3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads ::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
179 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
181 @node Chromatic alterations
182 @subsection Chromatic alterations
184 Normally accidentals are printed automatically, but you may also
185 print them manually. A reminder accidental
186 @cindex reminder accidental
188 can be forced by adding an exclamation mark @code{!}
189 after the pitch. A cautionary accidental
190 @cindex cautionary accidental
191 @cindex parenthesized accidental
192 (an accidental within parentheses) can be obtained by adding the
193 question mark `@code{?}' after the pitch:
195 @lilypond[fragment,verbatim]
196 cis' cis' cis'! cis'?
200 The automatic production of accidentals can be tuned in many
201 ways. For more information, refer to @ref{Accidentals}.
206 A chord is formed by a enclosing a set of pitches in @code{<} and
207 @code{>}. A chord may be followed by a duration, and a set of
208 articulations, just like simple notes.
218 Rests are entered like notes, with the note name @code{r}:
220 @lilypond[singleline,verbatim]
224 Whole bar rests, centered in middle of the bar,
225 must be done with multi measure rests. They are discussed in
226 @ref{Multi measure rests}.
229 A rest's vertical position may be explicitly specified by entering a
230 note with the @code{\rest} keyword appended. This makes manual
231 formatting in polyphonic music easier. Rest collision testing will
232 leave these rests alone:
234 @lilypond[singleline,verbatim]
240 @internalsref{RestEvent}, and @internalsref{Rest}.
247 @cindex Invisible rest
250 An invisible rest (also called a `skip') can be entered like a note
251 with note name `@code{s}' or with @code{\skip @var{duration}}:
253 @lilypond[singleline,verbatim]
257 The @code{s} syntax is only available in Note mode and Chord mode. In
258 other situations, you should use the @code{\skip} command:
260 @lilypond[singleline,verbatim]
263 { \time 4/8 \skip 2 \time 4/4 }
264 \notes\relative c'' { a2 a1 }
269 The skip command is merely an empty musical placeholder. It does not
270 produce any output, not even transparent output.
274 @internalsref{SkipEvent}.
279 @subsection Durations
285 In Note, Chord, and Lyrics mode, durations are designated by numbers
286 and dots: durations are entered as their reciprocal values. For example,
287 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
288 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
289 longer than a whole you must use variables:
291 @c FIXME: what is an identifier? I do not think it's been introduced yet.
292 @c and if it has, I obviously skipped that part. - Graham
296 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
298 r1 r2 r4 r8 r16 r32 r64 r64
303 \notes \relative c'' {
305 a1 a2 a4 a8 a16 a32 a64 a64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \remove "Clef_engraver"
313 \remove "Staff_symbol_engraver"
314 \remove "Time_signature_engraver"
315 \consists "Pitch_squash_engraver"
322 If the duration is omitted then it is set to the previously entered
323 duration. The default for the first note is a quarter note. The duration
324 can be followed by dots (`@code{.}') in order to obtain dotted note
328 @lilypond[fragment,verbatim,center]
329 a' b' c''8 b' a'4 a'4. b'4.. c'8.
334 You can alter the length of duration by a fraction @var{N/M}
335 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
336 will not affect the appearance of the notes or rests produced.
337 In the following example, the first three notes take up exactly two
339 @lilypond[fragment,relative 2,verbatim]
341 a4*2/3 gis4*2/3 a4*2/3
348 Dots are normally moved up to avoid staff lines, except in polyphonic
349 situations. The following commands may be used to force a particular
352 @cindex @code{\dotsUp}
354 @cindex @code{\dotsDown}
356 @cindex @code{\dotsBoth}
361 @internalsref{Dots}, and @internalsref{DotColumn}.
365 In dense chords, dots can overlap.
370 Whenever a note is found, a @internalsref{Stem} object is created
371 automatically. For whole notes and rests, they are also created but
376 @cindex @code{\stemUp}
378 @cindex @code{\stemDown}
380 @cindex @code{\stemBoth}
391 A tie connects two adjacent note heads of the same pitch. The tie in
392 effect extends the length of a note. Ties should not be confused with
393 slurs, which indicate articulation, or phrasing slurs, which indicate
394 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
396 @lilypond[fragment,verbatim,center]
397 e' ~ e' <c' e' g'> ~ <c' e' g'>
400 When a tie is applied to a chord, all note heads whose pitches match
401 are connected. When no note heads match, no ties will be created.
403 In its meaning a tie is just a way of extending a note duration, similar
404 to the augmentation dot; in the following example there are two ways of
405 notating exactly the same concept:
407 @lilypond[fragment, singleline,quote]
408 \time 3/4 c'2. c'2 ~ c'4
410 If you need to tie a lot of notes over bars, it may be easier to use automatic
411 note splitting (See @ref{Automatic note splitting}).
416 @cindex @code{\tieUp}
418 @cindex @code{\tieDown}
420 @cindex @code{\tieBoth}
422 @cindex @code{\tieDotted}
424 @cindex @code{\tieSolid}
429 @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 @internalsref{Tie}, and @ref{Automatic note splitting}.
433 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
436 For tying only a subset of the note heads of a pair of chords, see
437 @inputfileref{input/regression,tie-chord-partial.ly}.
442 Switching staves when a tie is active will not produce a slanted tie.
444 Formatting of ties is a difficult subject. The results are often not
454 @cindex @code{\times}
456 Tuplets are made out of a music expression by multiplying all durations
459 @cindex @code{\times}
461 \times @var{fraction} @var{musicexpr}
465 The duration of @var{musicexpr} will be multiplied by the fraction.
466 The fraction's denominator will be printed over the notes, optionally
467 with a bracket. The most common tuplet is the triplet in which 3
468 notes have the length of 2, so the notes are 2/3 of their written
471 @lilypond[fragment,verbatim,center]
472 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
475 The property @code{tupletSpannerDuration} specifies how long each
476 bracket should last. With this, you can make lots of tuplets while
477 typing @code{\times} only once, saving lots of typing. In the next
478 example, there are two triplets shown, while @code{\times} was only
481 @lilypond[fragment, relative, singleline, verbatim]
482 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
483 \times 2/3 { c'8 c c c c c }
486 The format of the number is determined by the property
487 @code{tupletNumberFormatFunction}. The default prints only the
488 denominator, but if it is set to the Scheme function
489 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
493 @cindex @code{tupletNumberFormatFunction}
494 @cindex tuplet formatting
499 @cindex @code{\tupletUp}
501 @cindex @code{\tupletDown}
503 @cindex @code{\tupletBoth}
508 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
512 Nested tuplets are not formatted automatically. In this case, outer
513 tuplet brackets should be moved manually.
515 @node Easy Notation note heads
516 @subsection Easy Notation note heads
518 @cindex easy notation
521 The `easy play' note head includes a note name inside the head. It is
522 used in music aimed at beginners:
524 @lilypond[singleline,verbatim,26pt]
526 \notes { c'2 e'4 f' | g'1 }
527 \paper { \translator { \EasyNotation } }
531 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
532 You probably will want to print it with magnification or a
533 large font size to make it more readable. To print with
534 magnification, you must create a DVI file (with @file{lilypond}) and
535 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
536 See the @code{dvips} documentation for more details. To print with a
537 larger font, see @ref{Font Size}.
543 If you view the result with Xdvi, then staff lines will show through
544 the letters. Printing the PostScript file obtained does produce the
548 @node Easier music entry
549 @section Easier music entry
552 When entering music it is easy to introduce errors. This section deals
553 with tricks and features of the input language that were added solely
554 to help entering music, and find and correct mistakes.
556 It is also possible to use external programs, for example GUI
557 interfaces, or MIDI transcription programs, to enter or edit
558 music. Refer to the website for more information. Finally, there are
559 tools make debugging easier, by linking the input file and the output
560 shown on screen. See @ref{Point and click} for more information.
567 * Skipping corrected music::
568 * Automatic note splitting ::
574 @node Relative octaves
575 @subsection Relative octaves
577 @cindex relative octave specification
579 Octaves are specified by adding @code{'} and @code{,} to pitch names.
580 When you copy existing music, it is easy to accidentally put a pitch
581 in the wrong octave and hard to find such an error. The relative
582 octave mode prevents these errors: a single error puts the rest of the
583 piece off by one octave:
585 @cindex @code{\relative}
587 \relative @var{startpitch} @var{musicexpr}
590 The octave of notes that appear in @var{musicexpr} are calculated as
591 follows: If no octave changing marks are used, the basic interval
592 between this and the last note is always taken to be a fourth or less
593 (; this distance is determined without regarding alterations: a
594 @code{fisis} following a @code{ceses} will be put above the
597 The octave changing marks @code{'} and @code{,} can be added to raise
598 or lower the pitch by an extra octave. Upon entering relative mode,
599 an absolute starting pitch must be specified that will act as the
600 predecessor of the first note of @var{musicexpr}.
602 Here is the relative mode shown in action:
603 @lilypond[fragment,singleline,verbatim,center]
609 Octave changing marks are used for intervals greater than a fourth:
610 @lilypond[fragment,verbatim,center]
615 If the preceding item is a chord, the first note of the chord is used
616 to determine the first note of the next chord:
618 @lilypond[fragment,verbatim,center]
625 @cindex @code{\notes}
627 The pitch after the @code{\relative} contains a note name. To parse
628 the pitch as a note name, you have to be in note mode, so there must
629 be a surrounding @code{\notes} keyword (which is not
632 The relative conversion will not affect @code{\transpose},
633 @code{\chords} or @code{\relative} sections in its argument. If you
634 want to use relative within transposed music, you must place an
635 additional @code{\relative} inside the @code{\transpose}.
638 @subsection Octave check
641 Octave checks make octave errors easier to correct.
647 This checks that @var{pitch} (without octave) yields @var{pitch} (with
648 octave) in \relative mode. If not, a warning is printed, and the
649 octave is corrected, for example, the first check is passed
650 successfully. The second check fails with an error message. The
651 octave is adjusted so the following notes are in the correct octave
662 The octave of a note following an octave check is determined with
663 respect to the note preceding it. In the next fragment, the last note
664 is a @code{a'}, above central C. Hence, the @code{\octave} check may
665 be deleted without changing the meaning of the piece.
667 @lilypond[verbatim,fragment]
678 @subsection Bar check
682 @cindex @code{barCheckSynchronize}
685 Bar checks help detect errors in the durations. A bar check is
686 entered using the bar symbol, `@code{|}'. Whenever it is encountered
687 during interpretation, it should fall on a measure boundary. If it
688 does not, a warning is printed. Depending on the value of
689 @code{barCheckSynchronize}, the beginning of the measure will be
692 In the next example, the second bar check will signal an error:
694 \time 3/4 c2 e4 | g2 |
699 @cindex skipTypesetting
701 Failed bar checks are caused by entering incorrect
702 durations. Incorrect durations often completely garble up the score,
703 especially if it is polyphonic, so you should start correcting the
704 score by scanning for failed bar checks and incorrect durations. To
705 speed up this process, you can use @code{skipTypesetting}, described
708 @node Skipping corrected music
709 @subsection Skipping corrected music
711 The property @code{Score.skipTypesetting} can be used to switch on and
712 off typesetting completely during the interpretation phase. When
713 typesetting is switched off, the music is processed much more quickly.
714 This can be used to skip over the parts of a score that have already
715 been checked for errors:
717 @lilypond[fragment,singleline,verbatim]
719 \property Score.skipTypesetting = ##t
721 \property Score.skipTypesetting = ##f
725 @node Automatic note splitting
726 @subsection Automatic note splitting
728 Long notes can be converted automatically to tied notes. This is done
729 by replacing the @internalsref{Note_heads_engraver} by the
730 @internalsref{Completion_heads_engraver}:
733 \paper @{ \translator @{
735 \remove "Note_heads_engraver"
736 \consists "Completion_heads_engraver"
740 which will make long notes tied in the following example:
743 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
750 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
752 \paper { \translator {
754 \remove "Note_heads_engraver"
755 \consists "Completion_heads_engraver"
760 This engraver splits all running notes at the bar line, and inserts
761 ties. One of its uses is to debug complex scores: if the measures are
762 not entirely filled, then the ties exactly show how much each measure
767 Not all durations (especially those containing tuplets) can be
768 represented exactly; the engraver will not insert tuplets.
774 @section Staff notation
776 This section describes music notation that occurs on staff level,
777 such as keys, clefs and time signatures.
779 @cindex Staff notation
793 @subsection Staff symbol
795 @cindex adjusting staff symbol
796 @cindex StaffSymbol, using \property
798 Notes, dynamic signs, etc. are grouped
799 with a set of horizontal lines, into a staff (plural `staves'). In our
800 system, these lines are drawn using a separate layout object called
804 @cindex staff lines, setting number of
805 @cindex staff lines, setting thickness of
806 @cindex thickness of staff lines, setting
807 @cindex number of staff lines, setting
809 This object is created whenever a @internalsref{Staff} context is
810 created. The appearance of the staff symbol cannot be changed by
811 using @code{\override} or @code{\set}. At the moment that
812 @code{\property Staff} is interpreted, a @internalsref{Staff} context
813 is made, and the @internalsref{StaffSymbol} is created before any
814 @code{\override} is effective. Properties can be changed in a
815 @code{\translator} definition, or by using @code{\applyoutput}.
819 If a staff is ended halfway a piece, the staff symbol may not end
820 exactly on the barline.
824 @subsection Key signature
825 @cindex Key signature
829 The key signature indicates the scale in which a piece is played. It
830 is denoted by a set of alterations (flats or sharps) at the start of
835 Setting or changing the key signature is done with the @code{\key}
838 @code{\key} @var{pitch} @var{type}
841 @cindex @code{\minor}
842 @cindex @code{\major}
843 @cindex @code{\minor}
844 @cindex @code{\ionian}
845 @cindex @code{\locrian}
846 @cindex @code{\aeolian}
847 @cindex @code{\mixolydian}
848 @cindex @code{\lydian}
849 @cindex @code{\phrygian}
850 @cindex @code{\dorian}
852 Here, @var{type} should be @code{\major} or @code{\minor} to get
853 @var{pitch}-major or @var{pitch}-minor, respectively.
854 The standard mode names @code{\ionian},
855 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
856 @code{\phrygian}, and @code{\dorian} are also defined.
858 This command sets the context property
859 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
860 can be specified by setting this property directly.
862 Accidentals and key signatures often confuse new users, because
863 unaltered notes get natural signs depending on the keysignature. The
864 tutorial explains why this is so in @ref{More about pitches}.
868 The ordering of a key cancellation is wrong when it is combined with
869 repeat bar lines. The cancellation is also printed after a line break.
873 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
875 @cindex @code{keySignature}
882 The clef indicates which lines of the staff correspond to which
887 The clef can be set or changed with the @code{\clef} command:
888 @lilypond[fragment,verbatim]
889 \key f\major c''2 \clef alto g'2
892 Supported clef-names include:
893 @c Moved standard clefs to the top /MB
897 @item treble, violin, G, G2
910 G clef on 1st line, so-called French violin clef
915 @cindex mezzosoprano clef
918 @cindex baritone clef
921 @cindex varbaritone clef
930 By adding @code{_8} or @code{^8} to the clef name, the clef is
931 transposed one octave down or up, respectively, and @code{_15} and
932 @code{^15} transposes by two octaves. The argument @var{clefname}
933 must be enclosed in quotes when it contains underscores or digits. For
937 @cindex choral tenor clef
938 @lilypond[verbatim,fragment,relative]
942 This command is equivalent to setting @code{clefGlyph},
943 @code{clefPosition} (which controls the Y position of the clef),
944 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
945 when any of these properties are changed.
949 The object for this symbol is @internalsref{Clef}.
953 @node Ottava brackets
954 @subsection Ottava brackets
956 ``Ottava'' brackets introduce an extra transposition of an octave for
957 the staff. They are created by invoking the function
958 @code{set-octavation}:
964 @lilypond[verbatim,fragment]
973 Internally the @code{set-octavation} function sets the properties
974 @code{ottavation} (eg. to @code{"8va"}) and
975 @code{centralCPosition}. The function also takes arguments -1 (for 8va
976 bassa) and 2 (for 15ma).
978 @internalsref{OttavaSpanner}.
982 @code{set-octavation} will get confused when clef changes happen
983 during an octavation bracket.
986 @subsection Time signature
987 @cindex Time signature
991 Time signature indicates the metrum of a piece: a regular pattern of
992 strong and weak beats. It is denoted by a fraction at the start of the
997 The time signature is set or changed by the @code{\time}
999 @lilypond[fragment,verbatim]
1000 \time 2/4 c'2 \time 3/4 c'2.
1003 The symbol that is printed can be customized with the @code{style}
1004 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1005 2/2 time. There are many more options for its layout. See
1006 @inputfileref{input/test,time.ly} for more examples.
1009 This command sets the property @code{timeSignatureFraction},
1010 @code{beatLength} and @code{measureLength} in the @code{Timing}
1011 context, which is normally aliased to @internalsref{Score}. The
1012 property @code{measureLength} determines where bar lines should be
1013 inserted, and how automatic beams should be generated. Changing the
1014 value of @code{timeSignatureFraction} also causes the symbol to be
1017 More options are available through the Scheme function
1018 @code{set-time-signature}. In combination with the
1019 @internalsref{Measure_grouping_engraver}, it will create
1020 @internalsref{MeasureGrouping} signs. Such signs ease reading
1021 rhythmically complex modern music. In the following example, the 9/8
1022 measure is subdivided in 2, 2, 2 and 3. This is passed to
1023 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1026 \score { \notes \relative c'' {
1027 #(set-time-signature 9 8 '(2 2 2 3))
1028 g8[ g] d[ d] g[ g] a8[( bes g]) |
1029 #(set-time-signature 5 8 '(3 2))
1034 \translator { \StaffContext
1035 \consists "Measure_grouping_engraver"
1041 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1046 Automatic beaming does not use measure grouping specified with
1047 @code{set-time-signature}.
1049 @node Partial measures
1050 @subsection Partial measures
1053 @cindex partial measure
1054 @cindex measure, partial
1055 @cindex shorten measures
1056 @cindex @code{\partial}
1058 Partial measures, for example in upsteps, are entered using the
1059 @code{\partial} command:
1060 @lilypond[fragment,verbatim,relative 1]
1061 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1064 The syntax for this command is
1066 \partial @var{duration}
1068 This is internally translated into
1070 \property Timing.measurePosition = -@var{length of duration}
1073 The property @code{measurePosition} contains a rational number
1074 indicating how much of the measure has passed at this point.
1076 @node Unmetered music
1077 @subsection Unmetered music
1079 Bar lines and bar numbers are calculated automatically. For unmetered
1080 music (e.g. cadenzas), this is not desirable. By setting
1081 @code{Score.timing} to false, this automatic timing can be switched
1087 @cindex @code{\cadenzaOn}
1089 @cindex @code{\cadenzaOff}
1093 @subsection Bar lines
1097 @cindex measure lines
1101 Bar lines delimit measures, but are also used to indicate repeats.
1102 Normally, they are inserted automatically. Line breaks may only
1108 of barlines can be forced with the @code{\bar} command:
1110 @lilypond[relative=1,fragment,verbatim]
1114 The following bar types are available:
1115 @lilypond[fragment, relative, singleline, verbatim]
1126 For allowing linebreaks, there is a special command,
1130 This will insert an invisible barline, and allow linebreaks at this
1133 In scores with many staves, a @code{\bar} command in one staff is
1134 automatically applied to all staves. The resulting bar lines are
1135 connected between different staves of a @internalsref{StaffGroup}:
1137 @lilypond[fragment, verbatim]
1138 << \context StaffGroup <<
1142 \new Staff { \clef bass c4 g e g } >>
1143 \new Staff { \clef bass c2 c2 } >>
1147 The command @code{\bar @var{bartype}} is a short cut for doing
1148 @code{\property Score.whichBar = @var{bartype}} Whenever
1149 @code{whichBar} is set to a string, a bar line of that type is
1150 created. At the start of a measure it is set to
1151 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1152 to override default measure bars.
1154 Property @code{whichBar} can also be set directly, using @code{\property}
1155 or @code{\bar}. These settings take precedence over the automatic
1156 @code{whichBar} settings.
1159 @cindex repeatCommands
1160 @cindex defaultBarType
1162 You are encouraged to use @code{\repeat} for repetitions. See
1172 The bar line objects that are created at @internalsref{Staff} level
1173 are called @internalsref{BarLine}, the bar lines that span staves are
1174 @internalsref{SpanBar}s.
1176 @cindex bar lines at start of system
1177 @cindex start of system
1179 The barlines at the start of each system are
1180 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1181 @internalsref{SystemStartBracket}. They are spanner objects and
1182 typically must be tuned from a @code{\translator} block.
1189 The easiest way to enter fragments with more than one voice on a staff
1190 is to split chords using the separator @code{\\}. You can use it for
1191 small, short-lived voices or for single chords:
1193 @lilypond[verbatim,fragment]
1194 \context Staff \relative c'' {
1195 c4 << { f d e } \\ { b c2 } >>
1196 c4 << g' \\ b, \\ f' \\ d >>
1200 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1201 voices are sometimes called "layers" other notation packages}
1203 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1204 each of these contexts, vertical direction of slurs, stems, etc. is set
1207 This can also be done by instantiating @internalsref{Voice} contexts
1208 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1209 a stem directions and horizontal shift for each part:
1212 @lilypond[singleline, verbatim]
1214 \context Staff << \new Voice { \voiceOne cis2 b }
1215 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1216 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1219 Normally, note heads with a different number of dots are not merged, but
1220 when the object property @code{merge-differently-dotted} is set in
1221 the @internalsref{NoteCollision} object, they are merged:
1222 @lilypond[verbatim,fragment,singleline]
1223 \relative c'' \context Voice << {
1225 \property Staff.NoteCollision \override
1226 #'merge-differently-dotted = ##t
1228 } \\ { g8.[ f16] g8.[ f16] }
1232 Similarly, you can merge half note heads with eighth notes, by setting
1233 @code{merge-differently-headed}:
1234 @lilypond[fragment, relative=2,verbatim]
1237 \property Staff.NoteCollision
1238 \override #'merge-differently-headed = ##t
1239 c8 c4. } \\ { c2 c2 } >>
1242 LilyPond also vertically shifts rests that are opposite of a stem:
1245 @lilypond[singleline,fragment,verbatim]
1246 \context Voice << c''4 \\ r4 >>
1254 @cindex @code{\oneVoice}
1256 @cindex @code{\voiceOne}
1258 @cindex @code{\voiceTwo}
1260 @cindex @code{\voiceThree}
1262 @cindex @code{\voiceFour}
1265 The following commands specify in what chords of the current voice
1266 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1267 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1270 @cindex @code{\shiftOn}
1272 @cindex @code{\shiftOnn}
1274 @cindex @code{\shiftOnnn}
1276 @cindex @code{\shiftOff}
1283 The objects responsible for resolving collisions are
1284 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1285 also example files @inputfileref{input/regression,collision-dots.ly},
1286 @inputfileref{input/regression,collision-head-chords.ly},
1287 @inputfileref{input/regression,collision-heads.ly},
1288 @inputfileref{input/regression,collision-mesh.ly}, and
1289 @inputfileref{input/regression,collisions.ly}.
1294 Resolving collisions is a intricate subject, and only a few situations
1295 are handled. When LilyPond cannot cope, the @code{force-hshift}
1296 property of the @internalsref{NoteColumn} object and pitched rests can
1297 be used to override typesetting decisions.
1299 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1300 note, and a downstem half note, the 8th note gets the wrong offset.
1305 Beams are used to group short notes into chunks that are aligned with
1306 the metrum. They are inserted automatically in most cases:
1308 @lilypond[fragment,verbatim, relative=2]
1309 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1312 When these automatic decisions are not good enough, beaming can be
1313 entered explicitly. It is also possible to define beaming patterns
1314 that differ from the defaults.
1318 @internalsref{Beam}.
1321 @cindex Automatic beams
1322 @subsection Manual beams
1323 @cindex beams, manual
1327 In some cases it may be necessary to override the automatic beaming
1328 algorithm. For example, the auto beamer will not put beams over rests
1329 or bar lines. Such beams are specified by manually: the begin and end
1330 point are marked with @code{[} and @code{]}:
1332 @lilypond[fragment,relative,verbatim]
1334 r4 r8[ g' a r8] r8 g[ | a] r8
1338 @cindex @code{stemLeftBeamCount}
1340 Normally, beaming patterns within a beam are determined automatically.
1341 When this mechanism fouls up, the properties
1342 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1343 be used to control the beam subdivision on a stem. If either property
1344 is set, its value will be used only once, and then it is erased.
1346 @lilypond[fragment,relative,verbatim]
1349 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1352 @cindex @code{stemRightBeamCount}
1355 The property @code{subdivideBeams} can be set in order to subdivide
1356 all 16th or shorter beams at beat positions, as defined by the
1357 @code{beatLength} property . This accomplishes the same effect as
1358 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1359 but it take less typing:
1362 @lilypond[relative=1,verbatim,noindent]
1364 \property Voice.subdivideBeams = ##t
1366 \property Score.beatLength = #(ly:make-moment 1 8)
1369 @cindex subdivideBeams
1371 Kneed beams are inserted automatically, when a large gap is detected
1372 between the note heads. This behavior can be tuned through the object
1373 property @code{auto-knee-gap}.
1375 Normally, line breaks are forbidden when beams cross bar lines. This
1376 behavior can be changed by setting @code{allowBeamBreak}.
1378 @cindex @code{allowBeamBreak}
1379 @cindex beams and line breaks
1381 @cindex beams, kneed
1383 @cindex auto-knee-gap
1389 @cindex Frenched staves
1391 Automatically kneed beams cannot be used together with hidden staves.
1396 * Setting automatic beam behavior ::
1400 @no de Beam typography
1401 @sub section Beam typography
1403 One of the strong points of LilyPond is how beams are formatted. Beams
1404 are quantized, meaning that the left and right endpoints beams start
1405 exactly on staff lines. Without quantization, small wedges of white
1406 space appear between the beam and staff line, and this looks untidy.
1408 Beams are also slope-damped: melodies that go up or down should also
1409 have beams that go up or down, but the slope of the beams should be
1410 less than the slope of the notes themselves.
1412 Some beams should be horizontal. These are so-called concave beams.
1414 [TODO: some pictures.]
1418 @node Setting automatic beam behavior
1419 @subsection Setting automatic beam behavior
1421 @cindex @code{autoBeamSettings}
1422 @cindex @code{(end * * * *)}
1423 @cindex @code{(begin * * * *)}
1424 @cindex automatic beams, tuning
1425 @cindex tuning automatic beaming
1427 @c [TODO: use \applycontext]
1429 In normal time signatures, automatic beams can start on any note but can
1430 only end in a few positions within the measure: beams can end on a beat,
1431 or at durations specified by the properties in
1432 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1433 are defined in @file{scm/auto-beam.scm}.
1435 The value of @code{autoBeamSettings} is changed using
1436 @code{\override} and restored with @code{\revert}:
1438 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1439 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1441 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1442 whether the rule applies to begin or end-points. The quantity
1443 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1444 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1445 signature (wildcards, `@code{* *}' may be entered to designate all time
1448 For example, if automatic beams should end on every quarter note, use
1451 \property Voice.autoBeamSettings \override
1452 #'(end * * * *) = #(ly:make-moment 1 4)
1454 Since the duration of a quarter note is 1/4 of a whole note, it is
1455 entered as @code{(ly:make-moment 1 4)}.
1457 The same syntax can be used to specify beam starting points. In this
1458 example, automatic beams can only end on a dotted quarter note:
1460 \property Voice.autoBeamSettings \override
1461 #'(end * * * *) = #(ly:make-moment 3 8)
1463 In 4/4 time signature, this means that automatic beams could end only on
1464 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1465 3/8 has passed within the measure).
1467 Rules can also be restricted to specific time signatures. A rule that
1468 should only be applied in @var{N}/@var{M} time signature is formed by
1469 replacing the second asterisks by @var{N} and @var{M}. For example, a
1470 rule for 6/8 time exclusively looks like
1472 \property Voice.autoBeamSettings \override
1473 #'(begin * * 6 8) = ...
1476 If a rule should be to applied only to certain types of beams, use the
1477 first pair of asterisks. Beams are classified according to the
1478 shortest note they contain. For a beam ending rule that only applies
1479 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1482 If a score ends while an automatic beam has not been ended and is still
1483 accepting notes, this last beam will not be typeset at all.
1485 @cindex automatic beam generation
1487 @cindex @code{Voice.autoBeaming}
1490 For melodies that have lyrics, you may want to switch off
1491 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1496 @cindex @code{\autoBeamOff}
1497 @code{\autoBeamOff},
1498 @cindex @code{\autoBeamOn}
1504 The rules for ending a beam depend on the shortest note in a beam.
1505 So, while it is possible to have different ending rules for eight
1506 beams and sixteenth beams, a beam that contains both eight and
1507 sixteenth notes will use the rules for the sixteenth beam.
1509 In the example below, the autobeamer makes eight beams and sixteenth
1510 end at 3 eights; the third beam can only be corrected by specifying
1513 @lilypond[singleline,fragment,relative,noverbatim,quote]
1514 \property Voice.autoBeamSettings
1515 \override #'(end * * * *) = #(ly:make-moment 3 8)
1516 % rather show case where it goes wrong
1517 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1518 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1520 It is not possible to specify beaming parameters that act differently in
1521 different parts of a measure. This means that it is not possible to use
1522 automatic beaming in irregular meters such as @code{5/8}.
1525 @section Accidentals
1528 This section describes how to change the way that accidentals are
1529 inserted automatically before the running notes.
1533 * Using the predefined accidental variables::
1534 * Customized accidental rules::
1537 @node Using the predefined accidental variables
1538 @subsection Using the predefined accidental variables
1540 The constructs for describing the accidental typesetting rules are
1541 quite hairy, so non-experts should stick to the variables
1542 defined in @file{ly/property-init.ly}.
1543 @cindex @file{property-init.ly}
1545 The variables set properties in the ``@code{Current}'' context (see
1546 @ref{Context properties}). This means that the variables should
1547 normally be added right after the creation of the context in which the
1548 accidental typesetting described by the variable is to take
1549 effect. For example, if you want to use piano-accidentals in a piano
1550 staff then issue @code{\pianoAccidentals} first thing after the
1551 creation of the piano staff:
1554 \notes \relative c'' <<
1555 \new Staff @{ cis4 d e2 @}
1556 \context GrandStaff <<
1558 \new Staff @{ cis4 d e2 @}
1559 \new Staff @{ es2 c @}
1561 \new Staff @{ es2 c @}
1565 @lilypond[singleline]
1567 \notes \relative c'' <<
1568 \new Staff { cis4 d e2 }
1569 \context GrandStaff <<
1571 \new Staff { cis4 d e2 }
1572 \new Staff { es2 c }
1574 \new Staff { es2 c }
1579 minimumVerticalExtent = #'(-4.0 . 4.0)
1587 @item \defaultAccidentals
1588 @cindex @code{\defaultAccidentals}
1589 This is the default typesetting behaviour. It should correspond
1590 to 18th century common practice: Accidentals are
1591 remembered to the end of the measure in which they occur and
1592 only on their own octave.
1594 @item \voiceAccidentals
1595 @cindex @code{\voiceAccidentals}
1597 The normal behaviour is to
1598 remember the accidentals on Staff-level. This variable, however,
1599 typesets accidentals individually for each voice. Apart from that the
1600 rule is similar to @code{\defaultAccidentals}.
1602 This leads to some weird and often unwanted results
1603 because accidentals from one voice do not get cancelled in other
1605 @lilypond[singleline,relative,fragment,verbatim,quote]
1613 Hence you should only use @code{\voiceAccidentals} if the voices
1614 are to be read solely by individual musicians. If the staff is to be
1615 used by one musician (e.g. a conductor) then you use
1616 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1619 @item \modernAccidentals
1620 @cindex @code{\modernAccidentals}
1621 This rule corresponds to the common practice in the 20th
1623 The rule is more complex than @code{\defaultAccidentals}.
1624 You get all the same accidentals, but temporary
1625 accidentals also get cancelled in other octaves. Furthermore,
1626 in the same octave, they also get cancelled in the following measure:
1627 @lilypond[singleline,fragment,verbatim]
1629 cis' c'' cis'2 | c'' c'
1632 @item \modernCautionaries
1633 @cindex @code{\modernCautionaries}
1634 This rule is similar to @code{\modernAccidentals}, but the
1635 ``extra'' accidentals (the ones not typeset by
1636 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1637 They are printed in reduced size or with parentheses:
1638 @lilypond[singleline,fragment,verbatim]
1640 cis' c'' cis'2 | c'' c'
1643 @cindex @code{\modernVoiceAccidentals}
1644 @item \modernVoiceAccidentals
1645 is used for multivoice accidentals to be read both by musicians
1646 playing one voice and musicians playing all voices. Accidentals are
1647 typeset for each voice, but they @emph{are} cancelled across voices in
1648 the same @internalsref{Staff}.
1650 @cindex @code{\modernVoiceCautionaries}
1651 @item \modernVoiceCautionaries
1652 is the same as @code{\modernVoiceAccidentals}, but with the extra
1653 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1654 as cautionaries. Even though all accidentals typeset by
1655 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1656 some of them are typeset as cautionaries.
1658 @item \pianoAccidentals
1659 @cindex @code{\pianoAccidentals}
1660 20th century practice for piano notation. Very similar to
1661 @code{\modernAccidentals} but accidentals also get cancelled
1662 across the staves in the same @internalsref{GrandStaff} or
1663 @internalsref{PianoStaff}.
1665 @item \pianoCautionaries
1666 @cindex @code{\pianoCautionaries}
1667 As @code{\pianoAccidentals} but with the extra accidentals
1668 typeset as cautionaries.
1671 @cindex @code{\noResetKey}
1672 Same as @code{\defaultAccidentals} but with accidentals lasting
1673 ``forever'' and not only until the next measure:
1674 @lilypond[singleline,fragment,verbatim,relative]
1679 @item \forgetAccidentals
1680 @cindex @code{\forgetAccidentals}
1681 This is sort of the opposite of @code{\noResetKey}: Accidentals
1682 are not remembered at all---and hence all accidentals are
1683 typeset relative to the key signature, regardless of what was
1684 before in the music:
1685 @lilypond[singleline,fragment,verbatim,relative]
1687 \key d\major c4 c cis cis d d dis dis
1691 @node Customized accidental rules
1692 @subsection Customized accidental rules
1694 For determining when to print an accidental, several different rules
1695 are tried. The rule that gives the highest number of accidentals is
1696 used. Each rule consists of
1699 In which context is the rule applied. For example, if
1700 @var{context} is @internalsref{Score} then all staves share
1701 accidentals, and if @var{context} is @internalsref{Staff} then all
1702 voices in the same staff share accidentals, but staves do not.
1704 Whether the accidental changes all octaves or only the current
1707 Over how many barlines the accidental lasts.
1708 If @var{lazyness} is @code{-1} then the accidental is forget
1709 immediately, and if @var{lazyness} is @code{#t} then the accidental
1712 @c [TODO: should use +infinity for this case?]
1718 @cindex @code{\defaultAccidentals}
1719 @code{\defaultAccidentals},
1720 @cindex @code{\voiceAccidentals}
1721 @code{\voiceAccidentals},
1722 @cindex @code{\modernAccidentals}
1723 @code{\modernAccidentals},
1724 @cindex @code{\modernCautionaries}
1725 @code{\modernCautionaries},
1726 @cindex @code{\modernVoiceAccidentals}
1727 @code{\modernVoiceAccidentals},
1728 @cindex @code{\modernVoiceCautionaries}
1729 @code{\modernVoiceCautionaries},
1730 @cindex @code{\pianoAccidentals}
1731 @code{\pianoAccidentals},
1732 @cindex @code{\pianoCautionaries}
1733 @code{\pianoCautionaries},
1734 @cindex @code{\noResetKey}
1736 @cindex @code{\forgetAccidentals}
1737 @code{\forgetAccidentals}.
1741 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1742 @internalsref{AccidentalPlacement}.
1747 Currently the simultaneous notes are considered to be entered in
1748 sequential mode. This means that in a chord the accidentals are
1749 typeset as if the notes in the chord happened once at a time - in the
1750 order in which they appear in the input file.
1752 This is only a problem when there are simultaneous notes whose
1753 accidentals depend on each other. The problem only occurs when using
1754 non-default accidentals. In the default scheme, accidentals only
1755 depend on other accidentals with the same pitch on the same staff, so
1756 no conflicts possible.
1758 This example shows two examples of the same music giving different
1759 accidentals depending on the order in which the notes occur in the
1762 @lilypond[singleline,fragment,verbatim]
1763 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1764 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1765 | <cis' c''> r | <c'' cis'> r |
1768 This problem can be solved by manually inserting @code{!} and @code{?}
1769 for the problematic notes.
1771 @node Expressive marks
1772 @section Expressive marks
1775 @c todo: should change ordering
1776 @c where to put text spanners, metronome marks,
1785 * Analysis brackets::
1787 * Fingering instructions::
1798 A slur indicates that notes are to be played bound or @emph{legato}.
1802 They are entered using parentheses:
1803 @lilypond[relative 1,fragment,verbatim,center]
1804 f( g)( a) a8 b( a4 g2 f4)
1809 @c TODO: should explain that ^( and _( set directions
1810 @c should set attachments with ^ and _ ?
1812 Slurs avoid crossing stems, and are generally attached to note heads.
1813 However, in some situations with beams, slurs may be attached to stem
1814 ends. If you want to override this layout you can do this through the
1815 object property @code{attachment} of @internalsref{Slur} in
1816 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1817 the attachment type of the left and right end points:
1819 @lilypond[fragment,relative,verbatim]
1821 \property Voice.Stem \set #'length = #5.5
1823 \property Voice.Slur \set #'attachment = #'(stem . stem)
1827 If a slur would strike through a stem or beam, the slur will be moved
1828 away upward or downward. If this happens, attaching the slur to the
1829 stems might look better:
1831 @lilypond[fragment,relative,verbatim]
1834 \property Voice.Slur \set #'attachment = #'(stem . stem)
1841 @cindex @code{\slurUp}
1843 @cindex @code{\slurDown}
1845 @cindex @code{\slurBoth}
1847 @cindex @code{\slurDotted}
1849 @cindex @code{\slurSolid}
1854 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1859 Producing nice slurs is a difficult problem, and LilyPond currently
1860 uses a simple, empiric method to produce slurs. In some cases, its
1864 @cindex Adjusting slurs
1866 @node Phrasing slurs
1867 @subsection Phrasing slurs
1869 @cindex phrasing slurs
1870 @cindex phrasing marks
1872 A phrasing slur (or phrasing mark) connects chords and is used to
1873 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1876 @lilypond[fragment,verbatim,center,relative]
1877 \time 6/4 c'\( d( e) f( e) d\)
1880 Typographically, the phrasing slur behaves almost exactly like a
1881 normal slur. However, they are treated as different objects. A
1882 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1883 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1884 @code{\phrasingSlurBoth}.
1886 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1887 will only affect normal slurs and not phrasing slurs.
1891 @cindex @code{\phrasingSlurUp}
1892 @code{\phrasingSlurUp},
1893 @cindex @code{\phrasingSlurDown}
1894 @code{\phrasingSlurDown},
1895 @cindex @code{\phrasingSlurBoth}
1896 @code{\phrasingSlurBoth},
1900 See also @internalsref{PhrasingSlur}, and
1901 @internalsref{PhrasingSlurEvent}.
1905 Phrasing slurs have the same limitations in their formatting as normal
1906 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1909 @subsection Breath marks
1911 Breath marks are entered using @code{\breathe}:
1914 @lilypond[fragment,relative,verbatim]
1918 The glyph of the breath mark can be tweaked by overriding the
1919 @code{text} property of the @code{BreathingSign} layout object with
1920 any markup text. For example,
1921 @lilypond[fragment,verbatim,relative]
1923 \property Voice.BreathingSign \override #'text
1924 = #(make-musicglyph-markup "scripts-rvarcomma")
1931 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1932 @inputfileref{input/regression,breathing-sign.ly}.
1935 @node Metronome marks
1936 @subsection Metronome marks
1939 @cindex beats per minute
1940 @cindex metronome marking
1942 Metronome settings can be entered as follows:
1944 \tempo @var{duration} = @var{perminute}
1947 In the MIDI output, they are interpreted as a tempo change, and in the
1948 paper output, a metronome marking is printed:
1949 @cindex @code{\tempo}
1950 @lilypond[fragment,verbatim]
1956 @internalsref{MetronomeChangeEvent}.
1961 @subsection Text spanners
1962 @cindex Text spanners
1964 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1965 are written as texts, and extended over many measures with dotted
1966 lines. You can create such texts using text spanners: attach
1967 @code{\startTextSpan} and @code{\stopTextSpan} to the
1968 start and ending note of the spanner.
1970 The string to be printed, as well as the style, is set through object
1973 @lilypond[fragment,relative,verbatim]
1975 \property Voice.TextSpanner \set #'direction = #-1
1976 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1977 c2\startTextSpan b c\stopTextSpan a }
1983 @internalsref{TextSpanEvent},
1984 @internalsref{TextSpanner}, and
1985 @inputfileref{input/regression,text-spanner.ly}.
1988 @node Analysis brackets
1989 @subsection Analysis brackets
1991 @cindex phrasing brackets
1992 @cindex musicological analysis
1993 @cindex note grouping bracket
1995 Brackets are used in musical analysis to indicate structure in musical
1996 pieces. LilyPond supports a simple form of nested horizontal brackets.
1997 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1998 @internalsref{Staff} context. A bracket is started with
1999 @code{\startGroup} and closed with @code{\stopGroup}:
2001 @lilypond[singleline,verbatim]
2002 \score { \notes \relative c'' {
2003 c4\startGroup\startGroup
2006 c4\stopGroup\stopGroup
2008 \paper { \translator {
2009 \StaffContext \consists "Horizontal_bracket_engraver"
2015 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
2016 @inputfileref{input/regression,note-group-bracket.ly}.
2020 @subsection Articulations
2021 @cindex Articulations
2023 @cindex articulations
2027 A variety of symbols can appear above and below notes to indicate
2028 different characteristics of the performance. They are added to a note
2029 by adding a dash and the character signifying the
2030 articulation. They are demonstrated here:
2032 @lilypondfile[notexidoc]{script-abbreviations.ly}
2034 The meanings of these shorthands can be changed: see
2035 @file{ly/script-init.ly} for examples.
2038 The script is automatically placed, but if you need to force
2039 directions, you can use @code{_} to force them down, or @code{^} to
2041 @lilypond[fragment, verbatim]
2045 Other symbols can be added using the syntax
2046 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2047 can be forced up or down using @code{^} and @code{_},
2050 @lilypond[verbatim,fragment,relative 2]
2051 c\fermata c^\fermata c_\fermata
2058 @cindex staccatissimo
2067 @cindex organ pedal marks
2076 @cindex prallmordent
2080 @cindex thumb marking
2085 @lilypondfile[notexidoc]{script-chart.ly}
2090 @cindex @code{\scriptUp}
2092 @cindex @code{\scriptDown}
2094 @cindex @code{\scriptBoth}
2099 @internalsref{ScriptEvent}, and @internalsref{Script}.
2103 These note ornaments appear in the printed output but have no
2104 effect on the MIDI rendering of the music.
2107 @node Fingering instructions
2108 @subsection Fingering instructions
2112 Fingering instructions can be entered using
2114 @var{note}-@var{digit}
2116 For finger changes, use markup texts:
2118 @lilypond[verbatim, singleline, fragment]
2119 c'4-1 c'4-2 c'4-3 c'4-4
2120 c'^\markup { \fontsize #-3 \number "2-3" }
2123 @cindex finger change
2128 You can use the thumb-script to indicate that a note should be
2129 played with your thumb (used in cello music):
2131 @lilypond[verbatim, singleline, fragment]
2132 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2133 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2136 Fingerings for chords can also be added to individual notes
2137 of the chord by adding them after the pitches:
2138 @lilypond[verbatim,singleline,fragment,relative=1]
2139 < c-1 e-2 g-3 b-5 > 4
2142 Setting @code{fingeringOrientations} will put fingerings next
2145 @lilypond[verbatim,singleline,fragment,relative=1]
2146 \property Voice.fingeringOrientations = #'(left down)
2147 <c-1 es-2 g-4 bes-5 > 4
2148 \property Voice.fingeringOrientations = #'(up right down)
2149 <c-1 es-2 g-4 bes-5 > 4
2154 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2158 @subsection Text scripts
2159 @cindex Text scripts
2161 It is possible to place arbitrary strings of text or markup text (see
2162 @ref{Text markup}) above or below notes by using a string:
2163 @code{c^"text"}. By default, these indications do not influence the
2164 note spacing, but by using the command @code{\fatText}, the widths
2165 will be taken into account:
2167 @lilypond[fragment,singleline,verbatim] \relative c' {
2168 c4^"longtext" \fatText c4_"longlongtext" c4 }
2171 It is possible to use @TeX{} commands in the strings, but this should
2172 be avoided because the exact dimensions of the string can then no
2178 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2184 @subsection Grace notes
2187 @c should have blurb about accaciatura / appogiatura
2189 @cindex @code{\grace}
2193 Grace notes are ornaments that are written out. The most common ones
2194 are acciaccatura, which should be played as very short. It is denoted
2195 by a slurred small note with a slashed stem. The appoggiatura is a
2196 grace note that takes a fixed fraction of the main note, is and
2197 denoted as a slurred note in small print without a slash.
2198 They are entered with the commands @code{\acciaccatura} and
2199 @code{\appoggiatura}, as demonstrated in the following example:
2202 @cindex appoggiatura
2203 @cindex acciaccatura
2205 @lilypond[relative=2,verbatim,fragment]
2206 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2207 \acciaccatura { g16[ f] } e4
2210 Both are special forms of the @code{\grace} command. By prefixing this
2211 keyword to a music expression, a new one is formed, which will be
2212 printed in a smaller font and takes up no logical time in a measure.
2213 @lilypond[relative=2,verbatim,fragment]
2215 \grace { c16[ d16] } c2 c4
2219 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2220 @code{\grace} command does not start a slur.
2222 Internally, timing for grace notes is done using a second, `grace'
2223 time. Every point in time consists of two rational numbers: one
2224 denotes the logical time, one denotes the grace timing. The above
2225 example is shown here with timing tuples:
2227 @lilypond[singleline]
2230 c4 \grace c16 c4 \grace {
2233 \new Lyrics \lyrics {
2236 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2237 \markup { (\fraction 1 4 , 0 ) } 4
2239 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2240 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2242 \markup { ( \fraction 2 4 , 0 ) }
2247 The placement of grace notes is synchronized between different staves.
2248 In the following example, there are two sixteenth graces notes for
2249 every eighth grace note:
2251 @lilypond[relative=2,verbatim,fragment]
2252 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2253 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2258 If you want to end a note with a grace, then the standard trick
2259 is to put the grace notes after a ``space note'', e.g.
2260 @lilypond[fragment,verbatim, relative=2]
2263 { s2 \grace { c16[ d] } } >>
2269 By adjusting the duration of the skip note (here it is a half-note),
2270 the space between the main-note and the grace is adjusted.
2273 A @code{\grace} section will introduce special typesetting settings,
2274 for example, to produce smaller type, and set directions. Hence, when
2275 introducing layout tweaks, they should be inside the grace section,
2277 @lilypond[fragment,verbatim,relative 1]
2280 \property Voice.Stem \override #'direction = #-1
2282 \property Voice.Stem \revert #'direction
2289 The overrides should also be reverted inside the grace section.
2291 If the layout of grace sections must be changed throughout the music,
2292 then this can be accomplished through the function
2293 @code{add-grace-property}. The following example
2294 undefines the Stem direction grace section, so stems do not always
2299 #(add-grace-property "Voice" Stem direction '())
2305 Another option is to change the variables @code{startGraceMusic},
2306 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2307 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2308 @code{stopAppoggiaturaMstuic}. More information is in the file
2309 @file{ly/grace-init.ly}
2314 @internalsref{GraceMusic}.
2318 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2320 A score that starts with an @code{\grace} section needs an explicit
2321 @code{\context Voice} declaration, otherwise the main note and grace
2322 note end up on different staves.
2324 Grace note synchronization can also lead to surprises. Staff notation,
2325 such as key signatures, barlines, etc. are also synchronized. Take
2326 care when you mix staves with grace notes and staves without, for example,
2328 @lilypond[relative=2,verbatim,fragment]
2329 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2330 \new Staff { c4 \bar "|:" d4 } >>
2333 Grace sections should only be used within sequential music
2334 expressions. Nesting or juxtaposing grace sections is not supported,
2335 and might produce crashes or other errors.
2337 Overriding settings cannot be done in separate styles for appoggiatura
2342 @subsection Glissando
2345 @cindex @code{\glissando}
2347 A glissando is a smooth change in pitch. It is denoted by a line or a
2348 wavy line between two notes.
2352 A glissando line can be requested by attaching a @code{\glissando} to
2355 @lilypond[fragment,relative,verbatim]
2361 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2366 Adding additional texts (such as @emph{gliss.}) is not supported.
2370 @subsection Dynamics
2383 @cindex @code{\ffff}
2393 Absolute dynamic marks are specified using an variable after a
2394 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2395 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2396 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2397 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2399 @lilypond[verbatim,singleline,fragment,relative]
2400 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2406 @cindex @code{\decr}
2407 @cindex @code{\rced}
2414 A crescendo mark is started with @code{\<} and terminated with
2415 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2416 with @code{\!}. Because these marks are bound to notes, if you must
2417 use spacer notes if multiple marks during one note are needed:
2419 @lilypond[fragment,verbatim,center,quote]
2420 c''\< c''\! d''\decr e''\rced
2421 << f''1 { s4 s4\< s4\! \> s4\! } >>
2423 This may give rise to very short hairpins. Use @code{minimum-length}
2424 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2428 \property Staff.Hairpin \override #'minimum-length = #5
2431 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2432 is an example how to do it:
2434 @lilypond[fragment,relative=2,verbatim]
2435 c4 \cresc c4 c c c \endcresc c4
2441 You can also supply your own texts:
2442 @lilypond[fragment,relative,verbatim]
2444 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2445 \property Voice.crescendoSpanner = #'dashed-line
2455 @cindex @code{\dynamicUp}
2457 @cindex @code{\dynamicDown}
2458 @code{\dynamicDown},
2459 @cindex @code{\dynamicBoth}
2460 @code{\dynamicBoth}.
2462 @cindex direction, of dynamics
2466 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2467 @internalsref{AbsoluteDynamicEvent}.
2469 Dynamics are objects of @internalsref{DynamicText} and
2470 @internalsref{Hairpin}. Vertical positioning of these symbols is
2471 handled by the @internalsref{DynamicLineSpanner} object.
2473 If you want to adjust padding or vertical direction of the dynamics, you
2474 must set properties for the @internalsref{DynamicLineSpanner} object.
2482 @cindex @code{\repeat}
2485 Repetition is a central concept in music, and multiple notations exist
2486 for repetitions. In LilyPond, most of these notations can be captured
2487 in a uniform syntax. One of the advantages is that they can be
2488 rendered in MIDI accurately.
2490 The following types of repetition are supported:
2494 Repeated music is fully written (played) out. Useful for MIDI
2495 output, and entering repetitive music.
2498 This is the normal notation: Repeats are not written out, but
2499 alternative endings (voltas) are printed, left to right.
2503 Alternative endings are written stacked. This has limited use but may be
2504 used to typeset two lines of lyrics in songs with repeats, see
2505 @inputfileref{input,star-spangled-banner.ly}.
2512 Make beat or measure repeats. These look like percent signs.
2518 * Repeats and MIDI::
2519 * Manual repeat commands::
2521 * Tremolo subdivisions::
2526 @subsection Repeat syntax
2530 LilyPond has one syntactic construct for specifying different types of
2531 repeats. The syntax is
2534 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2537 If you have alternative endings, you may add
2538 @cindex @code{\alternative}
2540 \alternative @code{@{} @var{alternative1}
2542 @var{alternative3} @dots{} @code{@}}
2544 where each @var{alternative} is a music expression. If you do not
2545 give enough alternatives for all of the repeats, then the first
2546 alternative is assumed to be played more than once.
2548 Normal notation repeats are used like this:
2549 @lilypond[fragment,verbatim,relative 1]
2551 \repeat volta 2 { c4 d e f }
2552 \repeat volta 2 { f e d c }
2555 With alternative endings:
2556 @lilypond[fragment,verbatim,relative 1]
2558 \repeat volta 2 {c4 d e f}
2559 \alternative { {d2 d} {f f,} }
2563 @lilypond[fragment,verbatim,relative 1]
2566 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2567 \alternative { { g4 g g } { a | a a a a | b2. } }
2573 If you do a nested repeat like
2582 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2583 belongs. This ambiguity is resolved by always having the
2584 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2585 it is advisable to use braces in such situations.
2588 @node Repeats and MIDI
2589 @subsection Repeats and MIDI
2591 @cindex expanding repeats
2593 For instructions on how to unfold repeats for MIDI output, see the
2594 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2599 Timing information is not remembered at the start of an alternative,
2600 so after a repeat timing information must be reset by hand, for
2601 example by setting @code{Score.measurePosition} or entering
2602 @code{\partial}. Similarly, slurs or ties are also not repeated.
2605 @node Manual repeat commands
2606 @subsection Manual repeat commands
2608 @cindex @code{repeatCommands}
2610 The property @code{repeatCommands} can be used to control the layout of
2611 repeats. Its value is a Scheme list of repeat commands, where each repeat
2615 @item the symbol @code{start-repeat},
2616 which prints a @code{|:} bar line,
2617 @item the symbol @code{end-repeat},
2618 which prints a @code{:|} bar line,
2619 @item the list @code{(volta @var{text})},
2620 which prints a volta bracket saying @var{text}: The text can be specified as
2621 a text string or as a markup text, see @ref{Text markup}. Do not
2622 forget to change the font, as the default number font does not contain
2623 alphabetic characters. Or,
2624 @item the list @code{(volta #f)}, which
2625 stops a running volta bracket:
2628 @lilypond[verbatim, fragment,relative 2]
2630 \property Score.repeatCommands = #'((volta "93") end-repeat)
2632 \property Score.repeatCommands = #'((volta #f))
2639 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2640 @internalsref{VoltaRepeatedMusic},
2641 @internalsref{UnfoldedRepeatedMusic}, and
2642 @internalsref{FoldedRepeatedMusic}.
2644 @node Tremolo repeats
2645 @subsection Tremolo repeats
2646 @cindex tremolo beams
2648 To place tremolo marks between notes, use @code{\repeat} with tremolo
2650 @lilypond[verbatim,center,singleline]
2652 \context Voice \notes\relative c' {
2653 \repeat "tremolo" 8 { c16 d16 }
2654 \repeat "tremolo" 4 { c16 d16 }
2655 \repeat "tremolo" 2 { c16 d16 }
2656 \repeat "tremolo" 4 c16
2663 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2664 are @internalsref{StemTremolo}s. The music expression is
2665 @internalsref{TremoloEvent}.
2670 The single stem tremolo must be entered without @code{@{} and
2673 @node Tremolo subdivisions
2674 @subsection Tremolo subdivisions
2675 @cindex tremolo marks
2676 @cindex @code{tremoloFlags}
2678 Tremolo marks can be printed on a single note by adding
2679 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2680 A @var{length} value of 8 gives one line across the note stem. If the
2681 length is omitted, then then the last value (stored in
2682 @code{Voice.tremoloFlags}) is used:
2684 @lilypond[verbatim,fragment,center]
2685 c'2:8 c':32 | c': c': |
2688 @c [TODO : stok is te kort bij 32en]
2692 Tremolos in this style do not carry over into the MIDI output.
2695 @node Measure repeats
2696 @subsection Measure repeats
2698 @cindex percent repeats
2699 @cindex measure repeats
2701 In the @code{percent} style, a note pattern can be repeated. It is
2702 printed once, and then the pattern is replaced with a special sign.
2703 Patterns of a one and two measures are replaced by percent-like signs,
2704 patterns that divide the measure length are replaced by slashes:
2706 @lilypond[verbatim,singleline]
2707 \context Voice { \repeat "percent" 4 { c'4 }
2708 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2714 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2715 @internalsref{PercentRepeatedMusic}, and
2716 @internalsref{DoublePercentRepeat}.
2720 @node Rhythmic music
2721 @section Rhythmic music
2723 Sometimes you might want to show only the rhythm of a melody. This
2724 can be done with the rhythmic staff. All pitches of notes on such a
2725 staff are squashed, and the staff itself has a single line:
2727 @lilypond[fragment,relative,verbatim]
2728 \context RhythmicStaff {
2730 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2735 * Percussion staves::
2736 * Percussion MIDI output::
2739 @node Percussion staves
2740 @subsection Percussion staves
2744 A percussion part for more than one instrument typically uses a
2745 multiline staff where each position in the staff refers to one piece
2750 Percussion staves are typeset with help of a set of Scheme
2751 functions. The system is based on the general MIDI drum-pitches.
2752 Include @file{drumpitch-init.ly} to use drum pitches. This file
2753 defines the pitches from the Scheme variable @code{drum-pitch-names},
2754 the definition of which can be read in @file{scm/drums.scm}. Each
2755 piece of percussion has a full name and an abbreviated name, and either
2756 the full name or the abbreviation may be used in input files.
2758 To typeset the music on a staff apply the function @code{drums->paper}
2759 to the percussion music. This function takes a list of percussion
2760 instrument names, notehead scripts and staff positions (that is:
2761 pitches relative to the C-clef) and transforms the input
2762 music by moving the pitch, changing the notehead and (optionally)
2765 @lilypond[singleline,verbatim,quote]
2766 \include "drumpitch-init.ly"
2767 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2768 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2770 \apply #(drums->paper 'drums) \context Staff <<
2772 \new Voice { \voiceOne \up }
2773 \new Voice { \voiceTwo \down }
2778 In the above example the music was transformed using the list @code{'drums}.
2779 The following lists are defined in @file{scm/drums.scm}:
2782 to typeset a typical drum kit on a five-line staff:
2785 \include "drumpitch-init.ly"
2786 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2787 bd sn ss tomh tommh tomml toml tomfh tomfl }
2788 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2789 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2792 \apply #(drums->paper 'drums) \context Staff <<
2796 \context Lyrics \nam
2799 linewidth = 100.0\mm
2802 \remove Bar_engraver
2803 \remove Time_signature_engraver
2804 minimumVerticalExtent = #'(-4.0 . 5.0)
2808 \remove Stem_engraver
2814 The drum scheme supports six different toms. When there fewer toms, simply
2815 select the toms that produce the desired result, i.e. to get toms on
2816 the three middle lines you use @code{tommh}, @code{tomml} and
2819 Because general MIDI does not contain rimshots the sidestick is used
2820 for this purpose instead.
2822 to typeset timbales on a two line staff:
2824 @lilypond[singleline]
2825 \include "drumpitch-init.ly"
2826 nam = \lyrics { timh ssh timl ssl cb }
2827 mus = \notes { timh ssh timl ssl cb s16 }
2830 \apply #(drums->paper 'timbales) \context Staff <<
2834 \context Lyrics \nam
2839 \remove Bar_engraver
2840 \remove Time_signature_engraver
2841 StaffSymbol \override #'line-count = #2
2842 StaffSymbol \override #'staff-space = #2
2843 minimumVerticalExtent = #'(-3.0 . 4.0)
2847 \remove Stem_engraver
2854 to typeset congas on a two line staff:
2856 @lilypond[singleline]
2857 \include "drumpitch-init.ly"
2858 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2859 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2862 \apply #(drums->paper 'congas) \context Staff <<
2866 \context Lyrics \nam
2871 \remove Bar_engraver
2872 \remove Time_signature_engraver
2873 StaffSymbol \override #'line-count = #2
2874 StaffSymbol \override #'staff-space = #2
2875 minimumVerticalExtent = #'(-3.0 . 4.0)
2879 \remove Stem_engraver
2885 to typeset bongos on a two line staff:
2887 @lilypond[singleline]
2888 \include "drumpitch-init.ly"
2889 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2890 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2893 \apply #(drums->paper 'bongos) \context Staff <<
2897 \context Lyrics \nam
2902 \remove Bar_engraver
2903 \remove Time_signature_engraver
2904 StaffSymbol \override #'line-count = #2
2905 StaffSymbol \override #'staff-space = #2
2906 minimumVerticalExtent = #'(-3.0 . 4.0)
2910 \remove Stem_engraver
2916 to typeset all kinds of simple percussion on one line staves:
2917 @lilypond[singleline]
2918 \include "drumpitch-init.ly"
2919 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2920 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2923 \apply #(drums->paper 'percussion) \context Staff <<
2927 \context Lyrics \nam
2932 \remove Bar_engraver
2933 \remove Time_signature_engraver
2934 StaffSymbol \override #'line-count = #1
2935 minimumVerticalExtent = #'(-2.0 . 3.0)
2939 \remove Stem_engraver
2946 If you do not like any of the predefined lists you can define your own
2947 list at the top of your file:
2949 @lilypond[singleline, verbatim]
2950 #(set-drum-kit 'mydrums `(
2951 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2952 (snare default #f ,(ly:make-pitch 0 1 0))
2953 (hihat cross #f ,(ly:make-pitch 0 5 0))
2954 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2955 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2957 \include "drumpitch-init.ly"
2958 up = \notes { hh8 hh hh hh hhp4 hhp }
2959 down = \notes { bd4 sn bd toml8 toml }
2961 \apply #(drums->paper 'mydrums) \context Staff <<
2963 \new Voice { \voiceOne \up }
2964 \new Voice { \voiceTwo \down }
2969 To use a modified existing list, one can prepend modifications to the
2973 #(set-drum-kit 'mydrums (append `(
2974 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2975 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2976 ) (get-drum-kit 'drums)))
2979 You can easily combine percussion notation with pitched notation.
2980 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2981 names, so you will have to reinclude @file{nederlands.ly} after the
2982 drum-pattern-definitions to enter normal notes:
2984 @lilypond[singleline,verbatim]
2985 \include "drumpitch-init.ly"
2986 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2987 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2988 \include "nederlands.ly"
2989 bass = \notes \transpose c c,, { a4. e8 r e g e }
2992 \apply #(drums->paper 'drums) \new Staff <<
2994 \new Voice { \voiceOne \up }
2995 \new Voice { \voiceTwo \down }
2997 \new Staff { \clef "F_8" \bass }
3002 @node Percussion MIDI output
3003 @subsection Percussion MIDI output
3005 In order to produce correct MIDI output you need to produce two score
3006 blocks---one for the paper and one for the MIDI output. To use the
3007 percussion channel you set the property @code{instrument} to
3008 @code{'drums}. Because the drum-pitches themselves are similar to the
3009 general MIDI pitches all you have to do is to insert the voices with
3010 none of the scheme functions to get the correct MIDI output:
3014 \apply #(drums->paper 'mydrums) \context Staff <<
3023 \property Staff.instrument = #'drums
3033 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3034 temporary implementation.
3038 @section Piano music
3040 Piano staves are two normal staves coupled with a brace. The staves
3041 are largely independent, but sometimes voices can cross between the
3042 two staves. The same notation is also used for harps and other key
3043 instruments. The @internalsref{PianoStaff} is especially built to
3044 handle this cross-staffing behavior. In this section we discuss the
3045 @internalsref{PianoStaff} and some other pianistic peculiarities.
3049 * Automatic staff changes::
3050 * Manual staff switches::
3053 * Staff switch lines::
3058 There is no support for putting chords across staves. You can get
3059 this result by increasing the length of the stem in the lower stave so
3060 it reaches the stem in the upper stave, or vice versa. An example is
3061 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3063 Dynamics are not centered, but kludges do exist. See
3064 @inputfileref{input/template,piano-dynamics.ly}.
3066 @cindex cross staff stem
3067 @cindex stem, cross staff
3070 @c fixme: should have hyperlinks as well.
3076 @node Automatic staff changes
3077 @subsection Automatic staff changes
3078 @cindex Automatic staff changes
3080 Voices can switch automatically between the top and the bottom
3081 staff. The syntax for this is
3083 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3085 The two staffs of the piano staff must be named @code{up} and
3088 The autochanger switches on basis of pitch (central C is the turning
3089 point), and it looks ahead skipping over rests to switch in
3090 advance. Here is a practical example:
3092 @lilypond[verbatim,singleline,quote]
3093 \score { \notes \context PianoStaff <<
3094 \context Staff = "up" {
3095 \autochange Staff \context Voice = VA << \relative c' {
3096 g4 a b c d r4 a g } >> }
3097 \context Staff = "down" {
3104 In this example, spacer rests are used to prevent the bottom staff from
3105 terminating too soon.
3110 @internalsref{AutoChangeMusic}.
3114 The staff switches often do not end up in optimal places. For high
3115 quality output, staff switches should be specified manually.
3118 @node Manual staff switches
3119 @subsection Manual staff switches
3121 @cindex manual staff switches
3122 @cindex staff switch, manual
3124 Voices can be switched between staves manually, using the following command:
3126 \translator Staff = @var{staffname} @var{music}
3130 The string @var{staffname} is the name of the staff. It switches the
3131 current voice from its current staff to the Staff called
3132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3141 Pianos have pedals that alter the way sound are produced. Generally, a
3142 piano has three pedals, sustain, una corda, and sostenuto.
3146 Piano pedal instruction can be expressed by attaching
3147 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3148 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3151 @lilypond[fragment,verbatim]
3152 c'4\sustainDown c'4\sustainUp
3155 What is printed can be modified by setting @code{pedal@var{X}Strings},
3156 where @var{X} is one of the pedal types: @code{Sustain},
3157 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3158 documentation of @internalsref{SustainPedal} for more information.
3160 Pedals can also be indicated by a sequence of brackets, by setting the
3161 @code{pedalSustainStyle} property to @code{bracket} objects:
3163 @lilypond[fragment,verbatim]
3164 \property Staff.pedalSustainStyle = #'bracket
3165 c''4\sustainDown d''4 e''4
3166 a'4\sustainUp\sustainDown
3167 f'4 g'4 a'4\sustainUp
3170 A third style of pedal notation is a mixture of text and brackets,
3171 obtained by setting @code{pedal-type} to @code{mixed}:
3173 @lilypond[fragment,verbatim]
3174 \property Staff.pedalSustainStyle = #'mixed
3175 c''4\sustainDown d''4 e''4
3176 c'4\sustainUp\sustainDown
3177 f'4 g'4 a'4\sustainUp
3180 The default `*Ped' style for sustain and damper pedals corresponds to
3181 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3182 for a sostenuto pedal:
3184 @lilypond[fragment,verbatim]
3185 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3188 For fine-tuning of the appearance of a pedal bracket, the properties
3189 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3190 @code{PianoPedalBracket} objects (see
3191 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3192 bracket may be extended to the end of the note head:
3194 @lilypond[fragment,verbatim]
3195 \property Staff.PianoPedalBracket \override
3196 #'shorten-pair = #'(0 . -1.0)
3197 c''4\sostenutoDown d''4 e''4 c'4
3198 f'4 g'4 a'4\sostenutoUp
3202 @subsection Arpeggio
3205 @cindex broken arpeggio
3206 @cindex @code{\arpeggio}
3208 You can specify an arpeggio sign on a chord by attaching an
3209 @code{\arpeggio} to a chord:
3212 @lilypond[fragment,relative,verbatim]
3216 When an arpeggio crosses staves, you attach an arpeggio to the chords
3217 in both staves, and set
3218 @internalsref{PianoStaff}.@code{connectArpeggios}:
3220 @lilypond[fragment,relative,verbatim]
3221 \context PianoStaff <<
3222 \property PianoStaff.connectArpeggios = ##t
3223 \new Staff { <c' e g c>\arpeggio }
3224 \new Staff { \clef bass <c,, e g>\arpeggio }
3228 The direction of the arpeggio is sometimes denoted by adding an
3229 arrowhead to the wiggly line. This can be typeset by setting
3230 @code{arpeggio-direction}:
3232 @lilypond[fragment,relative,verbatim]
3234 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3236 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3241 A square bracket on the left indicates that the player should not
3242 arpeggiate the chord. To draw these brackets, set the
3243 @code{molecule-callback} property of @code{Arpeggio} or
3244 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3245 @code{\arpeggio} statements within the chords as before:
3247 @lilypond[fragment,relative,verbatim]
3248 \property PianoStaff.Arpeggio \override
3249 #'molecule-callback = \arpeggioBracket
3255 @cindex @code{\arpeggioBracket}
3256 @code{\arpeggioBracket},
3257 @cindex @code{\arpeggio}
3262 @internalsref{ArpeggioEvent} music expressions lead to
3263 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3264 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3268 It is not possible to mix connected arpeggios and unconnected
3269 arpeggios in one @internalsref{PianoStaff} at the same time.
3271 @node Staff switch lines
3272 @subsection Staff switch lines
3275 @cindex follow voice
3276 @cindex staff switching
3279 @cindex @code{followVoice}
3281 Whenever a voice switches to another staff a line connecting the notes
3282 can be printed automatically. This is enabled if the property
3283 @code{PianoStaff.followVoice} is set to true:
3285 @lilypond[fragment,relative,verbatim]
3286 \context PianoStaff <<
3287 \property PianoStaff.followVoice = ##t
3288 \context Staff \context Voice {
3290 \translator Staff=two
3293 \context Staff=two { \clef bass \skip 1*2 }
3297 The associated object is @internalsref{VoiceFollower}.
3301 @cindex @code{\showStaffSwitch}
3302 @code{\showStaffSwitch},
3303 @cindex @code{\hideStaffSwitch}
3304 @code{\hideStaffSwitch}.
3308 @section Vocal music
3310 This section discusses how to enter and print lyrics.
3314 * The Lyrics context::
3319 @node Entering lyrics
3320 @subsection Entering lyrics
3324 @cindex @code{\lyrics}
3327 Lyrics are entered in a special input mode. This mode is is introduced
3328 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3329 punctuation and accents without any hassle. Syllables are entered like
3330 notes, but with pitches replaced by text. For example,
3332 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3335 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3336 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3337 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3338 any 8-bit character with ASCII code over 127, or a two-character
3339 combination of a backslash followed by one of @code{`}, @code{'},
3340 @code{"}, or @code{^}.
3342 Subsequent characters of a word can be any character that is not a digit
3343 and not white space. One important consequence of this is that a word
3344 can end with @code{@}}. The following example is usually a bug. The
3345 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3347 \lyrics @{ twinkle@}
3350 @cindex @code{\property}, in @code{\lyrics}
3351 Similarly, a period following a alphabetic sequence, is included in the
3352 resulting string. As a consequence, spaces must be inserted around
3353 @code{\property} commands:
3355 \property Lyrics . LyricText \set #'font-shape = #'italic
3359 @cindex spaces, in lyrics
3360 @cindex quotes, in lyrics
3362 Any @code{_} character which appears in an unquoted word is converted
3363 to a space. This provides a mechanism for introducing spaces into words
3364 without using quotes. Quoted words can also be used in Lyrics mode to
3365 specify words that cannot be written with the above rules:
3368 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3372 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3377 These will be attached to the end of the first syllable.
3379 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3380 as a separate word between syllables. The hyphen will have variable
3381 length depending on the space between the syllables and it will be
3382 centered between the syllables.
3387 When a lyric is sung over many notes (this is called a melisma), this is
3388 indicated with a horizontal line centered between a syllable and the
3389 next one. Such a line is called an extender line, and it is entered as
3394 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3395 @internalsref{ExtenderEvent}.
3399 The definition of lyrics mode is too complex.
3401 @node The Lyrics context
3402 @subsection The Lyrics context
3404 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3406 \context Lyrics \lyrics @dots{}
3409 @cindex automatic syllable durations
3410 @cindex @code{\addlyrics}
3411 @cindex lyrics and melodies
3413 This will place the lyrics according to the durations that were
3414 entered. The lyrics can also be aligned under a given melody
3415 automatically. In this case, it is no longer necessary to enter the
3416 correct duration for each syllable. This is achieved by combining the
3417 melody and the lyrics with the @code{\addlyrics} expression:
3421 \context Lyrics @dots{}
3424 @cindex staff order, with @code{\addlyrics}
3426 Normally, this will put the lyrics below the staff. For different or
3427 more complex orderings, the best way is to setup the hierarchy of
3428 staves and lyrics first, e.g.
3430 \context ChoirStaff \notes <<
3431 \context Lyrics = sopr @{ s1 @}
3432 \context Staff = soprStaff @{ s1 @}
3433 \context Lyrics = tenor @{ s1 @}
3434 \context Staff = tenorStaff @{ s1 @}
3437 and then combine the appropriate melodies and lyric lines:
3440 \context Staff = soprStaff @emph{the music}
3441 \context Lyrics = sopr @emph{the lyrics}
3444 putting both together, you would get
3446 \context ChoirStaff \notes <<
3447 \context Lyrics = @dots{}
3448 \context Staff = @dots{}
3454 @cindex choral score
3456 A complete example of a SATB score setup is in the file
3457 @inputfileref{input/template,satb.ly}.
3461 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3462 @inputfileref{input/template,satb.ly}.
3466 @code{\addlyrics} is not automatic enough: melismata are not detected
3467 automatically, and melismata are not stopped when they hit a rest. A
3468 melisma on the last note in a melody is not printed.
3472 @subsection More stanzas
3475 @cindex phrasing, in lyrics
3477 When multiple stanzas are printed underneath each other, the vertical
3478 groups of syllables should be aligned around punctuation. This can be
3479 done automatically when corresponding lyric lines and melodies are
3482 To this end, give the @internalsref{Voice} context an identity:
3484 \context Voice = duet @{
3489 Then set the @internalsref{LyricsVoice} contexts to names starting with
3490 that identity followed by a dash. In the preceding example, the
3491 @internalsref{Voice} identity is @code{duet}, so the identities of the
3492 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3494 \context LyricsVoice = "duet-1" @{
3495 Hi, my name is bert. @}
3496 \context LyricsVoice = "duet-2" @{
3497 Ooooo, ch\'e -- ri, je t'aime. @}
3499 The convention for naming @internalsref{LyricsVoice} and
3500 @internalsref{Voice} must also be used to get melismata correct in
3501 conjunction with rests.
3503 The complete example is shown here:
3504 @lilypond[singleline,verbatim]
3507 \notes \relative c'' \context Voice = duet { \time 3/4
3509 \lyrics \context Lyrics <<
3510 \context LyricsVoice = "duet-1" {
3511 \property LyricsVoice . stanza = "Bert"
3512 Hi, my name is bert. }
3513 \context LyricsVoice = "duet-2" {
3514 \property LyricsVoice . stanza = "Ernie"
3515 Ooooo, ch\'e -- ri, je t'aime. }
3520 @cindex stanza number
3521 @cindex singer's names
3522 @cindex name of singer
3524 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3527 \property LyricsVoice . stanza = "Bert"
3529 \property LyricsVoice . stanza = "Ernie"
3532 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3533 prevent @code{LyricsVoice.stanza} being interpreted as a single
3536 Names of the singers should be added using @code{LyricsVoice
3537 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3538 annotations for staves.
3540 To make empty spaces in lyrics, use @code{\skip}.
3548 Input for lyrics introduces a syntactical ambiguity:
3555 is interpreted as assigning a string identifier @code{\foo} such that
3556 it contains @code{"bar"}. However, it could also be interpreted as
3557 making or a music identifier @code{\foo} containing the syllable
3558 `bar'. The force the latter interpretation, use
3568 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3569 for a given voice in a part of music. It also may denote the pitch
3570 range that a musical instrument is capable of playing. Most musical
3571 instruments have their ambitus standardized (or at least there is
3572 agreement upon the minimal ambitus of a particular type of
3573 instrument), such that a composer or arranger of a piece of music can
3574 easily meet the ambitus constraints of the targeted instrument.
3575 However, the ambitus of the human voice depends on individual
3576 physiological state, including education and training of the voice.
3577 Therefore, a singer potentially has to check for each piece of music
3578 if the ambitus of that piece meets his individual capabilities. This
3579 is why the ambitus of a piece may be of particular value to vocal
3582 The ambitus is typically notated on a per-voice basis at the very
3583 beginning of a piece, e.g. nearby the initial clef or time signature of
3584 each staff. The range is graphically specified by two noteheads, that
3585 represent the minimum and maximum pitch. Some publishers use a textual
3586 notation: they put the range in words in front of the corresponding
3587 staff. LilyPond only supports the graphical ambitus notation.
3589 To apply, add the @internalsref{Ambitus_engraver} to the
3590 @internalsref{Voice} context, i.e.
3596 \consists Ambitus_engraver
3601 This results in the following output:
3602 @lilypond[singleline]
3603 upper = \notes \relative c {
3606 as'' c e2 bes f cis d4 e f2 g
3608 lower = \notes \relative c {
3611 e'4 b g a c es fis a cis b a g f e d2
3614 \context ChoirStaff {
3616 \new Staff { \upper }
3617 \new Staff { \lower }
3623 \consists Ambitus_engraver
3629 If you have multiple voices in a single staff, and you want a single
3630 ambitus per staff rather than per each voice, then add the
3631 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3632 rather than to the @internalsref{Voice} context.
3634 It is possible to tune individual ambituses for multiple voices on a
3635 single staff, for example by erasing or shifting them horizontally. An
3636 example is in @inputfileref{input/test,ambitus-mixed.ly}
3640 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
3641 @inputfileref{input/test,ambitus-mixed.ly}.
3645 There is no collision handling in the case of multiple per-voice
3651 Tablature notation is used for notating music for plucked string
3652 instruments. It notates pitches not by using note heads, but by
3653 indicating on which string and fret a note must be played. LilyPond
3654 offers limited support for tablature.
3657 * Tablatures basic::
3658 * Non-guitar tablatures::
3661 @node Tablatures basic
3662 @subsection Tablatures basic
3663 @cindex Tablatures basic
3665 The string number associated to a note is given as a backslash
3666 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3667 string. By default, string 1 is the highest one, and the tuning
3668 defaults to the standard guitar tuning (with 6 strings). The notes
3669 are printed as tablature, by using @internalsref{TabStaff} and
3670 @internalsref{TabVoice} contexts:
3672 @lilypond[fragment,verbatim]
3673 \notes \context TabStaff {
3679 When no string is specified, the first string that does not give a
3680 fret number less than @code{minimumFret} is selected. The default
3681 value for @code{minimumFret} is 0:
3685 e8 fis gis a b cis' dis' e'
3686 \property TabStaff.minimumFret = #8
3687 e8 fis gis a b cis' dis' e'
3692 e8 fis gis a b cis' dis' e'
3693 \property TabStaff.minimumFret = #8
3694 e8 fis gis a b cis' dis' e'
3697 \context StaffGroup <<
3698 \context Staff { \clef "G_8" \frag }
3699 \context TabStaff { \frag }
3706 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3707 @internalsref{StringNumberEvent}.
3711 Chords are not handled in a special way, and hence the automatic
3712 string selector may easily select the same string to two notes in a
3716 @node Non-guitar tablatures
3717 @subsection Non-guitar tablatures
3718 @cindex Non-guitar tablatures
3720 You can change the number of strings, by setting the number of lines
3721 in the @internalsref{TabStaff} (the @code{line-count} property of
3722 @internalsref{TabStaff} can only be changed using
3723 @code{\applyoutput}, for more information, see @ref{Tuning
3726 You can change the tuning of the strings. A string tuning is given as
3727 a Scheme list with one integer number for each string, the number
3728 being the pitch (measured in semitones relative to central C) of an
3729 open string. The numbers specified for @code{stringTuning} are the
3730 numbers of semitones to subtract or add, starting the specified pitch
3731 by default middle C, in string order. Thus, the notes are e, a, d, and
3734 @lilypond[fragment,verbatim]
3735 \context TabStaff <<
3737 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
3739 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3742 a,4 c' a e' e c' a e'
3747 It is possible to change the Scheme function to format the tablature
3748 note text. The default is @code{fret-number-tablature-format}, which
3749 uses the fret number. For instruments that do not use this notation,
3750 you can create a special tablature formatting function. This function
3751 takes three argument: string number, string tuning and note pitch.
3755 No guitar special effects have been implemented.
3760 @section Chord names
3763 LilyPond has support for both printing chord names. Chords may be
3764 entered in musical chord notation, i.e. @code{< .. >}, but they can
3765 also be entered by name. Internally, the chords are represented as a
3766 set of pitches, so they can be transposed:
3769 @lilypond[verbatim,singleline]
3770 twoWays = \notes \transpose c c' {
3780 << \context ChordNames \twoWays
3781 \context Voice \twoWays >> }
3784 This example also shows that the chord printing routines do not try to
3785 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3791 * Printing chord names::
3796 @subsection Chords mode
3799 Chord mode is a mode where you can input sets of pitches using common
3800 names. It is introduced by the keyword @code{\chords}.
3801 In chords mode, a chord is entered by the root, which is entered
3802 like a common pitch:
3803 @lilypond[fragment,verbatim,quote, relative=1]
3804 \chords { es4. d8 c2 }
3809 Other chords may be entered by suffixing a colon, and introducing a
3810 modifier, and optionally, a number:
3812 @lilypond[fragment,verbatim,quote]
3813 \chords { e1:m e1:7 e1:m7 }
3815 The first number following the root is taken to be the `type' of the
3816 chord, thirds are added to the root until it reaches the specified
3818 @lilypond[fragment,verbatim]
3819 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3822 @cindex root of chord
3823 @cindex additions, in chords
3824 @cindex removals, in chords
3826 More complex chords may also be constructed adding separate steps
3827 to a chord. Additions are added after the number following
3828 the colon, and are separated by dots:
3830 @lilypond[verbatim,fragment,quote]
3831 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3833 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3835 @lilypond[verbatim,fragment,quote]
3836 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3838 Removals are specified similarly, and are introduced by a caret. They
3839 must come after the additions:
3840 @lilypond[verbatim,fragment]
3841 \chords { c^3 c:7^5 c:9^3.5 }
3844 Modifiers can be used to change pitches. The following modifiers are
3848 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3850 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3853 is the augmented chord. This modifier raises the 5th step.
3855 is the major 7th chord. This modifier raises the 7th step if present.
3857 is the suspended 4th or 2nd. This modifier removes the 3rd
3858 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3861 Modifiers can be mixed with additions:
3862 @lilypond[verbatim,fragment]
3863 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3866 @cindex modifiers, in chords.
3873 Since an unaltered 11 does not sound good when combined with an
3874 unaltered 13, the 11 is removed in this case (unless it is added
3877 @lilypond[fragment,verbatim]
3878 \chords { c:13 c:13.11 c:m13 }
3883 An inversion (putting one pitch of the chord on the bottom), as well
3884 as bass notes, can be specified by appending
3885 @code{/}@var{pitch} to the chord:
3886 @lilypond[fragment,verbatim,center]
3887 \chords { c1 c/g c/f }
3891 A bass note can be added instead of transposed out of the chord,
3892 by using @code{/+}@var{pitch}.
3894 @lilypond[fragment,verbatim,center]
3895 \chords { c1 c/+g c/+f }
3898 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3899 of the commands continue to work, for example, @code{r} and
3900 @code{\skip} can be used to insert rests and spaces, and
3901 @code{\property} may be used to change various settings.
3907 Each step can only be present in a chord once. The following
3908 simply produces the augmented chord, since @code{5+} is interpreted
3911 @lilypond[verbatim,fragment]
3912 \chords { c:5.5-.5+ }
3916 @node Printing chord names
3917 @subsection Printing chord names
3919 @cindex printing chord names
3923 For displaying printed chord names, use the @internalsref{ChordNames} context.
3924 The chords may be entered either using the notation
3925 described above, or directly using @code{<} and @code{>}:
3927 @lilypond[verbatim,singleline]
3929 \chords {a1 b c} <d' f' a'> <e' g' b'>
3933 \context ChordNames \scheme
3934 \context Staff \scheme
3939 You can make the chord changes stand out by setting
3940 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3941 display chord names when there is a change in the chords scheme and at
3942 the start of a new line:
3944 @lilypond[verbatim, linewidth=9cm]
3946 c1:m c:m \break c:m c:m d
3950 \context ChordNames {
3951 \property ChordNames.chordChanges = ##t
3953 \context Staff \transpose c c' \scheme
3958 The default chord name layout is a system for Jazz music, proposed by
3959 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3960 following properties:
3963 @cindex chordNameExceptions
3964 @item chordNameExceptions
3965 This is a list that contains the chords that have special formatting.
3967 @inputfileref{input/regression,chord-name-exceptions.ly}.
3968 @cindex exceptions, chord names.
3971 @cindex majorSevenSymbol
3972 @item majorSevenSymbol
3973 This property contains the markup object used for the 7th step, when
3974 it is major. Predefined options are @code{whiteTriangleMarkup} and
3975 @code{blackTriangleMarkup}. See
3976 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3978 @cindex chordNameSeparator
3979 @item chordNameSeparator
3980 Different parts of a chord name are normally separated by a
3981 slash. By setting @code{chordNameSeparator}, you can specify other
3983 @lilypond[fragment,verbatim]
3984 \context ChordNames \chords {
3986 \property ChordNames.chordNameSeparator
3987 = \markup { \typewriter "|" }
3991 @cindex chordRootNamer
3992 @item chordRootNamer
3993 The root of a chord is usually printed as a letter with an optional
3994 alteration. The transformation from pitch to letter is done by this
3995 function. Special note names (for example, the German ``H'' for a
3996 B-chord) can be produced by storing a new function in this property.
3998 The pre-defined variables @code{\germanChords},
3999 @code{\semiGermanChords} set these variables.
4002 @cindex chordNoteNamer
4003 @item chordNoteNamer
4004 The default is to print single pitch, e.g. the bass note, using the
4005 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4006 to a specialized function to change this behavior. For example, the
4007 base can be printed in lower case.
4012 There are also two other chord name schemes implemented: an alternate
4013 Jazz chord notation, and a systematic scheme called Banter chords. The
4014 alternate jazz notation is also shown on the chart in @ref{Chord name
4015 chart}. Turning on these styles is described in the input file
4016 @inputfileref{input/test,chord-names-jazz.ly}.
4020 @cindex chords, jazz
4025 @cindex @code{\germanChords}
4026 @code{\germanChords},
4027 @cindex @code{\semiGermanChords}
4028 @code{\semiGermanChords}.
4035 @inputfileref{input/regression,chord-name-major7.ly},
4036 @inputfileref{input/regression,chord-name-exceptions.ly},
4037 @inputfileref{input/test,chord-names-jazz.ly},
4038 @inputfileref{input/test,chord-names-german.ly},
4039 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4044 Chord names are determined solely from the list of pitches. Chord
4045 inversions are not identified, and neither are added bass notes. This
4046 may result in strange chord names when chords are entered with the
4047 @code{< .. >} syntax.
4052 @node Orchestral music
4053 @section Orchestral music
4055 @cindex Writing parts
4057 Orchestral music involves some special notation, both in the full
4058 score and the individual parts. This section explains how to tackle
4059 some common problems in orchestral music.
4064 * Multiple staff contexts::
4067 * Instrument names::
4069 * Multi measure rests::
4070 * Automatic part combining::
4072 * Different editions from one source::
4073 * Sound output for transposing instruments::
4076 @node Multiple staff contexts
4077 @subsection Multiple staff contexts
4079 Polyphonic scores consist of many staves. These staves can be
4080 constructed in three different ways:
4082 @item The group is started with a brace at the left. This is done with the
4083 @internalsref{GrandStaff} context.
4084 @item The group is started with a bracket. This is done with the
4085 @internalsref{StaffGroup} context
4086 @item The group is started with a vertical line. This is the default
4090 @cindex Staff, multiple
4091 @cindex bracket, vertical
4092 @cindex brace, vertical
4099 @node Rehearsal marks
4100 @subsection Rehearsal marks
4101 @cindex Rehearsal marks
4103 @cindex @code{\mark}
4105 To print a rehearsal mark, use the @code{\mark} command:
4106 @lilypond[fragment,verbatim]
4116 The mark is incremented automatically if you use @code{\mark
4117 \default}. The value to use is stored in the property
4118 @code{rehearsalMark} is used and automatically incremented.
4120 The @code{\mark} command can also be used to put signs like coda,
4121 segno and fermatas on a barline. Use @code{\markup} to
4122 to access the appropriate symbol:
4124 @lilypond[fragment,verbatim,relative=1]
4125 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4129 In this case, during line breaks,
4130 marks must also be printed at the end of the line, and not at the
4131 beginning. Use the following to force that behavior:
4133 \property Score.RehearsalMark \override
4134 #'break-visibility = #begin-of-line-invisible
4137 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4143 @cindex barlines, putting symbols on
4147 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4148 @inputfileref{input/test,boxed-molecule.ly}.
4152 @subsection Bar numbers
4156 @cindex measure numbers
4157 @cindex currentBarNumber
4159 Bar numbers are printed by default at the start of the line. The
4160 number itself is stored in the
4161 @code{currentBarNumber} property,
4162 which is normally updated automatically for every measure.
4164 Bar numbers can be typeset at regular intervals instead of at the
4165 beginning of each line. This is illustrated in the following example,
4166 whose source is available as
4167 @inputfileref{input/test,bar-number-regular-interval.ly}:
4169 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4174 @internalsref{BarNumber},
4175 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4176 @inputfileref{input/test,bar-number-regular-interval.ly}.
4180 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4181 there is one at the top. To solve this, the
4182 @code{padding} property of @internalsref{BarNumber} can be
4183 used to position the number correctly.
4185 @node Instrument names
4186 @subsection Instrument names
4188 In an orchestral score, instrument names are printed left side of the
4191 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4192 and @internalsref{Staff}.@code{instr}. This will print a string before
4193 the start of the staff. For the first start, @code{instrument} is
4194 used, for the next ones @code{instr} is used:
4197 @lilypond[verbatim,singleline]
4198 \property Staff.instrument = "ploink " { c''4 }
4202 You can also use markup texts to construct more complicated instrument
4206 @lilypond[fragment,verbatim,singleline]
4208 \property Staff.instrument = \markup {
4209 \column < "Clarinetti"
4211 \smaller \musicglyph #"accidentals--1"
4222 @internalsref{InstrumentName}.
4226 When you put a name on a grand staff or piano staff the width of the
4227 brace is not taken into account. You must add extra spaces to the end of
4228 the name to avoid a collision.
4231 @subsection Transpose
4233 @cindex transposition of pitches
4234 @cindex @code{\transpose}
4236 A music expression can be transposed with @code{\transpose}. The syntax
4239 \transpose @var{from} @var{to} @var{musicexpr}
4242 This means that @var{musicexpr} is transposed by the interval
4243 between @var{from} and @var{to}.
4245 @code{\transpose} distinguishes between enharmonic pitches: both
4246 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4247 half a tone. The first version will print sharps and the second
4248 version will print flats:
4250 @lilypond[singleline, verbatim]
4251 mus =\notes { \key d \major cis d fis g }
4252 \score { \notes \context Staff {
4255 \transpose c g' \mus
4256 \transpose c f' \mus
4262 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4266 If you want to use both @code{\transpose} and @code{\relative}, then
4267 you must put @code{\transpose} outside of @code{\relative}, since
4268 @code{\relative} will have no effect music that appears inside a
4274 @node Multi measure rests
4275 @subsection Multi measure rests
4276 @cindex multi measure rests
4277 @cindex Rests, multi measure
4281 Multi measure rests are entered using `@code{R}'. It is specifically
4282 meant for full bar rests and for entering parts: the rest can expand
4283 to fill a score with rests, or it can be printed as a single
4284 multimeasure rest. This expansion is controlled by the property
4285 @code{Score.skipBars}. If this is set to true, empty measures will not
4286 be expanded, and the appropriate number is added automatically:
4288 @lilypond[fragment,verbatim]
4289 \time 4/4 r1 | R1 | R1*2
4290 \property Score.skipBars = ##t R1*17 R1*4
4293 The @code{1} in @code{R1} is similar to the duration notation used for
4294 notes. Hence, for time signatures other than 4/4, you must enter other
4295 durations. This can be done with augmentation dots or fractions:
4297 @lilypond[fragment,verbatim]
4298 \property Score.skipBars = ##t
4306 An @code{R} spanning a single measure is printed as either a whole rest
4307 or a breve, centered in the measure regardless of the time signature.
4309 @cindex text on multi-measure rest
4310 @cindex script on multi-measure rest
4311 @cindex fermata on multi-measure rest
4313 Texts can be added to multi-measure rests by using the
4314 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4315 replaced. If you need both texts and the number, you must add the
4316 number by hand. A variable (@code{\fermataMarkup}) is provided for
4320 @lilypond[verbatim,fragment]
4322 R2._\markup { "Ad lib" }
4326 If you want to have a text on the left end of a multi-measure rest,
4327 attach the text to a zero-length skip note, i.e.
4335 @cindex whole rests for a full measure
4339 @internalsref{MultiMeasureRestEvent},
4340 @internalsref{MultiMeasureTextEvent},
4341 @internalsref{MultiMeasureRestMusicGroup}, and
4342 @internalsref{MultiMeasureRest}.
4344 The layout object @internalsref{MultiMeasureRestNumber} is for the
4345 default number, and @internalsref{MultiMeasureRestText} for user
4350 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4351 over multi-measure rests.
4353 @cindex condensing rests
4355 There is no way to automatically condense multiple rests into a single
4356 multimeasure rest. Multi measure rests do not take part in rest
4359 Be careful when entering multimeasure rests followed by whole
4360 notes. The following will enter two notes lasting four measures each:
4364 When @code{skipBars} is set, then the result will look OK, but the
4365 bar numbering will be off.
4367 @node Automatic part combining
4368 @subsection Automatic part combining
4369 @cindex automatic part combining
4370 @cindex part combiner
4373 Automatic part combining is used to merge two parts of music onto a
4374 staff. It is aimed at typesetting orchestral scores. When the two
4375 parts are identical for a period of time, only one is shown. In
4376 places where the two parts differ, they are typeset as separate
4377 voices, and stem directions are set automatically. Also, solo and
4378 @emph{a due} parts are identified and can be marked.
4382 The syntax for part combining is
4385 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4387 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4388 combined into one context of type @var{context}. The music expressions
4389 must be interpreted by contexts whose names should start with @code{one}
4392 The following example demonstrates the basic functionality of the part
4393 combiner: putting parts on one staff, and setting stem directions and
4396 @lilypond[verbatim,singleline,fragment]
4398 \context Voice=one \partcombine Voice
4399 \context Thread=one \relative c'' {
4402 \context Thread=two \relative c'' {
4408 The first @code{g} appears only once, although it was
4409 specified twice (once in each part). Stem, slur and tie directions are
4410 set automatically, depending whether there is a solo or unisono. The
4411 first part (with context called @code{one}) always gets up stems, and
4412 `solo', while the second (called @code{two}) always gets down stems and
4415 If you just want the merging parts, and not the textual markings, you
4416 may set the property @var{soloADue} to false:
4418 @lilypond[verbatim,singleline,fragment]
4420 \property Staff.soloADue = ##f
4421 \context Voice=one \partcombine Voice
4422 \context Thread=one \relative c'' {
4425 \context Thread=two \relative c'' {
4433 @internalsref{PartCombineMusic},
4434 @internalsref{Thread_devnull_engraver}, and
4435 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4439 The syntax for naming contexts in inconsistent with the syntax for
4442 In @code{soloADue} mode, when the two voices play the same notes on and
4443 off, the part combiner may typeset @code{a2} more than once in a
4446 @lilypond[fragment,singleline]
4448 \context Voice=one \partcombine Voice
4449 \context Thread=one \relative c'' {
4452 \context Thread=two \relative c'' {
4458 The part combiner is rather buggy, and it will be replaced by a better
4459 mechanism in the near future.
4461 @cindex @code{Thread_devnull_engraver}
4462 @cindex @code{Voice_engraver}
4463 @cindex @code{A2_engraver}
4466 @subsection Hiding staves
4468 @cindex Frenched scores
4469 @cindex Hiding staves
4471 In orchestral scores, staff lines that only have rests are usually
4472 removed. This saves some space. This style is called `French Score'.
4473 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4474 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4475 switched on by default. When these line of these contexts turn out
4476 empty after the line-breaking process, they are removed.
4478 For normal staves, a specialized @internalsref{Staff} context is
4479 available, which does the same: staves containing nothing (or only
4480 multi measure rests) are removed. The context definition is stored in
4481 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4482 in this example disappears in the second line:
4487 \notes \relative c' <<
4488 \new Staff { e4 f g a \break c1 }
4489 \new Staff { c4 d e f \break R1 }
4493 \translator { \RemoveEmptyStaffContext }
4498 The first page shows all staffs in full. If they should be removed
4499 from the first page too, set @code{remove-first} to false
4500 in @internalsref{RemoveEmptyVerticalGroup}.
4502 @node Different editions from one source
4503 @subsection Different editions from one source
4505 The @code{\tag} command marks music expressions with a name. These
4506 tagged expressions can be filtered out later. With this mechanism it
4507 is possible to make different versions of the same music source.
4509 In the following example, we see two versions of a piece of music, one
4510 for the full score, and one with cue notes for the instrumental part:
4518 \property Voice.fontSize = #-1
4526 The same can be applied to articulations, texts, etc.: they are
4529 -\tag #@var{your-tag}
4531 to an articulation, for example,
4536 This defines a note with a conditional fingering indication.
4538 By applying the @code{remove-tag} function, tagged expressions can be
4539 filtered. For example,
4543 \apply #(remove-tag 'score) @var{the music}
4544 \apply #(remove-tag 'part) @var{the music}
4549 @lilypondfile[notexidoc]{tag-filter.ly}
4551 The argument of the @code{\tag} command should be a symbol, or a list
4552 of symbols, for example,
4554 \tag #'(original-part transposed-part) @dots{}
4559 @inputfileref{input/regression,tag-filter.ly}
4562 @node Sound output for transposing instruments
4563 @subsection Sound output for transposing instruments
4565 When you want to make a MIDI file from a score containing transposed
4566 and untransposed instruments, you have to instruct LilyPond the pitch
4567 offset (in semitones) for the transposed instruments. This is done
4568 using the @code{transposing} property. It does not affect printed
4571 @cindex @code{transposing}
4574 \property Staff.instrument = #"Cl. in B-flat"
4575 \property Staff.transposing = #-2
4579 @node Ancient notation
4580 @section Ancient notation
4582 @cindex Vaticana, Editio
4583 @cindex Medicaea, Editio
4588 @c [TODO: write more comprehensive introduction on ancient notation]
4590 Support for ancient notation is still under heavy development.
4591 Regardless of all of the current limitations (see the bugs section
4592 below for details), it includes features for mensural
4593 notation and Gregorian Chant notation. There is also limited support
4594 for figured bass notation.
4596 Many graphical objects provide a @code{style} property, see
4597 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4598 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4599 signatures}. By manipulating such a grob property, the typographical
4600 appearance of the affected graphical objects can be accomodated for a
4601 specific notation flavour without need for introducing any new
4605 Other aspects of ancient notation can not that easily be expressed as
4606 in terms of just changing a style property of a graphical object.
4607 Therefore, some notational concepts are introduced specifically for
4608 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4609 @ref{Ligatures}, and @ref{Figured bass}.
4613 * Ancient note heads::
4614 * Ancient accidentals::
4618 * Ancient time signatures::
4623 * Vaticana style contexts::
4626 If this all is way too much of documentation for you, and you just
4627 want to dive into typesetting without worrying too much about the
4628 details on how to customize a context, then you may have a look at the
4629 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4630 set up predefined style-specific voice and staff contexts, and
4631 directly go ahead with the note entry.
4635 Ligatures need special spacing that has not yet been implemented. As
4636 a result, there is too much space between ligatures most of the time,
4637 and line breaking often is unsatisfactory. Also, lyrics do not
4638 correctly align with ligatures.
4640 Accidentals must not be printed within a ligature, but instead need to
4641 be collected and printed in front of it.
4643 Augmentum dots within ligatures are not handled correctly.
4646 @node Ancient note heads
4647 @subsection Ancient note heads
4653 For ancient notation, a note head style other than the @code{default}
4654 style may be chosen. This is accomplished by setting the @code{style}
4655 property of the NoteHead object to the desired value (@code{baroque},
4656 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4657 differs from the @code{default} style only in using a square shape for
4658 @code{\breve} note heads. The @code{neo_mensural} style differs from
4659 the @code{baroque} style in that it uses rhomboidal heads for whole
4660 notes and all smaller durations. Stems are centered on the note
4661 heads. This style is in particular useful when transcribing mensural
4662 music, e.g. for the incipit. The @code{mensural} style finally
4663 produces note heads that mimick the look of note heads in historic
4664 printings of the 16th century.
4666 The following example demonstrates the @code{neo_mensural} style:
4668 @lilypond[fragment,singleline,verbatim]
4669 \property Voice.NoteHead \set #'style = #'neo_mensural
4670 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4673 When typesetting a piece in Gregorian Chant notation, a Gregorian
4674 ligature engraver will automatically select the proper note heads,
4675 such there is no need to explicitly set the note head style. Still,
4676 the note head style can be set e.g. to @code{vaticana_punctum} to
4677 produce punctum neumes. Similarly, a mensural ligature engraver is
4678 used to automatically assemble mensural ligatures. See
4679 @ref{Ligatures} for how ligature engravers work.
4683 @inputfileref{input/regression,note-head-style.ly} gives an overview
4684 over all available note head styles.
4686 @ref{Percussion staves} use note head styles of their own that are
4687 frequently used in contemporary music notation.
4689 @node Ancient accidentals
4690 @subsection Ancient accidentals
4696 Use the @code{style} property of grob @internalsref{Accidental} to
4697 select ancient accidentals. Supported styles are
4698 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4700 @lilypond[singleline,26pt]
4708 { " " \musicglyph #"accidentals-vaticana-1"
4709 " " \musicglyph #"accidentals-vaticana0" }
4713 { " " \musicglyph #"accidentals-medicaea-1" }
4717 { " " \musicglyph #"accidentals-hufnagel-1" }
4721 { " " \musicglyph #"accidentals-mensural-1"
4722 " " \musicglyph #"accidentals-mensural1" }
4731 \remove "Bar_number_engraver"
4735 \remove "Clef_engraver"
4736 \remove "Key_engraver"
4737 \remove "Time_signature_engraver"
4738 \remove "Staff_symbol_engraver"
4739 minimumVerticalExtent = ##f
4745 As shown, not all accidentals are supported by each style. When
4746 trying to access an unsupported accidental, LilyPond will switch to a
4747 different style, as demonstrated in
4748 @inputfileref{input/test,ancient-accidentals.ly}.
4750 Similarly to local accidentals, the style of the key signature can be
4751 controlled by the @code{style} property of the
4752 @internalsref{KeySignature} grob.
4756 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4757 a general introduction into the use of accidentals. @ref{Key
4758 signature} gives a general introduction into the use of key
4763 @subsection Ancient rests
4769 Use the @code{style} property of grob @internalsref{Rest} to select
4770 ancient accidentals. Supported styles are @code{classical},
4771 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4772 from the @code{default} style only in that the quarter rest looks like
4773 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4774 well for e.g. the incipit of a transcribed mensural piece of music.
4775 The @code{mensural} style finally mimicks the appearance of rests as
4776 in historic prints of the 16th century.
4778 The following example demonstrates the @code{neo_mensural} style:
4780 @lilypond[fragment,singleline,verbatim]
4781 \property Voice.Rest \set #'style = #'neo_mensural
4782 r\longa r\breve r1 r2 r4 r8 r16
4785 There are no 32th and 64th rests specifically for the mensural or
4786 neo-mensural style. Instead, the rests from the default style will be
4787 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4790 There are no rests in Gregorian Chant notation; instead, it uses
4795 @ref{Rests} gives a general introduction into the use of rests.
4799 @subsection Ancient clefs
4805 LilyPond supports a variety of clefs, many of them ancient.
4807 The following table shows all ancient clefs that are supported via the
4808 @code{\clef} command. Some of the clefs use the same glyph, but
4809 differ only with respect to the line they are printed on. In such
4810 cases, a trailing number in the name is used to enumerate these clefs.
4811 Still, you can manually force a clef glyph to be typeset on an
4812 arbitrary line, as described in @ref{Clef}. The note printed to the
4813 right side of each clef in the example column denotes the @code{c'}
4814 with respect to that clef.
4816 @multitable @columnfractions .3 .3 .3 .1
4820 @b{Description} @tab
4821 @b{Supported Clefs} @tab
4825 @code{clefs-neo_mensural_c} @tab
4826 modern style mensural C clef @tab
4827 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4828 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4829 @lilypond[relative 0, notime]
4830 \property Staff.TimeSignature \set #'transparent = ##t
4831 \clef "neo_mensural_c2" c
4835 @code{clefs-petrucci_c1}
4836 @code{clefs-petrucci_c2}
4837 @code{clefs-petrucci_c3}
4838 @code{clefs-petrucci_c4}
4839 @code{clefs-petrucci_c5}
4842 petrucci style mensural C clefs, for use on different stafflines
4843 (the examples shows the 2nd staffline C clef).
4853 @lilypond[relative 0, notime]
4854 \property Staff.TimeSignature \set #'transparent = ##t
4855 \clef "petrucci_c2" c
4859 @code{clefs-petrucci_f} @tab
4860 petrucci style mensural F clef @tab
4861 @code{petrucci_f} @tab
4862 @lilypond[relative 0, notime]
4863 \property Staff.TimeSignature \set #'transparent = ##t
4864 \clef "petrucci_f" c
4868 @code{clefs-petrucci_g} @tab
4869 petrucci style mensural G clef @tab
4870 @code{petrucci_g} @tab
4871 @lilypond[relative 0, notime]
4872 \property Staff.TimeSignature \set #'transparent = ##t
4873 \clef "petrucci_g" c
4877 @code{clefs-mensural_c} @tab
4878 historic style mensural C clef @tab
4879 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4880 @code{mensural_c4} @tab
4881 @lilypond[relative 0, notime]
4882 \property Staff.TimeSignature \set #'transparent = ##t
4883 \clef "mensural_c2" c
4887 @code{clefs-mensural_f} @tab
4888 historic style mensural F clef @tab
4889 @code{mensural_f} @tab
4890 @lilypond[relative 0, notime]
4891 \property Staff.TimeSignature \set #'transparent = ##t
4892 \clef "mensural_f" c
4896 @code{clefs-mensural_g} @tab
4897 historic style mensural G clef @tab
4898 @code{mensural_g} @tab
4899 @lilypond[relative 0, notime]
4900 \property Staff.TimeSignature \set #'transparent = ##t
4901 \clef "mensural_g" c
4905 @code{clefs-vaticana_do} @tab
4906 Editio Vaticana style do clef @tab
4907 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4908 @lilypond[relative 0, notime]
4910 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4911 \property Staff.TimeSignature \set #'transparent = ##t
4912 \clef "vaticana_do2" c
4916 @code{clefs-vaticana_fa} @tab
4917 Editio Vaticana style fa clef @tab
4918 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4919 @lilypond[relative 0, notime]
4921 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4922 \property Staff.TimeSignature \set #'transparent = ##t
4923 \clef "vaticana_fa2" c
4927 @code{clefs-medicaea_do} @tab
4928 Editio Medicaea style do clef @tab
4929 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4930 @lilypond[relative 0, notime]
4932 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4933 \property Staff.TimeSignature \set #'transparent = ##t
4934 \clef "medicaea_do2" c
4938 @code{clefs-medicaea_fa} @tab
4939 Editio Medicaea style fa clef @tab
4940 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4941 @lilypond[relative 0, notime]
4943 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4944 \property Staff.TimeSignature \set #'transparent = ##t
4945 \clef "medicaea_fa2" c
4949 @code{clefs-hufnagel_do} @tab
4950 historic style hufnagel do clef @tab
4951 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4952 @lilypond[relative 0, notime]
4954 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4955 \property Staff.TimeSignature \set #'transparent = ##t
4956 \clef "hufnagel_do2" c
4960 @code{clefs-hufnagel_fa} @tab
4961 historic style hufnagel fa clef @tab
4962 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4963 @lilypond[relative 0, notime]
4965 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4966 \property Staff.TimeSignature \set #'transparent = ##t
4967 \clef "hufnagel_fa2" c
4971 @code{clefs-hufnagel_do_fa} @tab
4972 historic style hufnagel combined do/fa clef @tab
4973 @code{hufnagel_do_fa} @tab
4974 @lilypond[relative 0, notime]
4975 \property Staff.TimeSignature \set #'transparent = ##t
4976 \clef "hufnagel_do_fa" c
4981 @c --- This should go somewhere else: ---
4982 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4985 @c @code{percussion}
4987 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4989 @c @item modern style tab clef (glyph: @code{clefs-tab})
4994 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4996 @emph{Modern style} means ``as is typeset in contemporary editions of
4997 transcribed mensural music''.
4999 @emph{Petrucci style} means ``inspired by printings published by the
5000 famous engraver Petrucci (1466-1539)''.
5002 @emph{Historic style} means ``as was typeset or written in historic
5003 editions (other than those of Petrucci)''.
5005 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5007 Petrucci used C clefs with differently balanced left-side vertical
5008 beams, depending on which staffline it is printed.
5012 For modern clefs, see @ref{Clef}. For the percussion clef, see
5013 @ref{Percussion staves}. For the @code{TAB} clef, see
5018 @subsection Ancient flags
5024 Use the @code{flag-style} property of grob @internalsref{Stem} to
5025 select ancient flags. Besides the @code{default} flag style,
5026 only @code{mensural} style is supported:
5028 @lilypond[fragment,singleline,verbatim]
5029 \property Voice.Stem \set #'flag-style = #'mensural
5030 \property Voice.Stem \set #'thickness = #1.0
5031 \property Voice.NoteHead \set #'style = #'mensural
5033 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5034 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5037 Note that the innermost flare of each mensural flag always is
5038 vertically aligned with a staff line. If you do not like this
5039 behaviour, you can set the @code{adjust-if-on-staffline} property of
5040 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5041 of the end of each flare is different between notes on staff lines and
5042 notes between staff lines:
5044 @lilypond[fragment,singleline]
5045 \property Voice.Stem \set #'flag-style = #'mensural
5046 \property Voice.Stem \set #'thickness = #1.0
5047 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5048 \property Voice.NoteHead \set #'style = #'mensural
5050 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5051 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5054 There is no particular flag style for neo-mensural notation. Hence,
5055 when typesetting e.g. the incipit of a transcibed piece of mensural
5056 music, the default flag style should be used. There are no flags in
5057 Gregorian Chant notation.
5060 @node Ancient time signatures
5061 @subsection Ancient time signatures
5063 @cindex time signatures
5067 There is limited support for mensural time signatures. The
5068 glyphs are hard-wired to particular time fractions. In other words,
5069 to get a particular mensural signature glyph with the @code{\time n/m}
5070 command, @code{n} and @code{m} have to be chosen according to the
5076 \property Score.timing = ##f
5077 \property Score.barAlways = ##t
5078 s_\markup { "$\\backslash$time 4/4" }
5079 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5081 s_\markup { "$\\backslash$time 2/2" }
5082 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5084 s_\markup { "$\\backslash$time 6/4" }
5085 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5087 s_\markup { "$\\backslash$time 6/8" }
5088 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5090 s_\markup { "$\\backslash$time 3/2" }
5091 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5093 s_\markup { "$\\backslash$time 3/4" }
5094 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5096 s_\markup { "$\\backslash$time 9/4" }
5097 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5099 s_\markup { "$\\backslash$time 9/8" }
5100 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5102 s_\markup { "$\\backslash$time 4/8" }
5103 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5105 s_\markup { "$\\backslash$time 2/4" }
5106 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5114 \remove Staff_symbol_engraver
5115 \remove Clef_engraver
5116 \remove Time_signature_engraver
5122 Use the @code{style} property of grob @internalsref{TimeSignature} to
5123 select ancient time signatures. Supported styles are
5124 @code{neo_mensural} and @code{mensural}. The above table uses the
5125 @code{neo_mensural} style. This style is appropriate e.g. for the
5126 incipit of transcriptions of mensural pieces. The @code{mensural}
5127 style mimicks the look of historical printings of the 16th century.
5129 @inputfileref{input/test,time.ly} gives an overview over all available
5130 ancient and modern styles.
5134 @ref{Time signature} gives a general introduction into the use of time
5139 Mensural signature glyphs are mapped to time fractions in a
5140 hard-wired way. This mapping is sensible, but still arbitrary: given
5141 a mensural time signature, the time fraction represents a modern meter
5142 that usually will be a good choice when transcribing a mensural piece
5143 of music. For a particular piece of mensural music, however, the
5144 mapping may be unsatisfactory. In particular, the mapping assumes a
5145 fixed transcription of durations (e.g. brevis = half note in 2/2,
5146 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5147 are not at all accessible through the @code{\time} command.
5149 Mensural time signatures are supported typographically, but not yet
5150 musically. The internal representation of durations is
5151 based on a purely binary system; a ternary division such as 1 brevis =
5152 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5153 prolatione maiori) is not correctly handled: event times in ternary
5154 modes will be badly computed, resulting e.g. in horizontally
5155 misaligned note heads, and bar checks are likely to erroneously fail.
5157 The syntax and semantics of the @code{\time} command for mensural
5158 music is subject to change.
5161 @subsection Custodes
5166 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5167 symbol that appears at the end of a staff. It anticipates the pitch
5168 of the first note(s) of the following line and thus helps the player
5169 or singer to manage line breaks during performance, thus enhancing
5170 readability of a score.
5172 Custodes were frequently used in music notation until the 17th
5173 century. Nowadays, they have survived only in a few particular forms
5174 of musical notation such as contemporary editions of Gregorian chant
5175 like the @emph{editio vaticana}. There are different custos glyphs
5176 used in different flavours of notational style.
5180 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5181 @internalsref{Staff} context when declaring the @code{\paper} block,
5182 as shown in the following example:
5188 \consists Custos_engraver
5189 Custos \override #'style = #'mensural
5194 The result looks like this:
5200 \property Staff.Custos \set #'style = #'mensural
5207 \consists Custos_engraver
5214 The custos glyph is selected by the @code{style} property. The styles
5215 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5216 @code{mensural}. They are demonstrated in the following fragment:
5226 { " " \musicglyph #"custodes-vaticana-u0" }
5230 { " " \musicglyph #"custodes-medicaea-u0" }
5234 { " " \musicglyph #"custodes-hufnagel-u0" }
5238 { " " \musicglyph #"custodes-mensural-u0" }
5247 \remove "Bar_number_engraver"
5251 \remove "Clef_engraver"
5252 \remove "Key_engraver"
5253 \remove "Time_signature_engraver"
5254 \remove "Staff_symbol_engraver"
5255 minimumVerticalExtent = ##f
5261 If the boolean property @code{adjust-if-on-staffline} is set to
5262 @code{#t} (which it is by default), lily typesets slightly different
5263 variants of the custos glyph, depending on whether the custos, is
5264 typeset on or between stafflines. The glyph will
5265 optically fit well into the staff, with the appendage on the right of
5266 the custos always ending at the same vertical position between two
5267 stafflines regardless of the pitch. If you set
5268 @code{adjust-if-on-staffline} to @code{#f}, then
5269 a compromise between both forms is used.
5271 Just like stems can be attached to noteheads in two directions
5272 @emph{up} and @emph{down}, each custos glyph is available with its
5273 appendage pointing either up or down. If the pitch of a custos is
5274 above a selectable position, the appendage will point downwards; if
5275 the pitch is below this position, the appendage will point upwards.
5276 Use property @code{neutral-position} to select this position. By
5277 default, it is set to @code{0}, such that the neutral position is the
5278 center of the staff. Use property @code{neutral-direction} to control
5279 what happens if a custos is typeset on the neutral position itself.
5280 By default, this property is set to @code{-1}, such that the appendage
5281 will point downwards. If set to @code{1}, the appendage will point
5282 upwards. Other values such as @code{0} are reserved for future
5283 extensions and should not be used.
5287 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5291 @subsection Divisiones
5297 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5298 `division') is a staff context symbol that is used to structure
5299 Gregorian music into phrases and sections. The musical meaning of
5300 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5301 can be characterized as short, medium and long pause, somewhat like
5302 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5303 a chant, but is also frequently used within a single
5304 antiphonal/responsorial chant to mark the end of each section.
5308 To use divisiones, include the file @code{gregorian-init.ly}. It
5309 contains definitions that you can apply by just inserting
5310 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5311 and @code{\finalis} at proper places in the input. Some editions use
5312 @emph{virgula} or @emph{caesura} instead of divisio minima.
5313 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5316 @lilypondfile[notexidoc]{divisiones.ly}
5320 @cindex @code{\virgula}
5322 @cindex @code{\caesura}
5324 @cindex @code{\divisioMinima}
5325 @code{\divisioMinima},
5326 @cindex @code{\divisioMaior}
5327 @code{\divisioMaior},
5328 @cindex @code{\divisioMaxima}
5329 @code{\divisioMaxima},
5330 @cindex @code{\finalis}
5335 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5336 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5339 @subsection Ligatures
5343 @c TODO: Should double check if I recalled things correctly when I wrote
5344 @c down the following paragraph by heart.
5346 In musical terminology, a ligature is a coherent graphical symbol that
5347 represents at least two distinct notes. Ligatures originally appeared
5348 in the manuscripts of Gregorian chant notation roughly since the 9th
5349 century as an allusion to the accent symbols of greek lyric poetry to
5350 denote ascending or descending sequences of notes. Both, the shape
5351 and the exact meaning of ligatures changed tremendously during the
5352 following centuries: In early notation, ligatures were used for
5353 monophonic tunes (Gregorian chant) and very soon denoted also the way
5354 of performance in the sense of articulation. With upcoming
5355 multiphony, the need for a metric system arised, since multiple voices
5356 of a piece have to be synchronized some way. New notation systems
5357 were invented that used the manifold shapes of ligatures to now denote
5358 rhythmical patterns (e.g. black mensural notation, mannered notation,
5359 ars nova). With the invention of the metric system of the white
5360 mensural notation, the need for ligatures to denote such patterns
5361 disappeared. Nevertheless, ligatures were still in use in the
5362 mensural system for a couple of decades until they finally disappeared
5363 during the late 16th / early 17th century. Still, ligatures have
5364 survived in contemporary editions of Gregorian chant such as the
5365 Editio Vaticana from 1905/08.
5369 Syntactically, ligatures are simply enclosed by @code{\[} and
5370 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5371 additional input syntax specific for this particular type of ligature.
5372 By default, the @internalsref{LigatureBracket} engraver just puts a
5373 square bracket above the ligature:
5375 @lilypond[singleline,verbatim]
5377 \notes \transpose c c' {
5385 To select a specific style of ligatures, a proper ligature engraver
5386 has to be added to the @internalsref{Voice} context, as explained in
5387 the following subsections. Only white mensural ligatures
5388 are supported with certain limitations. Support for Editio Vaticana
5389 will be added in the future.
5392 * White mensural ligatures::
5393 * Gregorian square neumes ligatures::
5396 @node White mensural ligatures
5397 @subsubsection White mensural ligatures
5399 @cindex Mensural ligatures
5400 @cindex White mensural ligatures
5402 There is limited support for white mensural ligatures. The
5403 implementation is still experimental; it may output strange
5404 warnings or even crash in some cases or produce weird results on more
5409 To engrave white mensural ligatures, in the paper block the
5410 @internalsref{Mensural_ligature_engraver} has to be put into the
5411 @internalsref{Voice} context, and remove the
5412 @internalsref{Ligature_bracket_engraver}:
5418 \remove Ligature_bracket_engraver
5419 \consists Mensural_ligature_engraver
5424 There is no additional input language to describe the shape of a
5425 white mensural ligature. The shape is rather determined solely from
5426 the pitch and duration of the enclosed notes. While this approach may
5427 take a new user a while to get accustomed, it has the great advantage
5428 that the full musical information of the ligature is known internally.
5429 This is not only required for correct MIDI output, but also allows for
5430 automatic transcription of the ligatures.
5435 \property Score.timing = ##f
5436 \property Score.defaultBarType = "empty"
5437 \property Voice.NoteHead \set #'style = #'neo_mensural
5438 \property Staff.TimeSignature \set #'style = #'neo_mensural
5440 \[ g\longa c\breve a\breve f\breve d'\longa \]
5442 \[ e1 f1 a\breve g\longa \]
5444 @lilypond[singleline]
5446 \notes \transpose c c' {
5447 \property Score.timing = ##f
5448 \property Score.defaultBarType = "empty"
5449 \property Voice.NoteHead \set #'style = #'neo_mensural
5450 \property Staff.TimeSignature \set #'style = #'neo_mensural
5452 \[ g\longa c\breve a\breve f\breve d'\longa \]
5454 \[ e1 f1 a\breve g\longa \]
5459 \remove Ligature_bracket_engraver
5460 \consists Mensural_ligature_engraver
5466 Without replacing @internalsref{Ligature_bracket_engraver} with
5467 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5470 @lilypond[singleline]
5472 \notes \transpose c c' {
5473 \property Score.timing = ##f
5474 \property Score.defaultBarType = "empty"
5475 \property Voice.NoteHead \set #'style = #'neo_mensural
5476 \property Staff.TimeSignature \set #'style = #'neo_mensural
5478 \[ g\longa c\breve a\breve f\breve d'\longa \]
5480 \[ e1 f1 a\breve g\longa \]
5486 @node Gregorian square neumes ligatures
5487 @subsubsection Gregorian square neumes ligatures
5489 @cindex Square neumes ligatures
5490 @cindex Gregorian square neumes ligatures
5492 Gregorian square neumes notation (following the style of the Editio
5493 Vaticana) is under heavy development, but not yet really usable for
5494 production purposes. Core ligatures can already be typeset, but
5495 essential issues for serious typesetting are still under development,
5496 such as (among others) horizontal alignment of multiple ligatures,
5497 lyrics alignment and proper accidentals handling. Still, this section
5498 gives a sneak preview of what Gregorian chant may look like once it
5501 The following table contains the extended neumes table of the 2nd
5502 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5503 1983 by the monks of Solesmes.
5505 @multitable @columnfractions .4 .2 .2 .2
5508 @b{Neuma aut@*Neumarum Elementa} @tab
5509 @b{Figurae@*Rectae} @tab
5510 @b{Figurae@*Liquescentes Auctae} @tab
5511 @b{Figurae@*Liquescentes Deminutae}
5513 @c TODO: \paper block is identical in all of the below examples.
5514 @c Therefore, it should somehow be included rather than duplicated all
5517 @c why not make identifiers in ly/engraver-init.ly? --hwn
5519 @c Because it's just used to typeset plain notes without
5520 @c a staff for demonstration purposes rather than something
5521 @c special of Gregorian chant notation. --jr
5526 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5527 \include "gregorian-init.ly"
5529 \notes \transpose c c' {
5532 \noBreak s^\markup {"a"} \noBreak
5534 % Punctum Inclinatum
5536 \noBreak s^\markup {"b"}
5542 \remove "Bar_number_engraver"
5546 \remove "Clef_engraver"
5547 \remove "Key_engraver"
5548 StaffSymbol \set #'transparent = ##t
5549 \remove "Time_signature_engraver"
5550 \remove "Bar_engraver"
5551 minimumVerticalExtent = ##f
5555 \remove Ligature_bracket_engraver
5556 \consists Vaticana_ligature_engraver
5557 NoteHead \set #'style = #'vaticana_punctum
5558 Stem \set #'transparent = ##t
5564 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5565 \include "gregorian-init.ly"
5567 \notes \transpose c c' {
5568 % Punctum Auctum Ascendens
5569 \[ \auctum \ascendens b \]
5570 \noBreak s^\markup {"c"} \noBreak
5572 % Punctum Auctum Descendens
5573 \[ \auctum \descendens b \]
5574 \noBreak s^\markup {"d"} \noBreak
5576 % Punctum Inclinatum Auctum
5577 \[ \inclinatum \auctum b \]
5578 \noBreak s^\markup {"e"}
5584 \remove "Bar_number_engraver"
5588 \remove "Clef_engraver"
5589 \remove "Key_engraver"
5590 StaffSymbol \set #'transparent = ##t
5591 \remove "Time_signature_engraver"
5592 \remove "Bar_engraver"
5593 minimumVerticalExtent = ##f
5597 \remove Ligature_bracket_engraver
5598 \consists Vaticana_ligature_engraver
5599 NoteHead \set #'style = #'vaticana_punctum
5600 Stem \set #'transparent = ##t
5606 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5607 \include "gregorian-init.ly"
5609 \notes \transpose c c' {
5610 % Punctum Inclinatum Parvum
5611 \[ \inclinatum \deminutum b \]
5612 \noBreak s^\markup {"f"}
5618 \remove "Bar_number_engraver"
5622 \remove "Clef_engraver"
5623 \remove "Key_engraver"
5624 StaffSymbol \set #'transparent = ##t
5625 \remove "Time_signature_engraver"
5626 \remove "Bar_engraver"
5627 minimumVerticalExtent = ##f
5631 \remove Ligature_bracket_engraver
5632 \consists Vaticana_ligature_engraver
5633 NoteHead \set #'style = #'vaticana_punctum
5634 Stem \set #'transparent = ##t
5643 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5644 \include "gregorian-init.ly"
5646 \notes \transpose c c' {
5649 \noBreak s^\markup {"g"}
5655 \remove "Bar_number_engraver"
5659 \remove "Clef_engraver"
5660 \remove "Key_engraver"
5661 StaffSymbol \set #'transparent = ##t
5662 \remove "Time_signature_engraver"
5663 \remove "Bar_engraver"
5664 minimumVerticalExtent = ##f
5668 \remove Ligature_bracket_engraver
5669 \consists Vaticana_ligature_engraver
5670 NoteHead \set #'style = #'vaticana_punctum
5671 Stem \set #'transparent = ##t
5680 @code{3. Apostropha vel Stropha}
5682 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5683 \include "gregorian-init.ly"
5685 \notes \transpose c c' {
5688 \noBreak s^\markup {"h"}
5694 \remove "Bar_number_engraver"
5698 \remove "Clef_engraver"
5699 \remove "Key_engraver"
5700 StaffSymbol \set #'transparent = ##t
5701 \remove "Time_signature_engraver"
5702 \remove "Bar_engraver"
5703 minimumVerticalExtent = ##f
5707 \remove Ligature_bracket_engraver
5708 \consists Vaticana_ligature_engraver
5709 NoteHead \set #'style = #'vaticana_punctum
5710 Stem \set #'transparent = ##t
5716 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5717 \include "gregorian-init.ly"
5719 \notes \transpose c c' {
5721 \[ \stropha \auctum b \]
5722 \noBreak s^\markup {"i"}
5728 \remove "Bar_number_engraver"
5732 \remove "Clef_engraver"
5733 \remove "Key_engraver"
5734 StaffSymbol \set #'transparent = ##t
5735 \remove "Time_signature_engraver"
5736 \remove "Bar_engraver"
5737 minimumVerticalExtent = ##f
5741 \remove Ligature_bracket_engraver
5742 \consists Vaticana_ligature_engraver
5743 NoteHead \set #'style = #'vaticana_punctum
5744 Stem \set #'transparent = ##t
5754 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5755 \include "gregorian-init.ly"
5757 \notes \transpose c c' {
5760 \noBreak s^\markup {"j"}
5766 \remove "Bar_number_engraver"
5770 \remove "Clef_engraver"
5771 \remove "Key_engraver"
5772 StaffSymbol \set #'transparent = ##t
5773 \remove "Time_signature_engraver"
5774 \remove "Bar_engraver"
5775 minimumVerticalExtent = ##f
5779 \remove Ligature_bracket_engraver
5780 \consists Vaticana_ligature_engraver
5781 NoteHead \set #'style = #'vaticana_punctum
5782 Stem \set #'transparent = ##t
5791 @code{5. Clivis vel Flexa}
5793 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5794 \include "gregorian-init.ly"
5796 \notes \transpose c c' {
5805 \remove "Bar_number_engraver"
5809 \remove "Clef_engraver"
5810 \remove "Key_engraver"
5811 StaffSymbol \set #'transparent = ##t
5812 \remove "Time_signature_engraver"
5813 \remove "Bar_engraver"
5814 minimumVerticalExtent = ##f
5818 \remove Ligature_bracket_engraver
5819 \consists Vaticana_ligature_engraver
5820 NoteHead \set #'style = #'vaticana_punctum
5821 Stem \set #'transparent = ##t
5827 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5828 \include "gregorian-init.ly"
5830 \notes \transpose c c' {
5831 % Clivis Aucta Descendens
5832 \[ b \flexa \auctum \descendens g \]
5833 \noBreak s^\markup {"l"} \noBreak
5835 % Clivis Aucta Ascendens
5836 \[ b \flexa \auctum \ascendens g \]
5837 \noBreak s^\markup {"m"}
5843 \remove "Bar_number_engraver"
5847 \remove "Clef_engraver"
5848 \remove "Key_engraver"
5849 StaffSymbol \set #'transparent = ##t
5850 \remove "Time_signature_engraver"
5851 \remove "Bar_engraver"
5852 minimumVerticalExtent = ##f
5856 \remove Ligature_bracket_engraver
5857 \consists Vaticana_ligature_engraver
5858 NoteHead \set #'style = #'vaticana_punctum
5859 Stem \set #'transparent = ##t
5865 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5866 \include "gregorian-init.ly"
5868 \notes \transpose c c' {
5870 \[ b \flexa \deminutum g \]
5877 \remove "Bar_number_engraver"
5881 \remove "Clef_engraver"
5882 \remove "Key_engraver"
5883 StaffSymbol \set #'transparent = ##t
5884 \remove "Time_signature_engraver"
5885 \remove "Bar_engraver"
5886 minimumVerticalExtent = ##f
5890 \remove Ligature_bracket_engraver
5891 \consists Vaticana_ligature_engraver
5892 NoteHead \set #'style = #'vaticana_punctum
5893 Stem \set #'transparent = ##t
5900 @code{6. Podatus vel Pes}
5902 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5903 \include "gregorian-init.ly"
5905 \notes \transpose c c' {
5914 \remove "Bar_number_engraver"
5918 \remove "Clef_engraver"
5919 \remove "Key_engraver"
5920 StaffSymbol \set #'transparent = ##t
5921 \remove "Time_signature_engraver"
5922 \remove "Bar_engraver"
5923 minimumVerticalExtent = ##f
5927 \remove Ligature_bracket_engraver
5928 \consists Vaticana_ligature_engraver
5929 NoteHead \set #'style = #'vaticana_punctum
5930 Stem \set #'transparent = ##t
5936 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5937 \include "gregorian-init.ly"
5939 \notes \transpose c c' {
5940 % Pes Auctus Descendens
5941 \[ g \pes \auctum \descendens b \]
5942 \noBreak s^\markup {"p"} \noBreak
5944 % Pes Auctus Ascendens
5945 \[ g \pes \auctum \ascendens b \]
5946 \noBreak s^\markup {"q"}
5952 \remove "Bar_number_engraver"
5956 \remove "Clef_engraver"
5957 \remove "Key_engraver"
5958 StaffSymbol \set #'transparent = ##t
5959 \remove "Time_signature_engraver"
5960 \remove "Bar_engraver"
5961 minimumVerticalExtent = ##f
5965 \remove Ligature_bracket_engraver
5966 \consists Vaticana_ligature_engraver
5967 NoteHead \set #'style = #'vaticana_punctum
5968 Stem \set #'transparent = ##t
5974 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5975 \include "gregorian-init.ly"
5977 \notes \transpose c c' {
5979 \[ g \pes \deminutum b \]
5986 \remove "Bar_number_engraver"
5990 \remove "Clef_engraver"
5991 \remove "Key_engraver"
5992 StaffSymbol \set #'transparent = ##t
5993 \remove "Time_signature_engraver"
5994 \remove "Bar_engraver"
5995 minimumVerticalExtent = ##f
5999 \remove Ligature_bracket_engraver
6000 \consists Vaticana_ligature_engraver
6001 NoteHead \set #'style = #'vaticana_punctum
6002 Stem \set #'transparent = ##t
6009 @code{7. Pes Quassus}
6011 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6012 \include "gregorian-init.ly"
6014 \notes \transpose c c' {
6016 \[ \oriscus g \pes \virga b \]
6023 \remove "Bar_number_engraver"
6027 \remove "Clef_engraver"
6028 \remove "Key_engraver"
6029 StaffSymbol \set #'transparent = ##t
6030 \remove "Time_signature_engraver"
6031 \remove "Bar_engraver"
6032 minimumVerticalExtent = ##f
6036 \remove Ligature_bracket_engraver
6037 \consists Vaticana_ligature_engraver
6038 NoteHead \set #'style = #'vaticana_punctum
6039 Stem \set #'transparent = ##t
6045 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6046 \include "gregorian-init.ly"
6048 \notes \transpose c c' {
6049 % Pes Quassus Auctus Descendens
6050 \[ \oriscus g \pes \auctum \descendens b \]
6057 \remove "Bar_number_engraver"
6061 \remove "Clef_engraver"
6062 \remove "Key_engraver"
6063 StaffSymbol \set #'transparent = ##t
6064 \remove "Time_signature_engraver"
6065 \remove "Bar_engraver"
6066 minimumVerticalExtent = ##f
6070 \remove Ligature_bracket_engraver
6071 \consists Vaticana_ligature_engraver
6072 NoteHead \set #'style = #'vaticana_punctum
6073 Stem \set #'transparent = ##t
6081 @code{8. Quilisma Pes}
6083 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6084 \include "gregorian-init.ly"
6086 \notes \transpose c c' {
6088 \[ \quilisma g \pes b \]
6095 \remove "Bar_number_engraver"
6099 \remove "Clef_engraver"
6100 \remove "Key_engraver"
6101 StaffSymbol \set #'transparent = ##t
6102 \remove "Time_signature_engraver"
6103 \remove "Bar_engraver"
6104 minimumVerticalExtent = ##f
6108 \remove Ligature_bracket_engraver
6109 \consists Vaticana_ligature_engraver
6110 NoteHead \set #'style = #'vaticana_punctum
6111 Stem \set #'transparent = ##t
6117 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6118 \include "gregorian-init.ly"
6120 \notes \transpose c c' {
6121 % Quilisma Pes Auctus Descendens
6122 \[ \quilisma g \pes \auctum \descendens b \]
6129 \remove "Bar_number_engraver"
6133 \remove "Clef_engraver"
6134 \remove "Key_engraver"
6135 StaffSymbol \set #'transparent = ##t
6136 \remove "Time_signature_engraver"
6137 \remove "Bar_engraver"
6138 minimumVerticalExtent = ##f
6142 \remove Ligature_bracket_engraver
6143 \consists Vaticana_ligature_engraver
6144 NoteHead \set #'style = #'vaticana_punctum
6145 Stem \set #'transparent = ##t
6153 @code{9. Podatus Initio Debilis}
6155 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6156 \include "gregorian-init.ly"
6158 \notes \transpose c c' {
6159 % Pes Initio Debilis
6160 \[ \deminutum g \pes b \]
6167 \remove "Bar_number_engraver"
6171 \remove "Clef_engraver"
6172 \remove "Key_engraver"
6173 StaffSymbol \set #'transparent = ##t
6174 \remove "Time_signature_engraver"
6175 \remove "Bar_engraver"
6176 minimumVerticalExtent = ##f
6180 \remove Ligature_bracket_engraver
6181 \consists Vaticana_ligature_engraver
6182 NoteHead \set #'style = #'vaticana_punctum
6183 Stem \set #'transparent = ##t
6189 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6190 \include "gregorian-init.ly"
6192 \notes \transpose c c' {
6193 % Pes Auctus Descendens Initio Debilis
6194 \[ \deminutum g \pes \auctum \descendens b \]
6201 \remove "Bar_number_engraver"
6205 \remove "Clef_engraver"
6206 \remove "Key_engraver"
6207 StaffSymbol \set #'transparent = ##t
6208 \remove "Time_signature_engraver"
6209 \remove "Bar_engraver"
6210 minimumVerticalExtent = ##f
6214 \remove Ligature_bracket_engraver
6215 \consists Vaticana_ligature_engraver
6216 NoteHead \set #'style = #'vaticana_punctum
6217 Stem \set #'transparent = ##t
6227 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6228 \include "gregorian-init.ly"
6230 \notes \transpose c c' {
6232 \[ a \pes b \flexa g \]
6239 \remove "Bar_number_engraver"
6243 \remove "Clef_engraver"
6244 \remove "Key_engraver"
6245 StaffSymbol \set #'transparent = ##t
6246 \remove "Time_signature_engraver"
6247 \remove "Bar_engraver"
6248 minimumVerticalExtent = ##f
6252 \remove Ligature_bracket_engraver
6253 \consists Vaticana_ligature_engraver
6254 NoteHead \set #'style = #'vaticana_punctum
6255 Stem \set #'transparent = ##t
6261 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6262 \include "gregorian-init.ly"
6264 \notes \transpose c c' {
6265 % Torculus Auctus Descendens
6266 \[ a \pes b \flexa \auctum \descendens g \]
6273 \remove "Bar_number_engraver"
6277 \remove "Clef_engraver"
6278 \remove "Key_engraver"
6279 StaffSymbol \set #'transparent = ##t
6280 \remove "Time_signature_engraver"
6281 \remove "Bar_engraver"
6282 minimumVerticalExtent = ##f
6286 \remove Ligature_bracket_engraver
6287 \consists Vaticana_ligature_engraver
6288 NoteHead \set #'style = #'vaticana_punctum
6289 Stem \set #'transparent = ##t
6295 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6296 \include "gregorian-init.ly"
6298 \notes \transpose c c' {
6299 % Torculus Deminutus
6300 \[ a \pes b \flexa \deminutum g \]
6307 \remove "Bar_number_engraver"
6311 \remove "Clef_engraver"
6312 \remove "Key_engraver"
6313 StaffSymbol \set #'transparent = ##t
6314 \remove "Time_signature_engraver"
6315 \remove "Bar_engraver"
6316 minimumVerticalExtent = ##f
6320 \remove Ligature_bracket_engraver
6321 \consists Vaticana_ligature_engraver
6322 NoteHead \set #'style = #'vaticana_punctum
6323 Stem \set #'transparent = ##t
6330 @code{11. Torculus Initio Debilis}
6332 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6333 \include "gregorian-init.ly"
6335 \notes \transpose c c' {
6336 % Torculus Initio Debilis
6337 \[ \deminutum a \pes b \flexa g \]
6344 \remove "Bar_number_engraver"
6348 \remove "Clef_engraver"
6349 \remove "Key_engraver"
6350 StaffSymbol \set #'transparent = ##t
6351 \remove "Time_signature_engraver"
6352 \remove "Bar_engraver"
6353 minimumVerticalExtent = ##f
6357 \remove Ligature_bracket_engraver
6358 \consists Vaticana_ligature_engraver
6359 NoteHead \set #'style = #'vaticana_punctum
6360 Stem \set #'transparent = ##t
6366 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6367 \include "gregorian-init.ly"
6369 \notes \transpose c c' {
6370 % Torculus Auctus Descendens Initio Debilis
6371 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6378 \remove "Bar_number_engraver"
6382 \remove "Clef_engraver"
6383 \remove "Key_engraver"
6384 StaffSymbol \set #'transparent = ##t
6385 \remove "Time_signature_engraver"
6386 \remove "Bar_engraver"
6387 minimumVerticalExtent = ##f
6391 \remove Ligature_bracket_engraver
6392 \consists Vaticana_ligature_engraver
6393 NoteHead \set #'style = #'vaticana_punctum
6394 Stem \set #'transparent = ##t
6400 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6401 \include "gregorian-init.ly"
6403 \notes \transpose c c' {
6404 % Torculus Deminutus Initio Debilis
6405 \[ \deminutum a \pes b \flexa \deminutum g \]
6412 \remove "Bar_number_engraver"
6416 \remove "Clef_engraver"
6417 \remove "Key_engraver"
6418 StaffSymbol \set #'transparent = ##t
6419 \remove "Time_signature_engraver"
6420 \remove "Bar_engraver"
6421 minimumVerticalExtent = ##f
6425 \remove Ligature_bracket_engraver
6426 \consists Vaticana_ligature_engraver
6427 NoteHead \set #'style = #'vaticana_punctum
6428 Stem \set #'transparent = ##t
6435 @code{12. Porrectus}
6437 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6438 \include "gregorian-init.ly"
6440 \notes \transpose c c' {
6442 \[ a \flexa g \pes b \]
6449 \remove "Bar_number_engraver"
6453 \remove "Clef_engraver"
6454 \remove "Key_engraver"
6455 StaffSymbol \set #'transparent = ##t
6456 \remove "Time_signature_engraver"
6457 \remove "Bar_engraver"
6458 minimumVerticalExtent = ##f
6462 \remove Ligature_bracket_engraver
6463 \consists Vaticana_ligature_engraver
6464 NoteHead \set #'style = #'vaticana_punctum
6465 Stem \set #'transparent = ##t
6471 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6472 \include "gregorian-init.ly"
6474 \notes \transpose c c' {
6475 % Porrectus Auctus Descendens
6476 \[ a \flexa g \pes \auctum \descendens b \]
6483 \remove "Bar_number_engraver"
6487 \remove "Clef_engraver"
6488 \remove "Key_engraver"
6489 StaffSymbol \set #'transparent = ##t
6490 \remove "Time_signature_engraver"
6491 \remove "Bar_engraver"
6492 minimumVerticalExtent = ##f
6496 \remove Ligature_bracket_engraver
6497 \consists Vaticana_ligature_engraver
6498 NoteHead \set #'style = #'vaticana_punctum
6499 Stem \set #'transparent = ##t
6505 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6506 \include "gregorian-init.ly"
6508 \notes \transpose c c' {
6509 % Porrectus Deminutus
6510 \[ a \flexa g \pes \deminutum b \]
6517 \remove "Bar_number_engraver"
6521 \remove "Clef_engraver"
6522 \remove "Key_engraver"
6523 StaffSymbol \set #'transparent = ##t
6524 \remove "Time_signature_engraver"
6525 \remove "Bar_engraver"
6526 minimumVerticalExtent = ##f
6530 \remove Ligature_bracket_engraver
6531 \consists Vaticana_ligature_engraver
6532 NoteHead \set #'style = #'vaticana_punctum
6533 Stem \set #'transparent = ##t
6542 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6543 \include "gregorian-init.ly"
6545 \notes \transpose c c' {
6547 \[ \virga b \inclinatum a \inclinatum g \]
6554 \remove "Bar_number_engraver"
6558 \remove "Clef_engraver"
6559 \remove "Key_engraver"
6560 StaffSymbol \set #'transparent = ##t
6561 \remove "Time_signature_engraver"
6562 \remove "Bar_engraver"
6563 minimumVerticalExtent = ##f
6567 \remove Ligature_bracket_engraver
6568 \consists Vaticana_ligature_engraver
6569 NoteHead \set #'style = #'vaticana_punctum
6570 Stem \set #'transparent = ##t
6576 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6577 \include "gregorian-init.ly"
6579 \notes \transpose c c' {
6581 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6588 \remove "Bar_number_engraver"
6592 \remove "Clef_engraver"
6593 \remove "Key_engraver"
6594 StaffSymbol \set #'transparent = ##t
6595 \remove "Time_signature_engraver"
6596 \remove "Bar_engraver"
6597 minimumVerticalExtent = ##f
6601 \remove Ligature_bracket_engraver
6602 \consists Vaticana_ligature_engraver
6603 NoteHead \set #'style = #'vaticana_punctum
6604 Stem \set #'transparent = ##t
6610 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6611 \include "gregorian-init.ly"
6613 \notes \transpose c c' {
6614 % Climacus Deminutus
6615 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6622 \remove "Bar_number_engraver"
6626 \remove "Clef_engraver"
6627 \remove "Key_engraver"
6628 StaffSymbol \set #'transparent = ##t
6629 \remove "Time_signature_engraver"
6630 \remove "Bar_engraver"
6631 minimumVerticalExtent = ##f
6635 \remove Ligature_bracket_engraver
6636 \consists Vaticana_ligature_engraver
6637 NoteHead \set #'style = #'vaticana_punctum
6638 Stem \set #'transparent = ##t
6645 @code{14. Scandicus}
6647 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6648 \include "gregorian-init.ly"
6650 \notes \transpose c c' {
6652 \[ g \pes a \virga b \]
6659 \remove "Bar_number_engraver"
6663 \remove "Clef_engraver"
6664 \remove "Key_engraver"
6665 StaffSymbol \set #'transparent = ##t
6666 \remove "Time_signature_engraver"
6667 \remove "Bar_engraver"
6668 minimumVerticalExtent = ##f
6672 \remove Ligature_bracket_engraver
6673 \consists Vaticana_ligature_engraver
6674 NoteHead \set #'style = #'vaticana_punctum
6675 Stem \set #'transparent = ##t
6681 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6682 \include "gregorian-init.ly"
6684 \notes \transpose c c' {
6685 % Scandicus Auctus Descendens
6686 \[ g \pes a \pes \auctum \descendens b \]
6693 \remove "Bar_number_engraver"
6697 \remove "Clef_engraver"
6698 \remove "Key_engraver"
6699 StaffSymbol \set #'transparent = ##t
6700 \remove "Time_signature_engraver"
6701 \remove "Bar_engraver"
6702 minimumVerticalExtent = ##f
6706 \remove Ligature_bracket_engraver
6707 \consists Vaticana_ligature_engraver
6708 NoteHead \set #'style = #'vaticana_punctum
6709 Stem \set #'transparent = ##t
6715 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6716 \include "gregorian-init.ly"
6718 \notes \transpose c c' {
6719 % Scandicus Deminutus
6720 \[ g \pes a \pes \deminutum b \]
6727 \remove "Bar_number_engraver"
6731 \remove "Clef_engraver"
6732 \remove "Key_engraver"
6733 StaffSymbol \set #'transparent = ##t
6734 \remove "Time_signature_engraver"
6735 \remove "Bar_engraver"
6736 minimumVerticalExtent = ##f
6740 \remove Ligature_bracket_engraver
6741 \consists Vaticana_ligature_engraver
6742 NoteHead \set #'style = #'vaticana_punctum
6743 Stem \set #'transparent = ##t
6752 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6753 \include "gregorian-init.ly"
6755 \notes \transpose c c' {
6757 \[ g \oriscus a \pes \virga b \]
6764 \remove "Bar_number_engraver"
6768 \remove "Clef_engraver"
6769 \remove "Key_engraver"
6770 StaffSymbol \set #'transparent = ##t
6771 \remove "Time_signature_engraver"
6772 \remove "Bar_engraver"
6773 minimumVerticalExtent = ##f
6777 \remove Ligature_bracket_engraver
6778 \consists Vaticana_ligature_engraver
6779 NoteHead \set #'style = #'vaticana_punctum
6780 Stem \set #'transparent = ##t
6786 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6787 \include "gregorian-init.ly"
6789 \notes \transpose c c' {
6790 % Salicus Auctus Descendens
6791 \[ g \oriscus a \pes \auctum \descendens b \]
6798 \remove "Bar_number_engraver"
6802 \remove "Clef_engraver"
6803 \remove "Key_engraver"
6804 StaffSymbol \set #'transparent = ##t
6805 \remove "Time_signature_engraver"
6806 \remove "Bar_engraver"
6807 minimumVerticalExtent = ##f
6811 \remove Ligature_bracket_engraver
6812 \consists Vaticana_ligature_engraver
6813 NoteHead \set #'style = #'vaticana_punctum
6814 Stem \set #'transparent = ##t
6824 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6825 \include "gregorian-init.ly"
6827 \notes \transpose c c' {
6829 \[ \stropha b \stropha b \stropha a \]
6836 \remove "Bar_number_engraver"
6840 \remove "Clef_engraver"
6841 \remove "Key_engraver"
6842 StaffSymbol \set #'transparent = ##t
6843 \remove "Time_signature_engraver"
6844 \remove "Bar_engraver"
6845 minimumVerticalExtent = ##f
6849 \remove Ligature_bracket_engraver
6850 \consists Vaticana_ligature_engraver
6851 NoteHead \set #'style = #'vaticana_punctum
6852 Stem \set #'transparent = ##t
6864 Unlike most other neumes notation systems, the input language for
6865 neumes does not necessarily reflect directly the typographical
6866 appearance, but is designed to solely focuse on musical meaning. For
6867 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6868 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6869 a Porrectus with a curved flexa shape and only a single Punctum head.
6870 There is no command to explicitly typeset the curved flexa shape; the
6871 decision of when to typeset a curved flexa shape is purely taken from
6872 the musical input. The idea of this approach is to separate the
6873 musical aspects of the input from the notation style of the output.
6874 This way, the same input can be reused to typeset the same music in a
6875 different style of Gregorian chant notation such as Hufnagel (also
6876 known as German gothic neumes) or Medicaea (kind of a very simple
6877 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6878 engraver and Medicaea ligature engraver will have been implemented, it
6879 will be as simple as replacing the ligature engraver in the
6880 @internalsref{Voice} context to get the desired notation style from
6883 The following table shows the code fragments that produce the
6884 ligatures in the above neumes table. The letter in the first column
6885 in each line of the below table indicates to which ligature in the
6886 above table it refers. The second column gives the name of the
6887 ligature. The third column shows the code fragment that produces this
6888 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6890 @multitable @columnfractions .1 .4 .5
6904 Punctum Inclinatum @tab
6905 @code{\[ \inclinatum b \]}
6909 Punctum Auctum Ascendens @tab
6910 @code{\[ \auctum \ascendens b \]}
6914 Punctum Auctum Descendens @tab
6915 @code{\[ \auctum \descendens b \]}
6919 Punctum Inclinatum Auctum @tab
6920 @code{\[ \inclinatum \auctum b \]}
6924 Punctum Inclinatum Parvum @tab
6925 @code{\[ \inclinatum \deminutum b \]}
6930 @code{\[ \virga b \]}
6935 @code{\[ \stropha b \]}
6940 @code{\[ \stropha \auctum b \]}
6945 @code{\[ \oriscus b \]}
6949 Clivis vel Flexa @tab
6950 @code{\[ b \flexa g \]}
6954 Clivis Aucta Descendens @tab
6955 @code{\[ b \flexa \auctum \descendens g \]}
6959 Clivis Aucta Ascendens @tab
6960 @code{\[ b \flexa \auctum \ascendens g \]}
6965 @code{\[ b \flexa \deminutum g \]}
6969 Podatus vel Pes @tab
6970 @code{\[ g \pes b \]}
6974 Pes Auctus Descendens @tab
6975 @code{\[ g \pes \auctum \descendens b \]}
6979 Pes Auctus Ascendens @tab
6980 @code{\[ g \pes \auctum \ascendens b \]}
6985 @code{\[ g \pes \deminutum b \]}
6990 @code{\[ \oriscus g \pes \virga b \]}
6994 Pes Quassus Auctus Descendens @tab
6995 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7000 @code{\[ \quilisma g \pes b \]}
7004 Quilisma Pes Auctus Descendens @tab
7005 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7009 Pes Initio Debilis @tab
7010 @code{\[ \deminutum g \pes b \]}
7014 Pes Auctus Descendens Initio Debilis @tab
7015 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7020 @code{\[ a \pes b \flexa g \]}
7024 Torculus Auctus Descendens @tab
7025 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7029 Torculus Deminutus @tab
7030 @code{\[ a \pes b \flexa \deminutum g \]}
7034 Torculus Initio Debilis @tab
7035 @code{\[ \deminutum a \pes b \flexa g \]}
7039 Torculus Auctus Descendens Initio Debilis @tab
7040 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7044 Torculus Deminutus Initio Debilis @tab
7045 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7050 @code{\[ a \flexa g \pes b \]}
7054 Porrectus Auctus Descendens @tab
7055 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7059 Porrectus Deminutus @tab
7060 @code{\[ a \flexa g \pes \deminutum b \]}
7065 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7069 Climacus Auctus @tab
7070 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7074 Climacus Deminutus @tab
7075 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7080 @code{\[ g \pes a \virga b \]}
7084 Scandicus Auctus Descendens @tab
7085 @code{\[ g \pes a \pes \auctum \descendens b \]}
7089 Scandicus Deminutus @tab
7090 @code{\[ g \pes a \pes \deminutum b \]}
7095 @code{\[ g \oriscus a \pes \virga b \]}
7099 Salicus Auctus Descendens @tab
7100 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7105 @code{\[ \stropha b \stropha b \stropha a \]}
7111 The following head prefixes are supported:
7113 @cindex @code{\virga}
7115 @cindex @code{\stropha}
7117 @cindex @code{\inclinatum}
7119 @cindex @code{\auctum}
7121 @cindex @code{\descendens}
7123 @cindex @code{\ascendens}
7125 @cindex @code{\oriscus}
7127 @cindex @code{\quilisma}
7129 @cindex @code{\deminutum}
7132 Head prefixes can be accumulated, though restrictions apply. For
7133 example, either @code{\descendens} or @code{\ascendens} can be applied
7134 to a head, but not both to the same head.
7137 @cindex @code{\flexa}
7138 Two adjacent heads can be tied together with the @code{\pes} and
7139 @code{\flexa} infix commands for a rising and falling line of melody,
7144 Trigonus: apply equal spacing, regardless of pitch.
7147 @subsection Figured bass
7149 @cindex Basso continuo
7151 @c TODO: musicological blurb about FB
7155 LilyPond has limited support for figured bass:
7157 @lilypond[verbatim,fragment]
7159 \context Voice \notes { \clef bass dis4 c d ais}
7160 \context FiguredBass
7162 < 6 >4 < 7 >8 < 6+ [_!] >
7168 The support for figured bass consists of two parts: there is an input
7169 mode, introduced by @code{\figures}, where you can enter bass figures
7170 as numbers, and there is a context called @internalsref{FiguredBass} that
7171 takes care of making @internalsref{BassFigure} objects.
7173 In figures input mode, a group of bass figures is delimited by
7174 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7179 \context FiguredBass
7183 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7190 \context FiguredBass
7191 \figures { <4- 6+ 7!> }
7194 Spaces or dashes may be inserted by using @code{_}. Brackets are
7195 introduced with @code{[} and @code{]}:
7201 \context FiguredBass
7202 \figures { < [4 6] 8 [_! 12]> }
7205 Although the support for figured bass may superficially resemble chord
7206 support, it works much simpler. The @code{\figures} mode simply
7207 stores the numbers , and @internalsref{FiguredBass} context prints
7208 them as entered. There is no conversion to pitches, and no
7209 realizations of the bass are played in the MIDI file.
7211 Internally, the code produces markup texts. You can use any of the
7212 markup text properties to override formatting. For example, the
7213 vertical spacing of the figures may be set with @code{baseline-skip}.
7217 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7218 and @internalsref{FiguredBass} context.
7222 Slash notation for alterations is not supported.
7225 @node Vaticana style contexts
7226 @subsection Vaticana style contexts
7228 @cindex VaticanaVoiceContext
7229 @cindex VaticanaStaffContext
7231 The predefined @code{VaticanaVoiceContext} and
7232 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7233 Gregorian Chant in the style of the Editio Vaticana. These contexts
7234 initialize all relevant context properties and grob properties to
7235 proper values. With these contexts, you can immediately go ahead
7236 entering the chant, as the following short excerpt demonstrates:
7238 @lilypond[raggedright,verbatim,noindent]
7239 \include "gregorian-init.ly"
7242 \context VaticanaVoice {
7243 \property Score.BarNumber \set #'transparent = ##t
7245 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7246 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7247 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7250 \context Lyrics \lyrics {
7251 San- ctus, San- ctus, San- ctus
7256 @node Contemporary notation
7257 @section Contemporary notation
7259 In the 20th century, composers have greatly expanded the musical
7260 vocabulary. With this expansion, many innovations in musical notation
7261 have been tried. The book by Stone (1980) gives a comprehensive
7262 overview (see @ref{Literature list}). In general, the use of new,
7263 innovative notation makes a piece harder to understand and perform and
7264 its use should therefore be avoided if possible. For this reason,
7265 support for contemporary notation in LilyPond is limited.
7274 @subsection Clusters
7278 In musical terminology, a @emph{cluster} denotes a range of
7279 simultaneously sounding pitches that may change over time. The set of
7280 available pitches to apply usually depends on the accoustic source.
7281 Thus, in piano music, a cluster typically consists of a continous range
7282 of the semitones as provided by the piano's fixed set of a chromatic
7283 scale. In choral music, each singer of the choir typically may sing an
7284 arbitrary pitch within the cluster's range that is not bound to any
7285 diatonic, chromatic or other scale. In electronic music, a cluster
7286 (theoretically) may even cover a continuous range of pitches, thus
7287 resulting in coloured noise, such as pink noise.
7289 Clusters can be denoted in the context of ordinary staff notation by
7290 engraving simple geometrical shapes that replace ordinary notation of
7291 notes. Ordinary notes as musical events specify starting time and
7292 duration of pitches; however, the duration of a note is expressed by the
7293 shape of the note head rather than by the horizontal graphical extent of
7294 the note symbol. In contrast, the shape of a cluster geometrically
7295 describes the development of a range of pitches (vertical extent) over
7296 time (horizontal extent). Still, the geometrical shape of a cluster
7297 covers the area in wich any single pitch contained in the cluster would
7298 be notated as an ordinary note. From this point of view, it is
7299 reasonable to specify a cluster as the envelope of a set of notes.
7303 A cluster is engraved as the envelope of a set of
7304 cluster-notes. Cluster notes are created by applying the function
7305 @code{notes-to-clusters} to a sequence of chords, e.g.
7307 @lilypond[relative 1,verbatim]
7308 \apply #notes-to-clusters { <c e > <b f'> }
7311 The following example (from
7312 @inputfileref{input/regression,cluster.ly}) shows what the result
7315 @lilypondfile[notexidoc]{cluster.ly}
7317 By default, @internalsref{Cluster_spanner_engraver} is in the
7318 @internalsref{Voice} context. This allows putting ordinary notes and
7319 clusters together in the same staff, even simultaneously. In such a
7320 case no attempt is made to automatically avoid collisions between
7321 ordinary notes and clusters.
7325 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7326 @inputfileref{input/regression,cluster.ly},
7327 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7331 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7332 accurately. Use @code{<g a>8 <e a>8} instead.
7337 @subsection Fermatas
7343 Contemporary music notation frequently uses special fermata symbols to
7344 indicate fermatas of differing lengths.
7348 The following are supported
7350 @lilypond[singleline]
7352 << \addlyrics \notes {
7372 \context Lyrics \lyrics {
7373 "shortfermata" "fermata" "longfermata" "verylongfermata"
7378 See @ref{Articulations} for general instructions how to apply scripts
7379 such as fermatas to a @code{\notes@{@}} block.
7382 @section Tuning output
7384 There are situations where default layout decisions are not
7385 sufficient. In this section we discuss ways to override these
7388 Formatting is internally done by manipulating so called objects
7389 (graphic objects). Each object carries with it a set of properties
7390 (object or layout properties) specific to that object. For example, a
7391 stem object has properties that specify its direction, length and
7394 The most direct way of tuning the output is by altering the values of
7395 these properties. There are two ways of doing that: first, you can
7396 temporarily change the definition of one type of object, thus
7397 affecting a whole set of objects. Second, you can select one specific
7398 object, and set a layout property in that object.
7400 Do not confuse layout properties with translation
7401 properties. Translation properties always use a mixed caps style
7402 naming, and are manipulated using @code{\property}:
7404 \property Context.propertyName = @var{value}
7406 Layout properties are use Scheme style variable naming, i.e. lower
7407 case words separated with dashes. They are symbols, and should always
7408 be quoted using @code{#'}. For example, this could be an imaginary
7409 layout property name:
7411 #'layout-property-name
7416 * Constructing a tweak::
7424 @node Tuning objects
7425 @subsection Tuning objects
7427 @cindex object description
7429 The definition of an object is a list of default object
7430 properties. For example, the definition of the Stem object (available
7431 in @file{scm/define-grobs.scm}), includes the following definitions
7432 for @internalsref{Stem}:
7436 (beamed-lengths . (0.0 2.5 2.0 1.5))
7437 (Y-extent-callback . ,Stem::height)
7442 Adding variables on top of this existing definition overrides the
7443 system default, and alters the resulting appearance of the layout
7449 Changing a variable for only one object is commonly achieved with
7453 \once \property @var{context}.@var{objectname}
7454 \override @var{symbol} = @var{value}
7456 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7457 and @var{objectname} is a string and @var{value} is a Scheme expression.
7458 This command applies a setting only during one moment in the score.
7460 In the following example, only one @internalsref{Stem} object is
7461 changed from its original setting:
7463 @lilypond[verbatim, fragment, relative=1]
7465 \once \property Voice.Stem \set #'thickness = #4
7469 @cindex @code{\once}
7471 For changing more objects, the same command, without @code{\once} can
7474 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7476 This command adds @code{@var{symbol} = @var{value}} to the definition
7477 of @var{objectname} in the context @var{context}, and this definition
7478 stays in place until it is removed.
7480 An existing definition may be removed by the following command:
7483 \property @var{context}.@var{objectname} \revert @var{symbol}
7486 All @code{\override} and @code{\revert} commands should be balanced.
7487 The @code{\set} shorthand performs a revert followed by an override,
7488 and is often more convenient to use
7491 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7495 @lilypond[verbatim,quote]
7496 c'4 \property Voice.Stem \override #'thickness = #4.0
7498 c'4 \property Voice.Stem \revert #'thickness
7502 The following example gives exactly the same result as the previous
7503 one (assuming the system default for stem thickness is 1.3):
7505 @lilypond[verbatim,quote]
7506 c'4 \property Voice.Stem \set #'thickness = #4.0
7508 c'4 \property Voice.Stem \set #'thickness = #1.3
7512 Reverting a setting which was not set in the first place has no
7513 effect. However, if the setting was set as a system default, this may
7514 remove the default value, and this may give surprising results,
7515 including crashes. In other words, @code{\override} and
7516 @code{\revert} must be carefully balanced. The following are examples
7517 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7521 a clumsy but correct form:
7523 \override \revert \override \revert \override \revert
7527 shorter version of the same:
7529 \override \set \set \revert
7533 a short form, using only @code{\set}. This requires you to know the
7536 \set \set \set \set @var{to default value}
7540 if there is no default (i.e. by default, the object property is unset),
7543 \set \set \set \revert
7547 The object description is an Scheme association list. Since a Scheme
7548 list is a singly linked list, we can treat it as a stack, and
7549 @code{\override} and @code{\revert} are push and pop operations. The
7550 association list is stored in a normal context property, hence
7552 \property Voice.NoteHead = #'()
7554 will effectively erase @internalsref{NoteHead}s from the current
7555 @internalsref{Voice}. Typically, this will blank the object. However,
7556 this mechanism should not be used: it may cause crashes or other
7561 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7562 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7563 @internalsref{All-layout-objects}.
7568 The backend is not very strict in type-checking object properties.
7569 Cyclic references in Scheme values for properties cause hangs and/or
7570 crashes. Reverting properties that are system defaults may also lead
7573 A property tweak of modifies a local copy of the object definition.
7574 After such a tweak, the definition is independent of the objects in
7575 enclosing contexts. For example
7578 \property Voice.Stem \set #'neutral-direction = #1
7580 \property Staff.Stem \set #'thickness = #4.0
7585 In this fragment, @code{neutral-direction} is tweaked. As a result,
7586 the current @internalsref{Voice} gets a private version of the
7587 @internalsref{Stem} object. The following tweak modifies the
7588 definition at @internalsref{Staff} level. Since it a different
7589 definition, the thickness of the @code{b'16} is unaffected. For the
7590 third note, a new Voice is created, which inherits the new definition,
7591 including the changed thickness, but excluding the new neutral
7595 @node Constructing a tweak
7596 @subsection Constructing a tweak
7599 @cindex internal documentation
7600 @cindex finding graphical objects
7601 @cindex graphical object descriptions
7603 @cindex @code{\override}
7605 @cindex internal documentation
7609 Three pieces of information are required to use @code{\override} and
7610 @code{\set}: the name of the layout object, the context and the name
7611 of the property. We demonstrate how to glean this information from
7612 the notation manual and the generated documentation.
7614 The generated documentation is a set of HTML pages which should be
7615 included if you installed a binary distribution, typically in
7616 @file{/usr/share/doc/lilypond}. They are also available on the web:
7617 go to the @uref{http://lilypond.org,LilyPond website}, click
7618 ``Documentation'', select the correct version, and click then
7619 ``Program reference.'' It is advisable to bookmark the local HTML
7620 files. They will load faster than the ones on the web. If you use the
7621 version from the web, you must check whether the documentation matches
7622 the program version: it is generated from the definitions that the
7623 program uses, and therefore it is strongly tied to the LilyPond
7627 @c [TODO: revise for new site.]
7629 Suppose we want to move the fingering indication in the fragment below:
7631 @lilypond[relative=2,verbatim]
7637 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7638 instructions}), you will notice that there is written:
7643 @internalsref{FingerEvent} and @internalsref{Fingering}.
7650 In other words, the fingerings once entered, are internally stored as
7651 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7652 layout object is created for every @code{FingerEvent}.
7654 The Fingering object has a number of different functions, and each of
7655 those is captured in an interface. The interfaces are listed under
7656 @internalsref{Fingering} in the program reference.
7660 The @code{Fingering} object has a fixed size
7661 (@internalsref{item-interface}), the symbol is a piece of text
7662 (@internalsref{text-interface}), whose font can be set
7663 (@internalsref{font-interface}). It is centered horizontally
7664 (@internalsref{self-alignment-interface}), it is placed next to other
7665 objects (@internalsref{side-position-interface}) vertically, and its
7666 placement is coordinated with other scripts
7667 (@internalsref{text-script-interface}). It also has the standard
7668 @internalsref{grob-interface} (grob stands for Graphical object)
7670 @cindex graphical object
7671 @cindex layout object
7672 @cindex object, layout
7673 with all the variables that come with
7674 it. Finally, it denotes a fingering instruction, so it has
7675 @internalsref{finger-interface}.
7677 For the vertical placement, we have to look under
7678 @code{side-position-interface}:
7680 @code{side-position-interface}
7682 Position a victim object (this one) next to other objects (the
7683 support). In this case, the property @code{direction} signifies where to put the
7684 victim object relative to the support (left or right, up or down?)
7689 below this description, the variable @code{padding} is described as
7693 (dimension, in staff space)
7695 add this much extra space between objects that are next to each
7696 other. Default value: @code{0.6}
7700 By increasing the value of @code{padding}, we can move away the
7701 fingering. The following command inserts 3 staff spaces of white
7702 between the note and the fingering:
7704 \once \property Voice.Fingering \set #'padding = #3
7707 Inserting this command before the Fingering object is created,
7708 i.e. before @code{c2}, yields the following result:
7710 @lilypond[relative=2,fragment,verbatim]
7711 \once \property Voice.Fingering
7718 The context name @code{Voice} in the example above can be determined
7719 as follows. In the documentation for @internalsref{Fingering}, it says
7721 Fingering grobs are created by: @internalsref{Fingering_engraver}
7724 Clicking @code{Fingering_engraver} shows the documentation of
7725 the module responsible for interpreting the fingering instructions and
7726 translating them to a @code{Fingering} object. Such a module is called
7727 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7730 Fingering_engraver is part of contexts: Voice
7732 so tuning the settings for Fingering should be done with
7734 \property Voice.Fingering \set @dots{}
7737 Of course, the tweak may also done in a larger context than
7738 @code{Voice}, for example, @internalsref{Staff} or
7739 @internalsref{Score}.
7743 The program reference also contains alphabetical lists of
7744 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7745 @internalsref{Music-expressions}, so you can also find which objects to
7746 tweak by browsing the internals document.
7750 @subsection Applyoutput
7752 The most versatile way of tuning an object is @code{\applyoutput}. Its
7755 \applyoutput @var{proc}
7759 where @var{proc} is a Scheme function, taking three arguments.
7761 When interpreted, the function @var{proc} is called for every layout
7762 object found in the context, with the following arguments:
7764 @item the layout object itself,
7765 @item the context where the layout object was created, and
7766 @item the context where @code{\applyoutput} is processed.
7770 In addition, the cause of the layout object, i.e. the music
7771 expression or object that was responsible for creating it, is in the
7772 object property @code{cause}. For example, for a note head, this is a
7773 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7774 this is a @internalsref{NoteHead} object.
7776 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7779 (define (blanker grob grob-origin context)
7780 (if (and (memq (ly:get-grob-property grob 'interfaces)
7781 note-head-interface)
7782 (eq? (ly:get-grob-property grob 'staff-position) 0))
7784 (ly:set-grob-property! grob 'transparent #t)))
7789 @node Font selection
7790 @subsection Font selection
7792 The most common thing to change about the appearance of fonts is their
7793 size. The font size of any context can be easily changed by setting
7794 the @code{fontSize} property for that context. Its value is a number:
7795 negative numbers make the font smaller, positive numbers larger. An
7796 example is given below:
7798 @lilypond[fragment,relative=1,verbatim,quote]
7799 c4 c4 \property Voice.fontSize = #-1
7802 This command will set @code{font-size} (see below), and does
7803 not change the size of variable symbols, such as beams or slurs.
7805 One of the uses of @code{fontSize} is to get smaller symbol for cue
7806 notes. An elaborate example of those is in
7807 @inputfileref{input/test,cue-notes.ly}.
7809 @cindex magnification
7815 The font used for printing a object can be selected by setting
7816 @code{font-name}, e.g.
7818 \property Staff.TimeSignature
7819 \set #'font-name = #"cmr17"
7823 Any font can be used, as long as it is available to @TeX{}. Possible
7824 fonts include foreign fonts or fonts that do not belong to the
7825 Computer Modern font family. The size of fonts selected in this way
7826 can be changed with the @code{font-magnification} property. For
7827 example, @code{2.0} blows up all letters by a factor 2 in both
7831 @cindex font magnification
7833 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7834 can also be adjusted with a more fine-grained mechanism. By setting
7835 the object properties described below, you can select a different font;
7836 all three mechanisms work for every object that supports
7837 @code{font-interface}:
7842 is a symbol indicating the general class of the typeface. Supported are
7843 @code{roman} (Computer Modern), @code{braces} (for piano staff
7844 braces), @code{music} (the standard music font, including ancient
7845 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7848 is a symbol indicating the shape of the font, there are typically several
7849 font shapes available for each font family. Choices are @code{italic},
7850 @code{caps} and @code{upright}.
7853 is a symbol indicating the series of the font. There are typically several
7854 font series for each font family and shape. Choices are @code{medium}
7859 For any of these properties, the value @code{*} (i.e. the symbol
7860 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7861 to override default setting, which are always present. For example:
7863 \property Lyrics . LyricText \override #'font-series = #'bold
7864 \property Lyrics . LyricText \override #'font-family = #'typewriter
7865 \property Lyrics . LyricText \override #'font-shape = #'*
7868 @cindex @code{font-style}
7870 The font size is set by modifying the @code{font-size} property. Its
7871 value is a number indicating the size relative to the standard size.
7872 Each step up is an increase of approximately 12% of the font size. Six
7873 steps is exactly a factor two.
7875 LilyPond has fonts in different design sizes: the music fonts for
7876 smaller sizes are chubbier, while the text fonts are relatively wider.
7877 Font size changes are achieved by scaling the design size that is
7878 closest to the desired size.
7880 The @code{font-size} mechanism does not work for fonts selected
7881 through @code{font-name}. These may be scaled with
7882 @code{font-magnification}.
7886 The following commands set @code{fontSize} for the current voice.
7888 @cindex @code{\tiny}
7890 @cindex @code{\small}
7892 @cindex @code{\normalsize}
7897 Relative size is not linked to any real size.
7899 There is no style sheet provided for other fonts besides the @TeX{}
7900 family, and the style sheet cannot be modified easily.
7902 @cindex font selection
7903 @cindex font magnification
7904 @cindex @code{font-interface}
7908 @subsection Text markup
7913 @cindex typeset text
7915 LilyPond has an internal mechanism to typeset texts. You can access it
7916 with the keyword @code{\markup}. Within markup mode, you can enter texts
7917 similar to lyrics: simply enter them, surrounded by spaces:
7920 @lilypond[verbatim,fragment,relative=1]
7921 c1^\markup { hello }
7922 c1_\markup { hi there }
7923 c1^\markup { hi \bold there, is \italic anyone home? }
7926 @cindex font switching
7928 The markup in the example demonstrates font switching commands. The
7929 command @code{\bold} and @code{\italic} only apply to the first
7930 following word; enclose a set of texts with braces to apply a command
7933 \markup @{ \bold @{ hi there @} @}
7937 For clarity, you can also do this for single arguments, e.g.
7939 \markup @{ is \italic @{ anyone @} home @}
7942 @cindex font size, texts
7944 The following size commands set absolute sizes:
7946 @cindex @code{\teeny}
7947 @cindex @code{\tiny}
7948 @cindex @code{\small}
7949 @cindex @code{\large}
7950 @cindex @code{\huge}
7960 You can also make letter larger or smaller relative to their neighbors,
7961 with the commands @code{\larger} and @code{\smaller}.
7965 @cindex font style, for texts
7966 @cindex @code{\bold}
7967 @cindex @code{\dynamic}
7968 @cindex @code{\number}
7969 @cindex @code{\italic}
7971 The following font change commands are defined:
7974 changes to the font used in dynamic signs. This font does not
7975 contain all characters of the alphabet, so when producing ``piu f'',
7976 the ``piu'' should be done in a different font.
7980 changes to the font used in time signatures. It only contains
7981 numbers and a few punctuation marks.
7983 changes @code{font-shape} to @code{italic}.
7985 changes @code{font-series} to @code{bold}.
7988 @cindex raising text
7989 @cindex lowering text
7991 @cindex translating text
7994 @cindex @code{\super}
7996 Raising and lowering texts can be done with @code{\super} and
7999 @lilypond[verbatim,fragment,relative=1]
8000 c1^\markup { E "=" mc \super "2" }
8003 @cindex @code{\raise}
8005 If you want to give an explicit amount for lowering or raising, use
8006 @code{\raise}. This command takes a Scheme valued first argument, and
8007 a markup object as second argument:
8009 @lilypond[verbatim,fragment,relative=1,quote]
8010 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8012 The argument to @code{\raise} is the vertical displacement amount,
8013 measured in (global) staff spaces. @code{\raise} and @code{\super}
8014 raise objects in relation to their surrounding markups. They cannot be
8015 used to move a single text up or down, when it is above or below a
8016 note, since the mechanism that positions it next to the note cancels
8017 any vertical shift. For vertical positioning, use the @code{padding}
8018 and/or @code{extra-offset} properties.
8020 Other commands taking single arguments include
8023 @item \bracket, \hbracket
8024 Bracket the argument markup with normal and horizontal brackets
8028 @cindex @code{\musicglyph}
8029 This is converted to a musical symbol, e.g. @code{\musicglyph
8030 #"accidentals-0"} will select the natural sign from the music font.
8031 See @ref{The Feta font} for a complete listing of the possible glyphs.
8033 This produces a single character, e.g. @code{\char #65} produces the
8036 @item \note @var{log} @var{dots} @var{dir}
8037 @cindex @code{\note}
8039 This produces a note with a stem pointing in @var{dir} direction, with
8040 duration log @var{log} and @var{dots} augmentation dots. The duration
8041 log is the negative 2-logarithm of the duration denominator. For
8042 example, a quarter note has log 2, an eighth note 3 and a breve has
8045 @item \hspace #@var{amount}
8046 @cindex @code{\hspace}
8047 This produces a invisible object taking horizontal space.
8049 \markup @{ A \hspace #2.0 B @}
8051 will put extra space between A and B, on top of the space that is
8052 normally inserted before elements on a line.
8054 @item \fontsize #@var{size}
8055 @cindex @code{\fontsize}
8056 This sets the relative font size, eg.
8058 A \fontsize #2 @{ B C @} D
8062 This will enlarge the B and the C by two steps.
8063 @item \translate #(cons @var{x} @var{y})
8065 This translates an object. Its first argument is a cons of numbers
8067 A \translate #(cons 2 -3) @{ B C @} D
8069 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8070 surroundings. This command cannot be used to move isolated scripts
8071 vertically, for the same reason that @code{\raise} cannot be used for
8074 @item \magnify #@var{mag}
8075 @cindex @code{\magnify}
8076 This sets the font magnification for the its argument. In the following
8077 example, the middle A will be 10% larger:
8079 A \magnify #1.1 @{ A @} A
8083 @item \override #(@var{key} . @var{value})
8084 @cindex @code{\override}
8085 This overrides a formatting property for its argument. The argument
8086 should be a key/value pair, e.g.
8088 m \override #'(font-family . math) m m
8092 In markup mode you can compose expressions, similar to mathematical
8093 expressions, XML documents and music expressions. The braces group
8094 notes into horizontal lines. Other types of lists also exist: you can
8095 stack expressions grouped with @code{<}, and @code{>} vertically with
8096 the command @code{\column}. Similarly, @code{\center} aligns texts by
8099 @lilypond[verbatim,fragment,relative=1]
8100 c1^\markup { \column < a bbbb c > }
8101 c1^\markup { \center < a bbbb c > }
8102 c1^\markup { \line < a b c > }
8105 Markups can be stored in variables, and these variables
8106 may be attached to notes, like
8108 allegro = \markup { \bold \large { Allegro } }
8109 \notes { a^\allegro b c d }
8112 The markup mechanism is extensible. Refer to
8113 @file{scm/new-markup.scm} for more information.
8118 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8125 Text layout is ultimately done by @TeX{}, which does kerning of
8126 letters. LilyPond does not account for kerning, so texts will be
8127 spaced slightly too wide.
8129 Syntax errors for markup mode are confusing.
8131 Markup texts cannot be used in the titling of the @code{\header}
8132 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8139 @section Global layout
8141 The global layout determined by three factors: the page layout, the
8142 line breaks and the spacing. These all influence each other. The
8143 choice of spacing determines how densely each system of music is set,
8144 which influences where line breaks breaks are chosen, and thus
8145 ultimately how many pages a piece of music takes. This section
8146 explains how to tune the algorithm for spacing.
8148 Globally spoken, this procedure happens in three steps: first,
8149 flexible distances (``springs'') are chosen, based on durations. All
8150 possible line breaking combination are tried, and the one with the
8151 best results---a layout that has uniform density and requires as
8152 little stretching or cramping as possible---is chosen. When the score
8153 is processed by @TeX{}, each page is filled with systems, and page breaks
8154 are chosen whenever the page gets full.
8159 * Vertical spacing::
8160 * Horizontal spacing::
8167 @node Vertical spacing
8168 @subsection Vertical spacing
8170 @cindex vertical spacing
8171 @cindex distance between staves
8172 @cindex staff distance
8173 @cindex between staves, distance
8174 @cindex staffs per page
8175 @cindex space between staves
8177 The height of each system is determined automatically by LilyPond, to
8178 keep systems from bumping into each other, some minimum distances are
8179 set. By changing these, you can put staves closer together, and thus
8180 put more systems onto one page.
8182 Normally staves are stacked vertically. To make
8183 staves maintain a distance, their vertical size is padded. This is
8184 done with the property @code{minimumVerticalExtent}. It takes a pair
8185 of numbers, so if you want to make it smaller from its, then you could
8188 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8190 This sets the vertical size of the current staff to 4 staff spaces on
8191 either side of the center staff line. The argument of
8192 @code{minimumVerticalExtent} is interpreted as an interval, where the
8193 center line is the 0, so the first number is generally negative. The
8194 staff can be made larger at the bottom by setting it to @code{(-6
8197 The piano staves are handled a little differently: to make cross-staff
8198 beaming work correctly, it is necessary that the distance between staves
8199 is fixed beforehand. This is also done with a
8200 @internalsref{VerticalAlignment} object, created in
8201 @internalsref{PianoStaff}. In this object the distance between the
8202 staves is fixed by setting @code{forced-distance}. If you want to
8203 override this, use a @code{\translator} block as follows:
8207 VerticalAlignment \override #'forced-distance = #9
8210 This would bring the staves together at a distance of 9 staff spaces,
8211 measured from the center line of each staff.
8215 Vertical alignment of staves is handled by the
8216 @internalsref{VerticalAlignment} object.
8220 @node Horizontal spacing
8221 @subsection Horizontal Spacing
8223 The spacing engine translates differences in durations into
8224 stretchable distances (``springs'') of differing lengths. Longer
8225 durations get more space, shorter durations get less. The shortest
8226 durations get a fixed amount of space (which is controlled by
8227 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8228 /The longer the duration, the more space it gets: doubling a
8229 duration adds a fixed amount (this amount is controlled by
8230 @code{spacing-increment}) of space to the note.
8232 For example, the following piece contains lots of half, quarter and
8233 8th notes, the eighth note is followed by 1 note head width (NHW).
8234 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8235 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8239 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8240 width of a note head, and @code{shortest-duration-space} is set to
8241 2.0, meaning that the shortest note gets 2 NHW (2 times
8242 @code{shortest-duration-space}) of space. For normal notes, this space
8243 is always counted from the left edge of the symbol, so the shortest
8244 notes are generally followed by one NHW of space.
8246 If one would follow the above procedure exactly, then adding a single
8247 32th note to a score that uses 8th and 16th notes, would widen up the
8248 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8249 thus adding 1 NHW to every note. To prevent this, the
8250 shortest duration for spacing is not the shortest note in the score,
8251 but the most commonly found shortest note. Notes that are even
8252 shorter this are followed by a space that is proportional to their
8253 duration relative to the common shortest note. So if we were to add
8254 only a few 16th notes to the example above, they would be followed by
8257 @lilypond[fragment, verbatim, relative=2]
8258 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8261 The most common shortest duration is determined as follows: in every
8262 measure, the shortest duration is determined. The most common short
8263 duration, is taken as the basis for the spacing, with the stipulation
8264 that this shortest duration should always be equal to or shorter than
8265 1/8th note. The shortest duration is printed when you run lilypond
8266 with @code{--verbose}. These durations may also be customized. If you
8267 set the @code{common-shortest-duration} in
8268 @internalsref{SpacingSpanner}, then this sets the base duration for
8269 spacing. The maximum duration for this base (normally 1/8th), is set
8270 through @code{base-shortest-duration}.
8272 @cindex @code{common-shortest-duration}
8273 @cindex @code{base-shortest-duration}
8274 @cindex @code{stem-spacing-correction}
8275 @cindex @code{spacing}
8277 In the introduction it was explained that stem directions influence
8278 spacing. This is controlled with @code{stem-spacing-correction}
8279 property in @internalsref{NoteSpacing}, which are generated for every
8280 @internalsref{Voice} context. The @code{StaffSpacing} object
8281 (generated at @internalsref{Staff} context) contains the same property
8282 for controlling the stem/barline spacing. The following example
8283 shows these corrections, once with default settings, and once with
8284 exaggerated corrections:
8290 \property Staff.NoteSpacing \override #'stem-spacing-correction
8292 \property Staff.StaffSpacing \override #'stem-spacing-correction
8297 \paper { raggedright = ##t } }
8300 @cindex SpacingSpanner, overriding properties
8302 Properties of the @internalsref{SpacingSpanner} must be overridden
8303 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8304 created before any @code{\property} statements are interpreted.
8306 \paper @{ \translator @{
8308 SpacingSpanner \override #'spacing-increment = #3.0
8315 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8316 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8317 @internalsref{SeparatingGroupSpanner}.
8321 Spacing is determined on a score wide basis. If you have a score that
8322 changes its character (measured in durations) halfway during the
8323 score, the part containing the longer durations will be spaced too
8326 There is no convenient mechanism to manually override spacing.
8331 @subsection Font size
8332 @cindex font size, setting
8333 @cindex staff size, setting
8334 @cindex @code{paper} file
8336 The Feta font provides musical symbols at seven different sizes.
8337 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8338 26 point. The point size of a font is the height of the corresponding
8339 staff (excluding line thicknesses).
8341 Definitions for these sizes are the files @file{paperSZ.ly}, where
8342 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8343 of these files, the variables @code{paperEleven},
8344 @code{paperThirteen}, @code{paperSixteen},
8345 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8346 are defined respectively. The default @code{\paper} block is also
8347 set. These files should be imported at toplevel, i.e.
8349 \include "paper26.ly"
8353 The default font size settings for each staff heights are generated
8354 from the 20pt style sheet. For more details, see the file
8355 @file{scm/font.scm}.
8359 @subsection Line breaking
8362 @cindex breaking lines
8364 Line breaks are normally computed automatically. They are chosen such
8365 that lines look neither cramped nor loose, and that consecutive lines
8366 have similar density.
8368 Occasionally you might want to override the automatic breaks; you can
8369 do this by specifying @code{\break}. This will force a line break at
8370 this point. Line breaks can only occur at places where there are bar
8371 lines. If you want to have a line break where there is no bar line,
8372 you can force an invisible bar line by entering @code{\bar
8373 ""}. Similarly, @code{\noBreak} forbids a line break at a
8377 @cindex regular line breaks
8378 @cindex four bar music.
8380 For linebreaks at regular intervals use @code{\break} separated by
8381 skips and repeated with @code{\repeat}:
8383 << \repeat unfold 7 @{ s1 * 4 \break @}
8384 @emph{the real music}
8389 This makes the following 28 measures (assuming 4/4 time) be broken every
8394 @internalsref{BreakEvent}.
8398 @subsection Page layout
8401 @cindex breaking pages
8403 @cindex @code{indent}
8404 @cindex @code{linewidth}
8406 The most basic settings influencing the spacing are @code{indent} and
8407 @code{linewidth}. They are set in the @code{\paper} block. They
8408 control the indentation of the first line of music, and the lengths of
8411 If @code{raggedright} is set to true in the @code{\paper}
8412 block, then the lines are justified at their natural length. This
8413 useful for short fragments, and for checking how tight the natural
8417 @cindex vertical spacing
8419 The page layout process happens outside the LilyPond formatting
8420 engine: variables controlling page layout are passed to the output,
8421 and are further interpreted by @code{lilypond} wrapper program. It
8422 responds to the following variables in the @code{\paper} block. The
8423 variable @code{textheight} sets the total height of the music on each
8424 page. The spacing between systems is controlled with
8425 @code{interscoreline}, its default is 16pt. The distance between the
8426 score lines will stretch in order to fill the full page
8427 @code{interscorelinefill} is set to a positive number. In that case
8428 @code{interscoreline} specifies the minimum spacing.
8430 @cindex @code{textheight}
8431 @cindex @code{interscoreline}
8432 @cindex @code{interscorelinefill}
8434 If the variable @code{lastpagefill} is defined,
8435 @c fixme: this should only be done if lastpagefill == #t
8436 systems are evenly distributed vertically on the last page. This
8437 might produce ugly results in case there are not enough systems on the
8438 last page. The @command{lilypond-book} command ignores
8439 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8442 @cindex @code{lastpagefill}
8444 Page breaks are normally computed by @TeX{}, so they are not under
8445 direct control of LilyPond. However, you can insert a commands into
8446 the @file{.tex} output to instruct @TeX{} where to break pages. This
8447 is done by setting the @code{between-systems-strings} on the
8448 @internalsref{NonMusicalPaperColumn} where the system is broken.
8449 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8450 The predefined command @code{\newpage} also does this.
8454 @cindex @code{papersize}
8456 To change the paper size, you must first set the @code{papersize} paper
8457 variable variable as in the example below. Set it to
8458 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8459 specification, you must set the font as described above. If you want
8460 the default font, then use the 20 point font.
8463 \paper@{ papersize = "a4" @}
8464 \include "paper16.ly"
8467 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8468 will set the paper variables @code{hsize} and @code{vsize} (used by
8469 @code{lilypond-book} and @code{lilypond}).
8474 @cindex @code{\newpage}
8480 @ref{Invoking lilypond},
8481 @inputfileref{input/regression,between-systems.ly}, and
8482 @internalsref{NonMusicalPaperColumn}.
8486 LilyPond has no concept of page layout, which makes it difficult to
8487 reliably choose page breaks in longer pieces.
8496 Entered music can also be converted to MIDI output. The performance
8497 is good enough for proof-hearing the music for errors.
8499 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8500 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8501 marks translate to a fixed fraction of the available MIDI volume
8502 range, crescendi and decrescendi make the volume vary linearly between
8503 their two extremities. The fractions can be adjusted by
8504 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8505 For each type of MIDI instrument, a volume range can be defined. This
8506 gives a basic equalizer control, which can enhance the quality of
8507 the MIDI output remarkably. The equalizer can be controlled by
8508 setting @code{instrumentEqualizer}.
8512 Many musically interesting effects, such as swing, articulation,
8513 slurring, etc., are not translated to MIDI.
8518 * MIDI instrument names::
8523 @subsection MIDI block
8527 The MIDI block is analogous to the paper block, but it is somewhat
8528 simpler. The @code{\midi} block can contain:
8532 @item a @code{\tempo} definition, and
8533 @item context definitions.
8536 Assignments in the @code{\midi} block are not allowed.
8538 A number followed by a period is interpreted as a real number, so
8539 for setting the tempo for dotted notes, an extra space should be
8540 inserted, for example:
8543 \midi @{ \tempo 4 . = 120 @}
8547 @cindex context definition
8549 Context definitions follow precisely the same syntax as within the
8550 \paper block. Translation modules for sound are called performers.
8551 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8554 @node MIDI instrument names
8555 @subsection MIDI instrument names
8557 @cindex instrument names
8558 @cindex @code{Staff.midiInstrument}
8560 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8561 property. The instrument name should be chosen from the list in
8562 @ref{MIDI instruments}.
8566 If the selected string does not exactly match, then the default is
8567 used, which is the Grand Piano.