note is followed by 1 note head width (NHW).
7134 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
7135 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
7139 Normally, @code{shortest-duration-space} is set to 1.2, which is the
7140 width of a note head, and @code{shortest-duration-space} is set to
7141 2.0, meaning that the shortest note gets 2 NHW (2 times
7142 @code{shortest-duration-space}) of space. For normal notes, this space
7143 is always counted from the left edge of the symbol, so the shortest
7144 notes are generally followed by one NHW of space.
7146 If one would follow the above procedure exactly, then adding a single
7147 32th note to a score that uses 8th and 16th notes, would widen up the
7148 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
7149 thus adding 2 noteheads of space to every note. To prevent this, the
7150 shortest duration for spacing is not the shortest note in the score,
7151 but the most commonly found shortest note. Notes that are even
7152 shorter this are followed by a space that is proportonial to their
7153 duration relative to the common shortest note. So if we were to add
7154 only a few 16th notes to the example above, they would be followed by
7157 @lilypond[fragment, verbatim, relative=2]
7158 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
7161 The most common shortest duration is determined as follows: in every
7162 measure, the shortest duration is determined. The most common short
7163 duration, is taken as the basis for the spacing, with the stipulation
7164 that this shortest duration should always be equal to or shorter than
7165 1/8th note. The shortest duration is printed when you run lilypond
7166 with @code{--verbose}. These durations may also be customized. If you
7167 set the @code{common-shortest-duration} in
7168 @internalsref{SpacingSpanner}, then this sets the base duration for
7169 spacing. The maximum duration for this base (normally 1/8th), is set
7170 through @code{base-shortest-duration}.
7172 @cindex @code{common-shortest-duration}
7173 @cindex @code{base-shortest-duration}
7174 @cindex @code{stem-spacing-correction}
7175 @cindex @code{spacing}
7177 In the introduction it was explained that stem directions influence
7178 spacing. This is controlled with @code{stem-spacing-correction}
7179 property in @internalsref{NoteSpacing}, which are generated for every
7180 @internalsref{Voice} context. The @code{StaffSpacing} object
7181 (generated at @internalsref{Staff} context) contains the same property
7182 for controlling the stem/barline spacing. The following example
7183 shows these corrections, once with default settings, and once with
7184 exaggerated corrections.
7190 \property Staff.NoteSpacing \override #'stem-spacing-correction
7192 \property Staff.StaffSpacing \override #'stem-spacing-correction
7197 \paper { raggedright = ##t } }
7200 @cindex SpacingSpanner, overriding properties
7202 Properties of the @internalsref{SpacingSpanner} must be overriden
7203 from the @code{\paper} block, since the @internalsref{SpacingSpanner}
7204 is created before any @code{\property} statements are interpreted.
7206 \paper @{ \translator @{
7208 SpacingSpanner \override #'spacing-increment = #3.0
7215 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
7216 @internalsref{StaffSpacing}, @internalsref{SeparationItem},
7217 @internalsref{SeparatingGroupSpanner}.
7221 Spacing is determined on a score wide basis. If you have a score that
7222 changes its character (measured in durations) halfway during the
7223 score, the part containing the longer durations will be spaced too
7226 There is no convenient mechanism to manually override spacing.
7231 @subsection Font size
7232 @cindex font size, setting
7233 @cindex staff size, setting
7234 @cindex @code{paper} file
7236 The Feta font provides musical symbols at seven different sizes.
7237 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
7238 26 point. The point size of a font is the height of the corresponding
7239 staff (excluding line thicknesses).
7241 Definitions for these sizes are the files @file{paperSZ.ly}, where
7242 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
7243 of these files, the variables @code{paperEleven},
7244 @code{paperThirteen}, @code{paperSixteen},
7245 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
7246 are defined respectively. The default @code{\paper} block is also
7247 set. These files should be imported at toplevel, i.e.
7249 \include "paper26.ly"
7253 The font definitions are generated using a Scheme function. For more
7254 details, see the file @file{scm/font.scm}.
7259 @subsection Line breaking
7262 @cindex breaking lines
7264 Line breaks are normally computed automatically. They are chosen such
7265 that lines look neither cramped nor loose, and that consecutive lines
7266 have similar density.
7268 Occasionally you might want to override the automatic breaks; you can
7269 do this by specifying @code{\break}. This will force a line break at
7270 this point. Line breaks can only occur at places where there are bar
7271 lines. If you want to have a line break where there is no bar line,
7272 you can force an invisible bar line by entering @code{\bar
7273 ""}. Similarly, @code{\noBreak} forbids a line break at a
7277 @cindex regular line breaks
7278 @cindex four bar music.
7280 If you want linebreaks at regular intervals, you can use the following:
7282 < \repeat unfold 7 @{ s1 * 4 \break @}
7283 @emph{the real music}
7286 This makes the following 28 measures (assuming 4/4 time) be broken every
7291 @internalsref{BreakEvent}
7295 @subsection Page layout
7298 @cindex breaking pages
7300 @cindex @code{indent}
7301 @cindex @code{linewidth}
7303 The most basic settings influencing the spacing are @code{indent} and
7304 @code{linewidth}. They are set in the @code{\paper} block. They
7305 control the indentation of the first line of music, and the lengths of
7308 If @code{raggedright} is set to true in the @code{\paper}
7309 block, then the lines are justified at their natural length. This
7310 useful for short fragments, and for checking how tight the natural
7314 @cindex vertical spacing
7316 The page layout process happens outside the LilyPond formatting
7317 engine: variables controlling page layout are passed to the output,
7318 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
7319 to the following variables in the @code{\paper} block. The variable
7320 @code{textheight} sets the total height of the music on each page.
7321 The spacing between systems is controlled with @code{interscoreline},
7322 its default is 16pt. The distance between the score lines will
7323 stretch in order to fill the full page @code{interscorelinefill} is
7324 set to a positive number. In that case @code{interscoreline}
7325 specifies the minimum spacing.
7327 @cindex @code{textheight}
7328 @cindex @code{interscoreline}
7329 @cindex @code{interscorelinefill}
7331 If the variable @code{lastpagefill} is defined,
7332 @c fixme: this should only be done if lastpagefill == #t
7333 systems are evenly distributed vertically on the last page. This
7334 might produce ugly results in case there are not enough systems on the
7335 last page. The @command{lilypond-book} command ignores
7336 @code{lastpagefill}. See @ref{lilypond-book manual} for more
7339 @cindex @code{lastpagefill}
7341 Page breaks are normally computed by @TeX{}, so they are not under
7342 direct control of LilyPond. However, you can insert a commands into
7343 the @file{.tex} output to instruct @TeX{} where to break pages. This
7344 is done by setting the @code{between-systems-strings} on the
7345 @internalsref{NonMusicalPaperColumn} where the system is broken.
7346 An example is shown in @inputfileref{input/regression,between-systems.ly}.
7350 @cindex @code{papersize}
7352 To change the paper size, you must first set the
7353 @code{papersize} paper variable variable. Set it to
7354 the strings @code{a4}, @code{letter}, or @code{legal}. After this
7355 specification, you must set the font as described above. If you want
7356 the default font, then use the 20 point font.
7359 \paper@{ papersize = "a4" @}
7360 \include "paper16.ly"
7363 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
7364 will set the paper variables @code{hsize} and @code{vsize} (used by
7365 Lilypond and @code{ly2dvi})
7370 @ref{Invoking ly2dvi},
7371 @inputfileref{input/regression,between-systems.ly},
7372 @internalsref{NonMusicalPaperColumn}.
7376 There is no concept of page breaking, which makes it difficult to
7377 choose sensible page breaks in multi-page pieces.
7386 Entered music can also be converted to MIDI output. The performance
7387 is good enough for proof-hearing the music for errors.
7389 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7390 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7391 marks translate to a fixed fraction of the available MIDI volume
7392 range, crescendi and decrescendi make the volume vary linearly between
7393 their two extremities. The fractions be adjusted by
7394 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7395 For each type of MIDI instrument, a volume range can be defined. This
7396 gives you basic equalizer control, which can enhance the quality of
7397 the MIDI output remarkably. The equalizer can be controlled by
7398 setting @code{instrumentEqualizer}.
7402 Many musically interesting effects, such as swing, articulation,
7403 slurring, etc., are not translated to MIDI.
7408 * MIDI instrument names::
7413 @subsection MIDI block
7417 The MIDI block is analogous to the paper block, but it is somewhat
7418 simpler. The @code{\midi} block can contain:
7422 @item a @code{\tempo} definition
7423 @item context definitions
7426 Assignments in the @code{\midi} block are not allowed.
7430 @cindex context definition
7432 Context definitions follow precisely the same syntax as within the
7433 \paper block. Translation modules for sound are called performers.
7434 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7437 @node MIDI instrument names
7438 @subsection MIDI instrument names
7440 @cindex instrument names
7441 @cindex @code{Staff.midiInstrument}
7442 @cindex @code{Staff.instrument}
7444 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7445 property or, if that property is not set, the @code{Staff.instrument}
7446 property. The instrument name should be chosen from the list in
7447 @ref{MIDI instruments}.
7451 If the selected string does not exactly match, then LilyPond uses the
7452 default (Grand Piano). It is not possible to select an instrument by