2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
12 @chapter Notation manual
14 This chapter describes all the different types of notation supported
15 by LilyPond. It is intended as a reference for users that are already
16 somewhat familiar with using LilyPond.
20 * Easier music entry::
34 * Contemporary notation::
41 @c FIXME: Note entry vs Music entry at top level menu is confusing.
47 The basic elements of any piece of music are the notes. This section
48 is about basic notation elements notes, rests and related constructs,
49 such as stems, tuplets and ties.
54 * Chromatic alterations::
69 A note is printed by specifying its pitch and then its duration:
70 @footnote{Notes constitute the most basic elements of LilyPond input,
71 but they do not form valid input on their own without a @code{\score}
72 block. However, for the sake of brevity and simplicity we will
73 generally omit @code{\score} blocks and @code{\paper} declarations in
76 @lilypond[fragment,verbatim]
85 @cindex Note specification
87 @cindex entering notes
89 The most common syntax for pitch entry is used in @code{\chords} and
90 @code{\notes} mode. In Note and Chord mode, pitches may be designated
91 by names. The notes are specified by the letters @code{a} through
92 @code{g}, while the octave is formed with notes ranging from @code{c}
93 to @code{b}. The pitch @code{c} is an octave below middle C and the
94 letters span the octave above that C:
96 @lilypond[fragment,verbatim]
98 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
101 @cindex note names, Dutch
103 A sharp is formed by adding @code{-is} to the end of a pitch name and
104 a flat is formed by adding @code{-es}. Double sharps and double flats
105 are obtained by adding @code{-isis} or @code{-eses}. These
106 names are the Dutch note names. In Dutch, @code{aes} is contracted to
107 @code{as}, but both forms are accepted. Similarly, both
108 @code{es} and @code{ees} are accepted.
110 Half-flats and half-sharps are formed by adding @code{-eh} and
111 @code{-ih}; the following is a series of Cs with increasing pitches:
113 @cindex quarter tones
114 @cindex semi-flats, semi-sharps
116 @lilypond[verbatim,relative=2]
128 There are predefined sets of note names for various other languages.
129 To use them, include the language specific init file. For
130 example: @code{\include "english.ly"}. The available language files
131 and the note names they define are:
136 Note Names sharp flat
137 nederlands.ly c d e f g a bes b -is -es
138 english.ly c d e f g a bf b -s/-sharp -f/-flat
140 deutsch.ly c d e f g a b h -is -es
141 norsk.ly c d e f g a b h -iss/-is -ess/-es
142 svenska.ly c d e f g a b h -iss -ess
143 italiano.ly do re mi fa sol la sib si -d -b
144 catalan.ly do re mi fa sol la sib si -d/-s -b
145 espanol.ly do re mi fa sol la sib si -s -b
154 The optional octave specification takes the form of a series of
155 single quote (`@code{'}') characters or a series of comma
156 (`@code{,}') characters. Each @code{'} raises the pitch by one
157 octave; each @code{,} lowers the pitch by an octave:
159 @lilypond[fragment,verbatim,center]
160 c' c'' es' g' as' gisis' ais'
166 Notes can be hidden and unhidden with the following commands:
168 @cindex @code{\hideNotes}
170 @cindex @code{\unHideNotes}
176 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
178 @node Chromatic alterations
179 @subsection Chromatic alterations
181 Normally accidentals are printed automatically, but you may also
182 print them manually. A reminder accidental
183 @cindex reminder accidental
185 can be forced by adding an exclamation mark @code{!}
186 after the pitch. A cautionary accidental
187 @cindex cautionary accidental
188 @cindex parenthesized accidental
189 (i.e. an accidental within parentheses) can be obtained by adding the
190 question mark `@code{?}' after the pitch:
192 @lilypond[fragment,verbatim]
193 cis' cis' cis'! cis'?
197 The automatic production of accidentals can be tuned in many
198 ways. For more information, refer to @ref{Accidentals}.
203 A chord is formed by a enclosing a set of pitches in @code{<} and
204 @code{>}. A chord may be followed by a duration, and a set of
205 articulations, just like simple notes.
215 Rests are entered like notes, with the note name @code{r}:
217 @lilypond[raggedright,verbatim]
221 Whole bar rests, centered in middle of the bar,
222 must be done with multi measure rests. They are discussed in
223 @ref{Multi measure rests}.
226 A rest's vertical position may be explicitly specified by entering a
227 note with the @code{\rest} keyword appended. This makes manual
228 formatting in polyphonic music easier. Rest collision testing will
229 leave these rests alone:
231 @lilypond[raggedright,verbatim]
237 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
244 @cindex Invisible rest
247 An invisible rest (also called a `skip') can be entered like a note
248 with note name `@code{s}' or with @code{\skip @var{duration}}:
250 @lilypond[raggedright,verbatim]
254 The @code{s} syntax is only available in note mode and chord mode. In
255 other situations, you should use the @code{\skip} command:
257 @lilypond[raggedright,verbatim]
260 { \time 4/8 \skip 2 \time 4/4 }
261 \notes\relative c'' { a2 a1 }
266 The skip command is merely an empty musical placeholder. It does not
267 produce any output, not even transparent output.
269 The @code{s} skip command does create @internalsref{Staff} and
270 @internalsref{Voice} when necessary, similar to note and rest
271 commands. For example, the following results in an empty staff.
273 @lilypond[raggedright,verbatim]
274 \score { \notes { s4 } }
277 The same fragment using @code{\skip} results in an empty page.
281 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
286 @subsection Durations
292 In Note, Chord, and Lyrics mode, durations are designated by numbers
293 and dots: durations are entered as their reciprocal values. For example,
294 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
295 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
296 longer than a whole you must use variables:
298 @c FIXME: what is an identifier? I do not think it's been introduced yet.
299 @c and if it has, I obviously skipped that part. - Graham
303 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
305 r1 r2 r4 r8 r16 r32 r64 r64
310 \notes \relative c'' {
312 a1 a2 a4 a8 a16 a32 a64 a64
314 r1 r2 r4 r8 r16 r32 r64 r64
319 \remove "Clef_engraver"
320 \remove "Staff_symbol_engraver"
321 \remove "Time_signature_engraver"
322 \consists "Pitch_squash_engraver"
329 If the duration is omitted then it is set to the previously entered
330 duration. The default for the first note is a quarter note. The duration
331 can be followed by dots (`@code{.}') in order to obtain dotted note
335 @lilypond[fragment,verbatim,center]
336 a' b' c''8 b' a'4 a'4. b'4.. c'8.
341 You can alter the length of duration by a fraction @var{N/M}
342 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
343 will not affect the appearance of the notes or rests produced.
344 In the following example, the first three notes take up exactly two
346 @lilypond[fragment,relative=2,verbatim]
348 a4*2/3 gis4*2/3 a4*2/3
355 Dots are normally moved up to avoid staff lines, except in polyphonic
356 situations. The following commands may be used to force a particular
359 @cindex @code{\dotsUp}
361 @cindex @code{\dotsDown}
363 @cindex @code{\dotsBoth}
368 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
373 Whenever a note is found, a @internalsref{Stem} object is created
374 automatically. For whole notes and rests, they are also created but
379 @cindex @code{\stemUp}
381 @cindex @code{\stemDown}
383 @cindex @code{\stemBoth}
394 A tie connects two adjacent note heads of the same pitch. The tie in
395 effect extends the length of a note. Ties should not be confused with
396 slurs, which indicate articulation, or phrasing slurs, which indicate
397 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
399 @lilypond[fragment,verbatim,center]
400 e' ~ e' <c' e' g'> ~ <c' e' g'>
403 When a tie is applied to a chord, all note heads whose pitches match
404 are connected. When no note heads match, no ties will be created.
406 In its meaning a tie is just a way of extending a note duration, similar
407 to the augmentation dot; in the following example there are two ways of
408 notating exactly the same concept:
410 @lilypond[fragment,raggedright,quote]
411 \time 3/4 c'2. c'2 ~ c'4
413 If you need to tie a lot of notes over bars, it may be easier to use automatic
414 note splitting (see @ref{Automatic note splitting}).
419 @cindex @code{\tieUp}
421 @cindex @code{\tieDown}
423 @cindex @code{\tieBoth}
425 @cindex @code{\tieDotted}
427 @cindex @code{\tieSolid}
432 In this manual: @ref{Automatic note splitting}.
434 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
437 Examples: if you want less ties created for a chord, see
438 @inputfileref{input/test,tie-sparse.ly}.
440 For tying only a subset of the note heads of a pair of chords, see
441 @inputfileref{input/regression,tie-chord-partial.ly}.
446 Switching staves when a tie is active will not produce a slanted tie.
448 Formatting of ties is a difficult subject. The results are often not
458 @cindex @code{\times}
460 Tuplets are made out of a music expression by multiplying all durations
463 @cindex @code{\times}
465 \times @var{fraction} @var{musicexpr}
469 The duration of @var{musicexpr} will be multiplied by the fraction.
470 The fraction's denominator will be printed over the notes, optionally
471 with a bracket. The most common tuplet is the triplet in which 3
472 notes have the length of 2, so the notes are 2/3 of their written
475 @lilypond[fragment,verbatim,center]
476 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
479 The property @code{tupletSpannerDuration} specifies how long each
480 bracket should last. With this, you can make lots of tuplets while
481 typing @code{\times} only once, saving lots of typing. In the next
482 example, there are two triplets shown, while @code{\times} was only
485 @lilypond[fragment,relative,raggedright,verbatim]
486 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
487 \times 2/3 { c'8 c c c c c }
490 The format of the number is determined by the property
491 @code{tupletNumberFormatFunction}. The default prints only the
492 denominator, but if it is set to the Scheme function
493 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
497 @cindex @code{tupletNumberFormatFunction}
498 @cindex tuplet formatting
503 @cindex @code{\tupletUp}
505 @cindex @code{\tupletDown}
507 @cindex @code{\tupletBoth}
512 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
514 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
518 Nested tuplets are not formatted automatically. In this case, outer
519 tuplet brackets should be moved manually, which is demonstrated in
520 @inputfileref{input/regression,tuplet-nest.ly}.
524 @node Easier music entry
525 @section Easier music entry
528 When entering music it is easy to introduce errors. This section deals
529 with tricks and features of the input language that were added solely
530 to help entering music, and find and correct mistakes.
532 It is also possible to use external programs, for example GUI
533 interfaces, or MIDI transcription programs, to enter or edit
534 music. Refer to the website for more information. Finally, there are
535 tools make debugging easier, by linking the input file and the output
536 shown on screen. See @ref{Point and click} for more information.
543 * Skipping corrected music::
544 * Automatic note splitting::
550 @node Relative octaves
551 @subsection Relative octaves
553 @cindex relative octave specification
555 Octaves are specified by adding @code{'} and @code{,} to pitch names.
556 When you copy existing music, it is easy to accidentally put a pitch
557 in the wrong octave and hard to find such an error. The relative
558 octave mode prevents these errors: a single error puts the rest of the
559 piece off by one octave:
561 @cindex @code{\relative}
563 \relative @var{startpitch} @var{musicexpr}
566 The octave of notes that appear in @var{musicexpr} are calculated as
567 follows: If no octave changing marks are used, the basic interval
568 between this and the last note is always taken to be a fourth or less
569 (; this distance is determined without regarding alterations: a
570 @code{fisis} following a @code{ceses} will be put above the
573 The octave changing marks @code{'} and @code{,} can be added to raise
574 or lower the pitch by an extra octave. Upon entering relative mode,
575 an absolute starting pitch must be specified that will act as the
576 predecessor of the first note of @var{musicexpr}.
578 Here is the relative mode shown in action:
579 @lilypond[fragment,raggedright,verbatim,center]
585 Octave changing marks are used for intervals greater than a fourth:
586 @lilypond[fragment,verbatim,center]
591 If the preceding item is a chord, the first note of the chord is used
592 to determine the first note of the next chord:
594 @lilypond[fragment,verbatim,center]
601 @cindex @code{\notes}
603 The pitch after the @code{\relative} contains a note name. To parse
604 the pitch as a note name, you have to be in note mode, so there must
605 be a surrounding @code{\notes} keyword (which is not
608 The relative conversion will not affect @code{\transpose},
609 @code{\chords} or @code{\relative} sections in its argument. If you
610 want to use relative within transposed music, you must place an
611 additional @code{\relative} inside the @code{\transpose}.
614 @subsection Octave check
617 Octave checks make octave errors easier to correct: a note may be
618 followed by @code{=}@var{quotes} which indicates what its absolute
619 octave should be. In the following example,
621 \relative c'' @{ c='' b=' d,='' @}
625 @c take care with @code, adds confusing quotes.
626 the d will generate a warning, because a d'' is expected, but a d' is
627 found. In the output, the octave is corrected this and the following
632 There is also a syntax that is separate from the notes.
637 This checks that @var{pitch} (without octave) yields @var{pitch} (with
638 octave) in \relative mode. If not, a warning is printed, and the
639 octave is corrected, for example, the first check is passed
640 successfully. The second check fails with an error message. The
641 octave is adjusted so the following notes are in the correct octave
652 The octave of a note following an octave check is determined with
653 respect to the note preceding it. In the next fragment, the last note
654 is a @code{a'}, above central C. Hence, the @code{\octave} check may
655 be deleted without changing the meaning of the piece.
657 @lilypond[verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. Depending on the value of
677 @code{barCheckSynchronize}, the beginning of the measure will be
680 In the next example, the second bar check will signal an error:
682 \time 3/4 c2 e4 | g2 |
685 Bar checks can also be used in lyrics, for example
690 Twin -- kle | Twin -- kle
695 @cindex skipTypesetting
697 Failed bar checks are caused by entering incorrect
698 durations. Incorrect durations often completely garble up the score,
699 especially if it is polyphonic, so you should start correcting the
700 score by scanning for failed bar checks and incorrect durations. To
701 speed up this process, you can use @code{skipTypesetting}, described
704 @node Skipping corrected music
705 @subsection Skipping corrected music
707 The property @code{Score.skipTypesetting} can be used to switch on and
708 off typesetting completely during the interpretation phase. When
709 typesetting is switched off, the music is processed much more quickly.
710 This can be used to skip over the parts of a score that have already
711 been checked for errors:
713 @lilypond[fragment,raggedright,verbatim]
715 \property Score.skipTypesetting = ##t
717 \property Score.skipTypesetting = ##f
721 @node Automatic note splitting
722 @subsection Automatic note splitting
724 Long notes can be converted automatically to tied notes. This is done
725 by replacing the @internalsref{Note_heads_engraver} by the
726 @internalsref{Completion_heads_engraver}.
727 In the following examples, notes crossing the barline are split and tied.
730 @lilypond[noindent,verbatim]
732 \remove "Note_heads_engraver"
733 \consists "Completion_heads_engraver"
735 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
739 This engraver splits all running notes at the bar line, and inserts
740 ties. One of its uses is to debug complex scores: if the measures are
741 not entirely filled, then the ties exactly show how much each measure
746 Not all durations (especially those containing tuplets) can be
747 represented exactly; the engraver will not insert tuplets.
751 Examples: @inputfileref{input/regression,completion-heads.ly}
753 Internals: @internalsref{Completion_heads_engraver}
757 @section Staff notation
759 This section describes music notation that occurs on staff level,
760 such as keys, clefs and time signatures.
762 @cindex Staff notation
776 @subsection Staff symbol
778 @cindex adjusting staff symbol
779 @cindex StaffSymbol, using \property
781 Notes, dynamic signs, etc. are grouped
782 with a set of horizontal lines, into a staff (plural `staves'). In our
783 system, these lines are drawn using a separate layout object called
787 @cindex staff lines, setting number of
788 @cindex staff lines, setting thickness of
789 @cindex thickness of staff lines, setting
790 @cindex number of staff lines, setting
794 Internals: @internalsref{StaffSymbol},
796 Examples: @inputfileref{input/test,staff-lines.ly},
797 @inputfileref{input/test,staff-size.ly}
801 If a staff is ended halfway a piece, the staff symbol may not end
802 exactly on the barline.
806 @subsection Key signature
807 @cindex Key signature
811 The key signature indicates the scale in which a piece is played. It
812 is denoted by a set of alterations (flats or sharps) at the start of
817 Setting or changing the key signature is done with the @code{\key}
820 @code{\key} @var{pitch} @var{type}
823 @cindex @code{\minor}
824 @cindex @code{\major}
825 @cindex @code{\minor}
826 @cindex @code{\ionian}
827 @cindex @code{\locrian}
828 @cindex @code{\aeolian}
829 @cindex @code{\mixolydian}
830 @cindex @code{\lydian}
831 @cindex @code{\phrygian}
832 @cindex @code{\dorian}
834 Here, @var{type} should be @code{\major} or @code{\minor} to get
835 @var{pitch}-major or @var{pitch}-minor, respectively.
836 The standard mode names @code{\ionian},
837 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
838 @code{\phrygian}, and @code{\dorian} are also defined.
840 This command sets the context property
841 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
842 can be specified by setting this property directly.
844 Accidentals and key signatures often confuse new users, because
845 unaltered notes get natural signs depending on the keysignature. The
846 tutorial explains why this is so in @ref{More about pitches}.
850 The ordering of a key cancellation is wrong when it is combined with
851 repeat bar lines. The cancellation is also printed after a line break.
855 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
857 @cindex @code{keySignature}
864 The clef indicates which lines of the staff correspond to which
869 The clef can be set or changed with the @code{\clef} command:
870 @lilypond[fragment,verbatim]
871 \key f\major c''2 \clef alto g'2
874 Supported clef-names include:
875 @c Moved standard clefs to the top /MB
879 @item treble, violin, G, G2
892 G clef on 1st line, so-called French violin clef
897 @cindex mezzosoprano clef
900 @cindex baritone clef
903 @cindex varbaritone clef
912 By adding @code{_8} or @code{^8} to the clef name, the clef is
913 transposed one octave down or up, respectively, and @code{_15} and
914 @code{^15} transposes by two octaves. The argument @var{clefname}
915 must be enclosed in quotes when it contains underscores or digits. For
919 @cindex choral tenor clef
920 @lilypond[verbatim,fragment,relative]
924 This command is equivalent to setting @code{clefGlyph},
925 @code{clefPosition} (which controls the Y position of the clef),
926 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
927 when any of these properties are changed.
931 Internals: the object for this symbol is @internalsref{Clef}.
935 @node Ottava brackets
936 @subsection Ottava brackets
938 ``Ottava'' brackets introduce an extra transposition of an octave for
939 the staff. They are created by invoking the function
940 @code{set-octavation}:
946 @lilypond[verbatim,fragment]
955 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
956 (for 15ma) as arguments. Internally the function sets the properties
957 @code{ottavation} (eg. to @code{"8va"}) and
958 @code{centralCPosition}. For overriding the text of the bracket, set
959 @code{ottavation} after invoking @code{set-octavation}, i.e.,
963 \property Staff.ottavation = #"8"
968 Internals: @internalsref{OttavaBracket}.
970 Examples: @inputfileref{input/regression,ottava.ly},
971 @inputfileref{input/regression,ottava-broken.ly}.
975 @code{set-octavation} will get confused when clef changes happen
976 during an octavation bracket.
979 @subsection Time signature
980 @cindex Time signature
984 Time signature indicates the metrum of a piece: a regular pattern of
985 strong and weak beats. It is denoted by a fraction at the start of the
990 The time signature is set or changed by the @code{\time}
992 @lilypond[fragment,verbatim]
993 \time 2/4 c'2 \time 3/4 c'2.
996 The symbol that is printed can be customized with the @code{style}
997 property. Setting it to @code{#'()} uses fraction style for 4/4 and
998 2/2 time. There are many more options for its layout. See
999 @inputfileref{input/test,time.ly} for more examples.
1002 This command sets the property @code{timeSignatureFraction},
1003 @code{beatLength} and @code{measureLength} in the @code{Timing}
1004 context, which is normally aliased to @internalsref{Score}. The
1005 property @code{measureLength} determines where bar lines should be
1006 inserted, and how automatic beams should be generated. Changing the
1007 value of @code{timeSignatureFraction} also causes the symbol to be
1010 More options are available through the Scheme function
1011 @code{set-time-signature}. In combination with the
1012 @internalsref{Measure_grouping_engraver}, it will create
1013 @internalsref{MeasureGrouping} signs. Such signs ease reading
1014 rhythmically complex modern music. In the following example, the 9/8
1015 measure is subdivided in 2, 2, 2 and 3. This is passed to
1016 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1019 \score { \notes \relative c'' {
1020 #(set-time-signature 9 8 '(2 2 2 3))
1021 g8[ g] d[ d] g[ g] a8[( bes g]) |
1022 #(set-time-signature 5 8 '(3 2))
1027 \translator { \StaffContext
1028 \consists "Measure_grouping_engraver"
1034 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1039 Automatic beaming does not use measure grouping specified with
1040 @code{set-time-signature}.
1042 @node Partial measures
1043 @subsection Partial measures
1046 @cindex partial measure
1047 @cindex measure, partial
1048 @cindex shorten measures
1049 @cindex @code{\partial}
1051 Partial measures, for example in upsteps, are entered using the
1052 @code{\partial} command:
1053 @lilypond[fragment,verbatim,relative=1]
1054 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1057 The syntax for this command is
1059 \partial @var{duration}
1061 This is internally translated into
1063 \property Timing.measurePosition = -@var{length of duration}
1066 The property @code{measurePosition} contains a rational number
1067 indicating how much of the measure has passed at this point.
1069 @node Unmetered music
1070 @subsection Unmetered music
1072 Bar lines and bar numbers are calculated automatically. For unmetered
1073 music (e.g. cadenzas), this is not desirable. By setting
1074 @code{Score.timing} to false, this automatic timing can be switched
1080 @cindex @code{\cadenzaOn}
1082 @cindex @code{\cadenzaOff}
1086 @subsection Bar lines
1090 @cindex measure lines
1094 Bar lines delimit measures, but are also used to indicate repeats.
1095 Normally, they are inserted automatically. Line breaks may only
1101 of barlines can be forced with the @code{\bar} command:
1103 @lilypond[relative=1,fragment,verbatim]
1107 The following bar types are available:
1108 @lilypond[fragment,relative,raggedright,verbatim]
1121 For allowing linebreaks, there is a special command,
1125 This will insert an invisible barline, and allow linebreaks at this
1128 In scores with many staves, a @code{\bar} command in one staff is
1129 automatically applied to all staves. The resulting bar lines are
1130 connected between different staves of a @internalsref{StaffGroup}:
1132 @lilypond[fragment,verbatim]
1133 << \context StaffGroup <<
1137 \new Staff { \clef bass c4 g e g } >>
1138 \new Staff { \clef bass c2 c2 } >>
1142 The command @code{\bar @var{bartype}} is a short cut for doing
1143 @code{\property Score.whichBar = @var{bartype}} Whenever
1144 @code{whichBar} is set to a string, a bar line of that type is
1145 created. At the start of a measure it is set to
1146 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1147 to override default measure bars.
1149 Property @code{whichBar} can also be set directly, using @code{\property}
1150 or @code{\bar}. These settings take precedence over the automatic
1151 @code{whichBar} settings.
1154 @cindex repeatCommands
1155 @cindex defaultBarType
1157 You are encouraged to use @code{\repeat} for repetitions. See
1164 In this manual: @ref{Repeats}.
1167 Internals: the bar line objects that are created at
1168 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1169 lines that span staves are @internalsref{SpanBar}s.
1171 @cindex bar lines at start of system
1172 @cindex start of system
1174 The barlines at the start of each system are
1175 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1176 @internalsref{SystemStartBracket}. Only one of these types is created
1177 in every context, and that type is determined by the property
1178 @code{systemStartDelimiter}.
1180 Examples: @inputfileref{input/test,bar-lines.ly},
1186 The easiest way to enter fragments with more than one voice on a staff
1187 is to split chords using the separator @code{\\}. You can use it for
1188 small, short-lived voices or for single chords:
1190 @lilypond[verbatim,fragment]
1191 \context Staff \relative c'' {
1192 c4 << { f d e } \\ { b c2 } >>
1193 c4 << g' \\ b, \\ f' \\ d >>
1197 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1198 voices are sometimes called "layers" other notation packages}
1200 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1201 each of these contexts, vertical direction of slurs, stems, etc. is set
1204 @cindex @code{\voiceOne}
1205 @cindex @code{\voiceFour}
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[raggedright,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 } >>
1220 The command @code{\oneVoice} will revert back to the normal setting.
1221 @cindex @code{\oneVoice}
1224 Normally, note heads with a different number of dots are not merged, but
1225 when the object property @code{merge-differently-dotted} is set in
1226 the @internalsref{NoteCollision} object, they are merged:
1227 @lilypond[verbatim,fragment,raggedright]
1228 \relative c'' \context Voice << {
1230 \property Staff.NoteCollision \override
1231 #'merge-differently-dotted = ##t
1233 } \\ { g8.[ f16] g8.[ f16] }
1237 Similarly, you can merge half note heads with eighth notes, by setting
1238 @code{merge-differently-headed}:
1239 @lilypond[fragment,relative=2,verbatim]
1242 \property Staff.NoteCollision
1243 \override #'merge-differently-headed = ##t
1244 c8 c4. } \\ { c2 c2 } >>
1247 LilyPond also vertically shifts rests that are opposite of a stem:
1250 @lilypond[raggedright,fragment,verbatim]
1251 \context Voice << c''4 \\ r4 >>
1259 @cindex @code{\oneVoice}
1261 @cindex @code{\voiceOne}
1263 @cindex @code{\voiceTwo}
1265 @cindex @code{\voiceThree}
1267 @cindex @code{\voiceFour}
1271 The following commands specify in what chords of the current voice
1272 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1273 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1276 @cindex @code{\shiftOn}
1278 @cindex @code{\shiftOnn}
1280 @cindex @code{\shiftOnnn}
1282 @cindex @code{\shiftOff}
1289 Internals: the objects responsible for resolving collisions are
1290 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1292 Examples: See also example files
1293 @inputfileref{input/regression,collision-dots.ly},
1294 @inputfileref{input/regression,collision-head-chords.ly},
1295 @inputfileref{input/regression,collision-heads.ly},
1296 @inputfileref{input/regression,collision-mesh.ly}, and
1297 @inputfileref{input/regression,collisions.ly}.
1302 Resolving collisions is a intricate subject, and only a few situations
1303 are handled. When LilyPond cannot cope, the @code{force-hshift}
1304 property of the @internalsref{NoteColumn} object and pitched rests can
1305 be used to override typesetting decisions.
1307 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1308 note, and a downstem half note, the 8th note gets the wrong offset.
1310 There is no support for clusters where the same note occurs with
1311 different accidentals in the same chord. In this case, it is
1312 recommended to use enharmonic transcription, or to use special cluster
1313 notation (see @ref{Clusters}).
1318 Beams are used to group short notes into chunks that are aligned with
1319 the metrum. They are inserted automatically in most cases:
1321 @lilypond[fragment,verbatim,relative=2]
1322 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1325 When these automatic decisions are not good enough, beaming can be
1326 entered explicitly. It is also possible to define beaming patterns
1327 that differ from the defaults.
1331 Internals: @internalsref{Beam}.
1334 @cindex Automatic beams
1337 * Setting automatic beam behavior::
1341 @subsection Manual beams
1342 @cindex beams, manual
1346 In some cases it may be necessary to override the automatic beaming
1347 algorithm. For example, the auto beamer will not put beams over rests
1348 or bar lines. Such beams are specified by manually: the begin and end
1349 point are marked with @code{[} and @code{]}:
1351 @lilypond[fragment,relative,verbatim]
1353 r4 r8[ g' a r8] r8 g[ | a] r8
1357 @cindex @code{stemLeftBeamCount}
1359 Normally, beaming patterns within a beam are determined automatically.
1360 When this mechanism fouls up, the properties
1361 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1362 be used to control the beam subdivision on a stem. If either property
1363 is set, its value will be used only once, and then it is erased.
1365 @lilypond[fragment,relative,verbatim]
1368 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1371 @cindex @code{stemRightBeamCount}
1374 The property @code{subdivideBeams} can be set in order to subdivide
1375 all 16th or shorter beams at beat positions, as defined by the
1376 @code{beatLength} property . This accomplishes the same effect as
1377 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1378 but it take less typing:
1381 @lilypond[relative=1,verbatim,noindent]
1383 \property Voice.subdivideBeams = ##t
1385 \property Score.beatLength = #(ly:make-moment 1 8)
1388 @cindex subdivideBeams
1390 Kneed beams are inserted automatically, when a large gap is detected
1391 between the note heads. This behavior can be tuned through the object
1392 property @code{auto-knee-gap}.
1394 Normally, line breaks are forbidden when beams cross bar lines. This
1395 behavior can be changed by setting @code{allowBeamBreak}.
1397 @cindex @code{allowBeamBreak}
1398 @cindex beams and line breaks
1400 @cindex beams, kneed
1402 @cindex auto-knee-gap
1408 @cindex Frenched staves
1410 Automatically kneed beams cannot be used together with hidden staves.
1415 @node Setting automatic beam behavior
1416 @subsection Setting automatic beam behavior
1418 @cindex @code{autoBeamSettings}
1419 @cindex @code{(end * * * *)}
1420 @cindex @code{(begin * * * *)}
1421 @cindex automatic beams, tuning
1422 @cindex tuning automatic beaming
1424 @c [TODO: use \applycontext]
1426 In normal time signatures, automatic beams can start on any note but can
1427 only end in a few positions within the measure: beams can end on a beat,
1428 or at durations specified by the properties in
1429 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1430 are defined in @file{scm/auto-beam.scm}.
1432 The value of @code{autoBeamSettings} is changed using
1433 @code{\override} and restored with @code{\revert}:
1435 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1436 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1438 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1439 whether the rule applies to begin or end-points. The quantity
1440 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1441 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1442 signature (wildcards `@code{* *}' may be entered to designate all time
1445 For example, if automatic beams should end on every quarter note, use
1448 \property Voice.autoBeamSettings \override
1449 #'(end * * * *) = #(ly:make-moment 1 4)
1451 Since the duration of a quarter note is 1/4 of a whole note, it is
1452 entered as @code{(ly:make-moment 1 4)}.
1454 The same syntax can be used to specify beam starting points. In this
1455 example, automatic beams can only end on a dotted quarter note:
1457 \property Voice.autoBeamSettings \override
1458 #'(end * * * *) = #(ly:make-moment 3 8)
1460 In 4/4 time signature, this means that automatic beams could end only on
1461 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1462 3/8, has passed within the measure).
1464 Rules can also be restricted to specific time signatures. A rule that
1465 should only be applied in @var{N}/@var{M} time signature is formed by
1466 replacing the second asterisks by @var{N} and @var{M}. For example, a
1467 rule for 6/8 time exclusively looks like
1469 \property Voice.autoBeamSettings \override
1470 #'(begin * * 6 8) = ...
1473 If a rule should be to applied only to certain types of beams, use the
1474 first pair of asterisks. Beams are classified according to the
1475 shortest note they contain. For a beam ending rule that only applies
1476 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1479 If a score ends while an automatic beam has not been ended and is still
1480 accepting notes, this last beam will not be typeset at all.
1482 @cindex automatic beam generation
1484 @cindex @code{Voice.autoBeaming}
1487 For melodies that have lyrics, you may want to switch off
1488 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1493 @cindex @code{\autoBeamOff}
1494 @code{\autoBeamOff},
1495 @cindex @code{\autoBeamOn}
1501 The rules for ending a beam depend on the shortest note in a beam.
1502 So, while it is possible to have different ending rules for eight
1503 beams and sixteenth beams, a beam that contains both eight and
1504 sixteenth notes will use the rules for the sixteenth beam.
1506 In the example below, the autobeamer makes eight beams and sixteenth
1507 end at 3 eights; the third beam can only be corrected by specifying
1510 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1511 \property Voice.autoBeamSettings
1512 \override #'(end * * * *) = #(ly:make-moment 3 8)
1513 % rather show case where it goes wrong
1514 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1515 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1517 It is not possible to specify beaming parameters that act differently in
1518 different parts of a measure. This means that it is not possible to use
1519 automatic beaming in irregular meters such as @code{5/8}.
1522 @section Accidentals
1525 This section describes how to change the way that accidentals are
1526 inserted automatically before the running notes.
1530 * Using the predefined accidental variables::
1531 * Customized accidental rules::
1534 @node Using the predefined accidental variables
1535 @subsection Using the predefined accidental variables
1537 The constructs for describing the accidental typesetting rules are
1538 quite hairy, so non-experts should stick to the variables
1539 defined in @file{ly/property-init.ly}.
1540 @cindex @file{property-init.ly}
1542 The variables set properties in the ``@code{Current}'' context (see
1543 @ref{Context properties}). This means that the variables should
1544 normally be added right after the creation of the context in which the
1545 accidental typesetting described by the variable is to take
1546 effect. For example, if you want to use piano-accidentals in a piano
1547 staff then issue @code{\pianoAccidentals} first thing after the
1548 creation of the piano staff:
1551 \notes \relative c'' <<
1552 \new Staff @{ cis4 d e2 @}
1553 \context GrandStaff <<
1555 \new Staff @{ cis4 d e2 @}
1556 \new Staff @{ es2 c @}
1558 \new Staff @{ es2 c @}
1562 @lilypond[raggedright]
1564 \notes \relative c'' <<
1565 \new Staff { cis4 d e2 }
1566 \context GrandStaff <<
1568 \new Staff { cis4 d e2 }
1569 \new Staff { es2 c }
1571 \new Staff { es2 c }
1576 minimumVerticalExtent = #'(-4.0 . 4.0)
1584 @item \defaultAccidentals
1585 @cindex @code{\defaultAccidentals}
1586 This is the default typesetting behaviour. It should correspond
1587 to 18th century common practice: Accidentals are
1588 remembered to the end of the measure in which they occur and
1589 only on their own octave.
1591 @item \voiceAccidentals
1592 @cindex @code{\voiceAccidentals}
1594 The normal behaviour is to
1595 remember the accidentals on Staff-level. This variable, however,
1596 typesets accidentals individually for each voice. Apart from that the
1597 rule is similar to @code{\defaultAccidentals}.
1599 This leads to some weird and often unwanted results
1600 because accidentals from one voice do not get cancelled in other
1602 @lilypond[raggedright,relative,fragment,verbatim,quote]
1610 Hence you should only use @code{\voiceAccidentals} if the voices
1611 are to be read solely by individual musicians. If the staff is to be
1612 used by one musician (e.g. a conductor) then you use
1613 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1616 @item \modernAccidentals
1617 @cindex @code{\modernAccidentals}
1618 This rule corresponds to the common practice in the 20th
1620 The rule is more complex than @code{\defaultAccidentals}.
1621 You get all the same accidentals, but temporary
1622 accidentals also get cancelled in other octaves. Furthermore,
1623 in the same octave, they also get cancelled in the following measure:
1624 @lilypond[raggedright,fragment,verbatim]
1626 cis' c'' cis'2 | c'' c'
1629 @item \modernCautionaries
1630 @cindex @code{\modernCautionaries}
1631 This rule is similar to @code{\modernAccidentals}, but the
1632 ``extra'' accidentals (the ones not typeset by
1633 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1634 They are printed in reduced size or with parentheses:
1635 @lilypond[raggedright,fragment,verbatim]
1637 cis' c'' cis'2 | c'' c'
1640 @cindex @code{\modernVoiceAccidentals}
1641 @item \modernVoiceAccidentals
1642 is used for multivoice accidentals to be read both by musicians
1643 playing one voice and musicians playing all voices. Accidentals are
1644 typeset for each voice, but they @emph{are} cancelled across voices in
1645 the same @internalsref{Staff}.
1647 @cindex @code{\modernVoiceCautionaries}
1648 @item \modernVoiceCautionaries
1649 is the same as @code{\modernVoiceAccidentals}, but with the extra
1650 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1651 as cautionaries. Even though all accidentals typeset by
1652 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1653 some of them are typeset as cautionaries.
1655 @item \pianoAccidentals
1656 @cindex @code{\pianoAccidentals}
1657 20th century practice for piano notation. Very similar to
1658 @code{\modernAccidentals} but accidentals also get cancelled
1659 across the staves in the same @internalsref{GrandStaff} or
1660 @internalsref{PianoStaff}.
1662 @item \pianoCautionaries
1663 @cindex @code{\pianoCautionaries}
1664 As @code{\pianoAccidentals} but with the extra accidentals
1665 typeset as cautionaries.
1668 @cindex @code{\noResetKey}
1669 Same as @code{\defaultAccidentals} but with accidentals lasting
1670 ``forever'' and not only until the next measure:
1671 @lilypond[raggedright,fragment,verbatim,relative]
1676 @item \forgetAccidentals
1677 @cindex @code{\forgetAccidentals}
1678 This is sort of the opposite of @code{\noResetKey}: Accidentals
1679 are not remembered at all---and hence all accidentals are
1680 typeset relative to the key signature, regardless of what was
1681 before in the music:
1682 @lilypond[raggedright,fragment,verbatim,relative]
1684 \key d\major c4 c cis cis d d dis dis
1688 @node Customized accidental rules
1689 @subsection Customized accidental rules
1691 For determining when to print an accidental, several different rules
1692 are tried. The rule that gives the highest number of accidentals is
1693 used. Each rule consists of
1696 In which context is the rule applied. For example, if
1697 @var{context} is @internalsref{Score} then all staves share
1698 accidentals, and if @var{context} is @internalsref{Staff} then all
1699 voices in the same staff share accidentals, but staves do not.
1702 Whether the accidental changes all octaves or only the current
1703 octave. Valid choices are
1707 This is the default algorithm. Accidentals are typeset if the note changes
1708 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1709 and then as many measures as specified in the value. I.e. 1 means to the end
1710 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1712 Accidentals are typeset if the note is different from
1713 the previous note on the same pitch in any octave. The value has same meaning as in
1719 Over how many barlines the accidental lasts.
1720 If @var{lazyness} is @code{-1} then the accidental is forget
1721 immediately, and if @var{lazyness} is @code{#t} then the accidental
1728 @cindex @code{\defaultAccidentals}
1729 @code{\defaultAccidentals},
1730 @cindex @code{\voiceAccidentals}
1731 @code{\voiceAccidentals},
1732 @cindex @code{\modernAccidentals}
1733 @code{\modernAccidentals},
1734 @cindex @code{\modernCautionaries}
1735 @code{\modernCautionaries},
1736 @cindex @code{\modernVoiceAccidentals}
1737 @code{\modernVoiceAccidentals},
1738 @cindex @code{\modernVoiceCautionaries}
1739 @code{\modernVoiceCautionaries},
1740 @cindex @code{\pianoAccidentals}
1741 @code{\pianoAccidentals},
1742 @cindex @code{\pianoCautionaries}
1743 @code{\pianoCautionaries},
1744 @cindex @code{\noResetKey}
1746 @cindex @code{\forgetAccidentals}
1747 @code{\forgetAccidentals}.
1751 Internals: @internalsref{Accidental_engraver},
1752 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1757 Currently the simultaneous notes are considered to be entered in
1758 sequential mode. This means that in a chord the accidentals are
1759 typeset as if the notes in the chord happened once at a time - in the
1760 order in which they appear in the input file.
1762 This is only a problem when there are simultaneous notes whose
1763 accidentals depend on each other. The problem only occurs when using
1764 non-default accidentals. In the default scheme, accidentals only
1765 depend on other accidentals with the same pitch on the same staff, so
1766 no conflicts possible.
1768 This example shows two examples of the same music giving different
1769 accidentals depending on the order in which the notes occur in the
1772 @lilypond[raggedright,fragment,verbatim]
1773 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1774 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1775 | <cis' c''> r | <c'' cis'> r |
1778 This problem can be solved by manually inserting @code{!} and @code{?}
1779 for the problematic notes.
1781 @node Expressive marks
1782 @section Expressive marks
1785 @c todo: should change ordering
1786 @c where to put text spanners, metronome marks,
1795 * Analysis brackets::
1797 * Fingering instructions::
1808 A slur indicates that notes are to be played bound or @emph{legato}.
1812 They are entered using parentheses:
1813 @lilypond[relative=1,fragment,verbatim,center]
1814 f( g)( a) a8 b( a4 g2 f4)
1819 @c TODO: should explain that ^( and _( set directions
1820 @c should set attachments with ^ and _ ?
1822 Slurs avoid crossing stems, and are generally attached to note heads.
1823 However, in some situations with beams, slurs may be attached to stem
1824 ends. If you want to override this layout you can do this through the
1825 object property @code{attachment} of @internalsref{Slur} in
1826 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1827 the attachment type of the left and right end points:
1829 @lilypond[fragment,relative,verbatim]
1831 \property Voice.Stem \set #'length = #5.5
1833 \property Voice.Slur \set #'attachment = #'(stem . stem)
1837 If a slur would strike through a stem or beam, the slur will be moved
1838 away upward or downward. If this happens, attaching the slur to the
1839 stems might look better:
1841 @lilypond[fragment,relative,verbatim]
1844 \property Voice.Slur \set #'attachment = #'(stem . stem)
1851 @cindex @code{\slurUp}
1853 @cindex @code{\slurDown}
1855 @cindex @code{\slurBoth}
1857 @cindex @code{\slurDotted}
1859 @cindex @code{\slurSolid}
1864 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1869 Producing nice slurs is a difficult problem, and LilyPond currently
1870 uses a simple, empiric method to produce slurs. In some cases, its
1874 @cindex Adjusting slurs
1876 @node Phrasing slurs
1877 @subsection Phrasing slurs
1879 @cindex phrasing slurs
1880 @cindex phrasing marks
1882 A phrasing slur (or phrasing mark) connects chords and is used to
1883 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1886 @lilypond[fragment,verbatim,center,relative]
1887 \time 6/4 c'\( d( e) f( e) d\)
1890 Typographically, the phrasing slur behaves almost exactly like a
1891 normal slur. However, they are treated as different objects. A
1892 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1893 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1894 @code{\phrasingSlurBoth}.
1896 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1897 will only affect normal slurs and not phrasing slurs.
1901 @cindex @code{\phrasingSlurUp}
1902 @code{\phrasingSlurUp},
1903 @cindex @code{\phrasingSlurDown}
1904 @code{\phrasingSlurDown},
1905 @cindex @code{\phrasingSlurBoth}
1906 @code{\phrasingSlurBoth},
1910 Internals: see also @internalsref{PhrasingSlur}, and
1911 @internalsref{PhrasingSlurEvent}.
1915 Phrasing slurs have the same limitations in their formatting as normal
1916 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1919 @subsection Breath marks
1921 Breath marks are entered using @code{\breathe}:
1924 @lilypond[fragment,relative,verbatim]
1928 The glyph of the breath mark can be tweaked by overriding the
1929 @code{text} property of the @code{BreathingSign} layout object with
1930 any markup text. For example,
1931 @lilypond[fragment,verbatim,relative]
1933 \property Voice.BreathingSign \override #'text
1934 = #(make-musicglyph-markup "scripts-rvarcomma")
1941 Internals: @internalsref{BreathingSign},
1942 @internalsref{BreathingSignEvent}
1944 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1947 @node Metronome marks
1948 @subsection Metronome marks
1951 @cindex beats per minute
1952 @cindex metronome marking
1954 Metronome settings can be entered as follows:
1956 \tempo @var{duration} = @var{perminute}
1959 In the MIDI output, they are interpreted as a tempo change, and in the
1960 paper output, a metronome marking is printed:
1961 @cindex @code{\tempo}
1962 @lilypond[fragment,verbatim]
1968 Internals: @internalsref{MetronomeChangeEvent}.
1973 @subsection Text spanners
1974 @cindex Text spanners
1976 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1977 are written as texts, and extended over many measures with dotted
1978 lines. You can create such texts using text spanners: attach
1979 @code{\startTextSpan} and @code{\stopTextSpan} to the
1980 start and ending note of the spanner.
1982 The string to be printed, as well as the style, is set through object
1985 @lilypond[fragment,relative,verbatim]
1987 \property Voice.TextSpanner \set #'direction = #-1
1988 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1989 c2\startTextSpan b c\stopTextSpan a }
1995 Internals @internalsref{TextSpanEvent},
1996 @internalsref{TextSpanner}.
1998 Examples: @inputfileref{input/regression,text-spanner.ly}.
2001 @node Analysis brackets
2002 @subsection Analysis brackets
2004 @cindex phrasing brackets
2005 @cindex musicological analysis
2006 @cindex note grouping bracket
2008 Brackets are used in musical analysis to indicate structure in musical
2009 pieces. LilyPond supports a simple form of nested horizontal brackets.
2010 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2011 @internalsref{Staff} context. A bracket is started with
2012 @code{\startGroup} and closed with @code{\stopGroup}:
2014 @lilypond[raggedright,verbatim]
2015 \score { \notes \relative c'' {
2016 c4\startGroup\startGroup
2019 c4\stopGroup\stopGroup
2021 \paper { \translator {
2022 \StaffContext \consists "Horizontal_bracket_engraver"
2028 Internals: @internalsref{HorizontalBracket},
2029 @internalsref{NoteGroupingEvent}
2031 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2035 @subsection Articulations
2036 @cindex Articulations
2038 @cindex articulations
2042 A variety of symbols can appear above and below notes to indicate
2043 different characteristics of the performance. They are added to a note
2044 by adding a dash and the character signifying the
2045 articulation. They are demonstrated here:
2047 @lilypondfile[]{script-abbreviations.ly}
2049 The meanings of these shorthands can be changed: see
2050 @file{ly/script-init.ly} for examples.
2053 The script is automatically placed, but if you need to force
2054 directions, you can use @code{_} to force them down, or @code{^} to
2056 @lilypond[fragment,verbatim]
2060 Other symbols can be added using the syntax
2061 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2062 can be forced up or down using @code{^} and @code{_},
2065 @lilypond[verbatim,fragment,relative=2]
2066 c\fermata c^\fermata c_\fermata
2073 @cindex staccatissimo
2082 @cindex organ pedal marks
2091 @cindex prallmordent
2095 @cindex thumb marking
2100 @lilypondfile[]{script-chart.ly}
2105 @cindex @code{\scriptUp}
2107 @cindex @code{\scriptDown}
2109 @cindex @code{\scriptBoth}
2114 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2118 These note ornaments appear in the printed output but have no
2119 effect on the MIDI rendering of the music.
2122 @node Fingering instructions
2123 @subsection Fingering instructions
2127 Fingering instructions can be entered using
2129 @var{note}-@var{digit}
2131 For finger changes, use markup texts:
2133 @lilypond[verbatim,raggedright,fragment]
2134 c'4-1 c'4-2 c'4-3 c'4-4
2135 c'^\markup { \fontsize #-3 \number "2-3" }
2138 @cindex finger change
2143 You can use the thumb-script to indicate that a note should be
2144 played with the thumb (e.g. in cello music):
2146 @lilypond[verbatim,raggedright,fragment]
2147 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2148 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2151 Fingerings for chords can also be added to individual notes
2152 of the chord by adding them after the pitches:
2153 @lilypond[verbatim,raggedright,fragment,relative=1]
2154 < c-1 e-2 g-3 b-5 > 4
2158 In this case, setting @code{fingeringOrientations} will put fingerings next
2161 @lilypond[verbatim,raggedright,fragment,relative=1]
2162 \property Voice.fingeringOrientations = #'(left down)
2163 <c-1 es-2 g-4 bes-5 > 4
2164 \property Voice.fingeringOrientations = #'(up right down)
2165 <c-1 es-2 g-4 bes-5 > 4
2168 By using single note chords, fingering instructions can be put close
2169 to note heads in monophonic music.
2173 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2175 Examples: @inputfileref{input/regression,finger-chords.ly}
2178 @subsection Text scripts
2179 @cindex Text scripts
2181 @cindex text items, non-empty
2182 @cindex non-empty texts
2184 It is possible to place arbitrary strings of text or markup text (see
2185 @ref{Text markup}) above or below notes by using a string:
2186 @code{c^"text"}. By default, these indications do not influence the
2187 note spacing, but by using the command @code{\fatText}, the widths
2188 will be taken into account:
2190 @lilypond[fragment,raggedright,verbatim] \relative c' {
2191 c4^"longtext" \fatText c4_"longlongtext" c4 }
2194 It is possible to use @TeX{} commands in the strings, but this should
2195 be avoided because the exact dimensions of the string can then no
2200 @refcommand{fatText}, @refcommand{emptyText}.
2205 In this manual: @ref{Text markup}.
2207 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2213 @subsection Grace notes
2216 @c should have blurb about accaciatura / appogiatura
2218 @cindex @code{\grace}
2222 Grace notes are ornaments that are written out. The most common ones
2223 are acciaccatura, which should be played as very short. It is denoted
2224 by a slurred small note with a slashed stem. The appoggiatura is a
2225 grace note that takes a fixed fraction of the main note, is and
2226 denoted as a slurred note in small print without a slash.
2227 They are entered with the commands @code{\acciaccatura} and
2228 @code{\appoggiatura}, as demonstrated in the following example:
2231 @cindex appoggiatura
2232 @cindex acciaccatura
2234 @lilypond[relative=2,verbatim,fragment]
2235 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2236 \acciaccatura { g16[ f] } e4
2239 Both are special forms of the @code{\grace} command. By prefixing this
2240 keyword to a music expression, a new one is formed, which will be
2241 printed in a smaller font and takes up no logical time in a measure.
2242 @lilypond[relative=2,verbatim,fragment]
2244 \grace { c16[ d16] } c2 c4
2248 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2249 @code{\grace} command does not start a slur.
2251 Internally, timing for grace notes is done using a second, `grace'
2252 time. Every point in time consists of two rational numbers: one
2253 denotes the logical time, one denotes the grace timing. The above
2254 example is shown here with timing tuples:
2256 @lilypond[raggedright]
2259 c4 \grace c16 c4 \grace {
2262 \new Lyrics \lyrics {
2265 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2266 \markup { (\fraction 1 4 , 0 ) } 4
2268 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2269 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2271 \markup { ( \fraction 2 4 , 0 ) }
2276 The placement of grace notes is synchronized between different staves.
2277 In the following example, there are two sixteenth graces notes for
2278 every eighth grace note:
2280 @lilypond[relative=2,verbatim,fragment]
2281 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2282 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2287 If you want to end a note with a grace, then the standard trick
2288 is to put the grace notes after a ``space note'', e.g.
2289 @lilypond[fragment,verbatim,relative=2]
2292 { s2 \grace { c16[ d] } } >>
2298 By adjusting the duration of the skip note (here it is a half-note),
2299 the space between the main-note and the grace is adjusted.
2302 A @code{\grace} section will introduce special typesetting settings,
2303 for example, to produce smaller type, and set directions. Hence, when
2304 introducing layout tweaks, they should be inside the grace section,
2306 @lilypond[fragment,verbatim,relative=1]
2309 \property Voice.Stem \override #'direction = #-1
2311 \property Voice.Stem \revert #'direction
2318 The overrides should also be reverted inside the grace section.
2320 If the layout of grace sections must be changed throughout the music,
2321 then this can be accomplished through the function
2322 @code{add-grace-property}. The following example
2323 undefines the Stem direction grace section, so stems do not always
2328 #(add-grace-property "Voice" Stem direction '())
2334 Another option is to change the variables @code{startGraceMusic},
2335 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2336 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2337 @code{stopAppoggiaturaMusic}. More information is in the file
2338 @file{ly/grace-init.ly}
2343 Internals: @internalsref{GraceMusic}.
2347 A score that starts with an @code{\grace} section needs an explicit
2348 @code{\context Voice} declaration, otherwise the main note and grace
2349 note end up on different staves.
2351 Grace note synchronization can also lead to surprises. Staff notation,
2352 such as key signatures, barlines, etc. are also synchronized. Take
2353 care when you mix staves with grace notes and staves without, for example,
2355 @lilypond[relative=2,verbatim,fragment]
2356 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2357 \new Staff { c4 \bar "|:" d4 } >>
2360 Grace sections should only be used within sequential music
2361 expressions. Nesting or juxtaposing grace sections is not supported,
2362 and might produce crashes or other errors.
2366 @subsection Glissando
2369 @cindex @code{\glissando}
2371 A glissando is a smooth change in pitch. It is denoted by a line or a
2372 wavy line between two notes.
2376 A glissando line can be requested by attaching a @code{\glissando} to
2379 @lilypond[fragment,relative,verbatim]
2385 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2390 Adding additional texts (such as @emph{gliss.}) is not supported.
2394 @subsection Dynamics
2407 @cindex @code{\ffff}
2417 Absolute dynamic marks are specified using an variable after a
2418 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2419 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2420 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2421 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2423 @lilypond[verbatim,raggedright,fragment,relative]
2424 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2430 @cindex @code{\decr}
2431 @cindex @code{\rced}
2438 A crescendo mark is started with @code{\<} and terminated with
2439 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2440 with @code{\!}. Because these marks are bound to notes, if you must
2441 use spacer notes if multiple marks during one note are needed:
2443 @lilypond[fragment,verbatim,center,quote]
2444 c''\< c''\! d''\decr e''\rced
2445 << f''1 { s4 s4\< s4\! \> s4\! } >>
2447 This may give rise to very short hairpins. Use @code{minimum-length}
2448 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2452 \property Staff.Hairpin \override #'minimum-length = #5
2455 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2456 is an example how to do it:
2458 @lilypond[fragment,relative=2,verbatim]
2459 c4 \cresc c4 c c c \endcresc c4
2465 You can also supply your own texts:
2466 @lilypond[fragment,relative,verbatim]
2468 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2469 \property Voice.crescendoSpanner = #'dashed-line
2479 @cindex @code{\dynamicUp}
2481 @cindex @code{\dynamicDown}
2482 @code{\dynamicDown},
2483 @cindex @code{\dynamicBoth}
2484 @code{\dynamicBoth}.
2486 @cindex direction, of dynamics
2490 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2491 @internalsref{AbsoluteDynamicEvent}.
2493 Dynamics are objects of @internalsref{DynamicText} and
2494 @internalsref{Hairpin}. Vertical positioning of these symbols is
2495 handled by the @internalsref{DynamicLineSpanner} object.
2497 If you want to adjust padding or vertical direction of the dynamics, you
2498 must set properties for the @internalsref{DynamicLineSpanner} object.
2506 @cindex @code{\repeat}
2509 Repetition is a central concept in music, and multiple notations exist
2510 for repetitions. In LilyPond, most of these notations can be captured
2511 in a uniform syntax. One of the advantages is that they can be
2512 rendered in MIDI accurately.
2514 The following types of repetition are supported:
2518 Repeated music is fully written (played) out. Useful for MIDI
2519 output, and entering repetitive music.
2522 This is the normal notation: Repeats are not written out, but
2523 alternative endings (voltas) are printed, left to right.
2527 Alternative endings are written stacked. This has limited use but may be
2528 used to typeset two lines of lyrics in songs with repeats, see
2529 @inputfileref{input,star-spangled-banner.ly}.
2537 Make beat or measure repeats. These look like percent signs.
2543 * Repeats and MIDI::
2544 * Manual repeat commands::
2546 * Tremolo subdivisions::
2551 @subsection Repeat syntax
2555 LilyPond has one syntactic construct for specifying different types of
2556 repeats. The syntax is
2559 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2562 If you have alternative endings, you may add
2563 @cindex @code{\alternative}
2565 \alternative @code{@{} @var{alternative1}
2567 @var{alternative3} @dots{} @code{@}}
2569 where each @var{alternative} is a music expression. If you do not
2570 give enough alternatives for all of the repeats, then the first
2571 alternative is assumed to be played more than once.
2573 Normal notation repeats are used like this:
2574 @lilypond[fragment,verbatim,relative=1]
2576 \repeat volta 2 { c4 d e f }
2577 \repeat volta 2 { f e d c }
2580 With alternative endings:
2581 @lilypond[fragment,verbatim,relative=1]
2583 \repeat volta 2 {c4 d e f}
2584 \alternative { {d2 d} {f f,} }
2588 @lilypond[fragment,verbatim,relative=1]
2591 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2592 \alternative { { g4 g g } { a | a a a a | b2. } }
2598 If you do a nested repeat like
2607 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2608 belongs. This ambiguity is resolved by always having the
2609 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2610 it is advisable to use braces in such situations.
2613 @node Repeats and MIDI
2614 @subsection Repeats and MIDI
2616 @cindex expanding repeats
2618 For instructions on how to unfold repeats for MIDI output, see the
2619 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2624 Timing information is not remembered at the start of an alternative,
2625 so after a repeat timing information must be reset by hand, for
2626 example by setting @code{Score.measurePosition} or entering
2627 @code{\partial}. Similarly, slurs or ties are also not repeated.
2630 @node Manual repeat commands
2631 @subsection Manual repeat commands
2633 @cindex @code{repeatCommands}
2635 The property @code{repeatCommands} can be used to control the layout of
2636 repeats. Its value is a Scheme list of repeat commands, where each repeat
2640 @item the symbol @code{start-repeat},
2641 which prints a @code{|:} bar line,
2642 @item the symbol @code{end-repeat},
2643 which prints a @code{:|} bar line,
2644 @item the list @code{(volta @var{text})},
2645 which prints a volta bracket saying @var{text}: The text can be specified as
2646 a text string or as a markup text, see @ref{Text markup}. Do not
2647 forget to change the font, as the default number font does not contain
2648 alphabetic characters. Or,
2649 @item the list @code{(volta #f)}, which
2650 stops a running volta bracket:
2653 @lilypond[verbatim,fragment,relative=2]
2655 \property Score.repeatCommands = #'((volta "93") end-repeat)
2657 \property Score.repeatCommands = #'((volta #f))
2664 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2665 @internalsref{VoltaRepeatedMusic},
2666 @internalsref{UnfoldedRepeatedMusic}, and
2667 @internalsref{FoldedRepeatedMusic}.
2669 @node Tremolo repeats
2670 @subsection Tremolo repeats
2671 @cindex tremolo beams
2673 To place tremolo marks between notes, use @code{\repeat} with tremolo
2675 @lilypond[verbatim,raggedright]
2677 \context Voice \notes\relative c' {
2678 \repeat "tremolo" 8 { c16 d16 }
2679 \repeat "tremolo" 4 { c16 d16 }
2680 \repeat "tremolo" 2 { c16 d16 }
2685 Tremolo marks can also be put on a single note. In this case, the
2686 note should not be surrounded by braces.
2687 @lilypond[verbatim,raggedright]
2688 \repeat "tremolo" 4 c16
2691 A similar mechanism is the tremolo subdivision, described in
2692 @ref{Tremolo subdivisions}.
2696 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2698 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2699 tremolos are @internalsref{StemTremolo}s. The music expression is
2700 @internalsref{TremoloEvent},
2702 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2703 @inputfileref{input/regression,stem-tremolo.ly}.
2705 @node Tremolo subdivisions
2706 @subsection Tremolo subdivisions
2707 @cindex tremolo marks
2708 @cindex @code{tremoloFlags}
2710 Tremolo marks can be printed on a single note by adding
2711 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2712 A @var{length} value of 8 gives one line across the note stem. If the
2713 length is omitted, then then the last value (stored in
2714 @code{Voice.tremoloFlags}) is used:
2716 @lilypond[verbatim,fragment,center]
2717 c'2:8 c':32 | c': c': |
2720 @c [TODO : stok is te kort bij 32en]
2724 Tremolos in this style do not carry over into the MIDI output.
2728 In this manual: @ref{Tremolo repeats}.
2730 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2732 @node Measure repeats
2733 @subsection Measure repeats
2735 @cindex percent repeats
2736 @cindex measure repeats
2738 In the @code{percent} style, a note pattern can be repeated. It is
2739 printed once, and then the pattern is replaced with a special sign.
2740 Patterns of a one and two measures are replaced by percent-like signs,
2741 patterns that divide the measure length are replaced by slashes:
2743 @lilypond[verbatim,raggedright]
2744 \context Voice { \repeat "percent" 4 { c'4 }
2745 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2751 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2752 @internalsref{PercentRepeatedMusic}, and
2753 @internalsref{DoublePercentRepeat}.
2757 @node Rhythmic music
2758 @section Rhythmic music
2762 * Showing melody rhythms::
2763 * Entering percussion::
2764 * Percussion staves::
2768 @node Showing melody rhythms
2769 @subsection Showing melody rhythms
2771 Sometimes you might want to show only the rhythm of a melody. This
2772 can be done with the rhythmic staff. All pitches of notes on such a
2773 staff are squashed, and the staff itself has a single line:
2775 @lilypond[fragment,relative,verbatim]
2776 \context RhythmicStaff {
2778 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2784 Internals: @internalsref{RhythmicStaff}.
2786 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2789 @node Entering percussion
2790 @subsection Entering percussion
2797 Percussion notes may be entered in @code{\drums} mode, which is
2798 similar to @code{notes}. Each piece of percussion has a full name and
2799 an abbreviated name, and both be used in input files:
2801 @lilypond[raggedright]
2802 \drums { hihat4 hh4 }
2805 The complete list of drum names is in the init file
2806 @file{ly/drumpitch-init.ly}.
2807 @c TODO: properly document this.
2811 Internals: @internalsref{DrumNoteEvent}
2813 @node Percussion staves
2814 @subsection Percussion staves
2818 A percussion part for more than one instrument typically uses a
2819 multiline staff where each position in the staff refers to one piece
2823 To typeset the music, the notes must be interpreted in a
2824 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2827 @lilypond[raggedright,verbatim,quote]
2828 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2829 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2832 << \new DrumVoice { \voiceOne \up }
2833 \new DrumVoice { \voiceTwo \down }
2837 There are also other layout possibilities. To use these, set the
2838 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2839 The following variables have been predefined:
2843 is the default. It typesets a typical drum kit on a five-line staff
2846 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2847 bd sn ss tomh tommh tomml toml tomfh tomfl }
2848 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2849 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2851 << \new DrumStaff\with {
2852 \remove Bar_engraver
2853 \remove Time_signature_engraver
2854 Stem \set #'transparent = ##t
2855 Stem \set #'Y-extent-callback = ##f
2856 minimumVerticalExtent = #'(-4.0 . 5.0)
2858 \context Lyrics \nam
2861 %% need to do this, because of indented @itemize
2863 \translator { \ScoreContext
2864 BarNumber \set #'transparent =##T
2868 The drum scheme supports six different toms. When there fewer toms, simply
2869 select the toms that produce the desired result, i.e. to get toms on
2870 the three middle lines you use @code{tommh}, @code{tomml} and
2873 @item timbales-style
2874 to typeset timbales on a two line staff:
2876 @lilypond[raggedright]
2877 nam = \lyrics { timh ssh timl ssl cb }
2878 mus = \drums { timh ssh timl ssl cb s16 }
2881 \context DrumStaff \with {
2882 \remove Bar_engraver
2883 \remove Time_signature_engraver
2884 Stem \set #'transparent = ##t
2885 Stem \set #'Y-extent-callback = ##f
2886 StaffSymbol \override #'line-count = #2
2887 StaffSymbol \override #'staff-space = #2
2888 minimumVerticalExtent = #'(-3.0 . 4.0)
2889 drumStyleTable = #timbales-style
2891 \context Lyrics \nam
2896 to typeset congas on a two line staff:
2898 @lilypond[raggedright]
2899 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2900 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2903 \context DrumStaff\with {
2904 \remove Bar_engraver
2905 \remove Time_signature_engraver
2906 drumStyleTable = #congas-style
2907 StaffSymbol \override #'line-count = #2
2909 %% this sucks; it will lengthen stems.
2910 StaffSymbol \override #'staff-space = #2
2911 Stem \set #'transparent = ##t
2912 Stem \set #'Y-extent-callback = ##f
2914 \context Lyrics \nam
2919 to typeset bongos on a two line staff:
2921 @lilypond[raggedright]
2922 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2923 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2926 \context DrumStaff\with {
2927 \remove Bar_engraver
2928 \remove Time_signature_engraver
2929 StaffSymbol \override #'line-count = #2
2930 drumStyleTable = #bongos-style
2932 %% this sucks; it will lengthen stems.
2933 StaffSymbol \override #'staff-space = #2
2934 Stem \set #'transparent = ##t
2935 Stem \set #'Y-extent-callback = ##f
2937 \context Lyrics \nam
2942 @item percussion-style
2943 to typeset all kinds of simple percussion on one line staves:
2944 @lilypond[raggedright]
2945 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2946 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2949 \context DrumStaff\with{
2950 \remove Bar_engraver
2951 drumStyleTable = #percussion-style
2952 StaffSymbol \override #'line-count = #1
2953 \remove Time_signature_engraver
2954 Stem \set #'transparent = ##t
2955 Stem \set #'Y-extent-callback = ##f
2957 \context Lyrics \nam
2963 If you do not like any of the predefined lists you can define your own
2964 list at the top of your file:
2966 @lilypond[raggedright,verbatim]
2968 (bassdrum default #f -1)
2969 (snare default #f 0)
2971 (pedalhihat xcircle "stopped" 2)
2972 (lowtom diamond #f 3)
2974 up = \drums { hh8 hh hh hh hhp4 hhp }
2975 down = \drums { bd4 sn bd toml8 toml }
2978 \property DrumStaff.drumStyleTable
2979 = #(alist->hash-table mydrums)
2980 \new DrumVoice { \voiceOne \up }
2981 \new DrumVoice { \voiceTwo \down }
2989 Init files: @file{ly/drumpitch-init.ly}
2991 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}
2995 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2996 work for @internalsref{DrumVoices}.
2998 Because general MIDI does not contain rimshots the sidestick is used
2999 for this purpose instead.
3002 @section Piano music
3004 Piano staves are two normal staves coupled with a brace. The staves
3005 are largely independent, but sometimes voices can cross between the
3006 two staves. The same notation is also used for harps and other key
3007 instruments. The @internalsref{PianoStaff} is especially built to
3008 handle this cross-staffing behavior. In this section we discuss the
3009 @internalsref{PianoStaff} and some other pianistic peculiarities.
3013 * Automatic staff changes::
3014 * Manual staff switches::
3017 * Staff switch lines::
3022 There is no support for putting chords across staves. You can get
3023 this result by increasing the length of the stem in the lower stave so
3024 it reaches the stem in the upper stave, or vice versa. An example is
3025 included with the distribution as
3026 @inputfileref{input/test,stem-cross-staff.ly}.
3028 Dynamics are not centered, but kludges do exist. See
3029 @inputfileref{input/template,piano-dynamics.ly}.
3031 @cindex cross staff stem
3032 @cindex stem, cross staff
3035 @c fixme: should have hyperlinks as well.
3041 @node Automatic staff changes
3042 @subsection Automatic staff changes
3043 @cindex Automatic staff changes
3045 Voices can switch automatically between the top and the bottom
3046 staff. The syntax for this is
3048 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3050 The two staffs of the piano staff must be named @code{up} and
3053 The autochanger switches on basis of pitch (central C is the turning
3054 point), and it looks ahead skipping over rests to switch in
3055 advance. Here is a practical example:
3057 @lilypond[verbatim,raggedright,quote]
3058 \score { \notes \context PianoStaff <<
3059 \context Staff = "up" {
3060 \autochange \new Voice \relative c' {
3061 g4 a b c d r4 a g } }
3062 \context Staff = "down" {
3069 In this example, spacer rests are used to prevent the bottom staff from
3070 terminating too soon.
3075 In this manual: @ref{Manual staff switches}
3077 Internals: @internalsref{AutoChangeMusic}.
3083 The staff switches often do not end up in optimal places. For high
3084 quality output, staff switches should be specified manually.
3088 @node Manual staff switches
3089 @subsection Manual staff switches
3091 @cindex manual staff switches
3092 @cindex staff switch, manual
3094 Voices can be switched between staves manually, using the following command:
3096 \change Staff = @var{staffname} @var{music}
3100 The string @var{staffname} is the name of the staff. It switches the
3101 current voice from its current staff to the Staff called
3102 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3111 Pianos have pedals that alter the way sound are produced. Generally, a
3112 piano has three pedals, sustain, una corda, and sostenuto.
3116 Piano pedal instruction can be expressed by attaching
3117 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3118 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3121 @lilypond[fragment,verbatim]
3122 c'4\sustainDown c'4\sustainUp
3125 What is printed can be modified by setting @code{pedal@var{X}Strings},
3126 where @var{X} is one of the pedal types: @code{Sustain},
3127 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3128 documentation of @internalsref{SustainPedal} for more information.
3130 Pedals can also be indicated by a sequence of brackets, by setting the
3131 @code{pedalSustainStyle} property to @code{bracket} objects:
3133 @lilypond[fragment,verbatim]
3134 \property Staff.pedalSustainStyle = #'bracket
3135 c''4\sustainDown d''4 e''4
3136 a'4\sustainUp\sustainDown
3137 f'4 g'4 a'4\sustainUp
3140 A third style of pedal notation is a mixture of text and brackets,
3141 obtained by setting the @code{pedalSustainStyle} style property to
3144 @lilypond[fragment,verbatim]
3145 \property Staff.pedalSustainStyle = #'mixed
3146 c''4\sustainDown d''4 e''4
3147 c'4\sustainUp\sustainDown
3148 f'4 g'4 a'4\sustainUp
3151 The default `*Ped' style for sustain and damper pedals corresponds to
3152 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3155 @lilypond[fragment,verbatim]
3156 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3159 For fine-tuning of the appearance of a pedal bracket, the properties
3160 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3161 @code{PianoPedalBracket} objects (see
3162 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3163 bracket may be extended to the end of the note head:
3165 @lilypond[fragment,verbatim]
3166 \property Staff.PianoPedalBracket \override
3167 #'shorten-pair = #'(0 . -1.0)
3168 c''4\sostenutoDown d''4 e''4 c'4
3169 f'4 g'4 a'4\sostenutoUp
3173 @subsection Arpeggio
3176 @cindex broken arpeggio
3177 @cindex @code{\arpeggio}
3179 You can specify an arpeggio sign on a chord by attaching an
3180 @code{\arpeggio} to a chord:
3183 @lilypond[fragment,relative,verbatim]
3187 When an arpeggio crosses staves, you attach an arpeggio to the chords
3188 in both staves, and set
3189 @internalsref{PianoStaff}.@code{connectArpeggios}:
3191 @lilypond[fragment,relative,verbatim]
3192 \context PianoStaff <<
3193 \property PianoStaff.connectArpeggios = ##t
3194 \new Staff { <c' e g c>\arpeggio }
3195 \new Staff { \clef bass <c,, e g>\arpeggio }
3199 The direction of the arpeggio is sometimes denoted by adding an
3200 arrowhead to the wiggly line. This can be typeset by setting
3201 @code{arpeggio-direction}:
3203 @lilypond[fragment,relative,verbatim]
3205 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3207 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3212 A square bracket on the left indicates that the player should not
3213 arpeggiate the chord. To draw these brackets, set the
3214 @code{print-function} property of @code{Arpeggio} or
3215 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3216 @code{\arpeggio} statements within the chords as before:
3218 @lilypond[fragment,relative,verbatim]
3219 \property PianoStaff.Arpeggio \override
3220 #'print-function = \arpeggioBracket
3226 @cindex @code{\arpeggioBracket}
3227 @code{\arpeggioBracket},
3228 @cindex @code{\arpeggio}
3233 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3234 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3235 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3239 It is not possible to mix connected arpeggios and unconnected
3240 arpeggios in one @internalsref{PianoStaff} at the same time.
3242 @node Staff switch lines
3243 @subsection Staff switch lines
3246 @cindex follow voice
3247 @cindex staff switching
3250 @cindex @code{followVoice}
3252 Whenever a voice switches to another staff a line connecting the notes
3253 can be printed automatically. This is enabled if the property
3254 @code{PianoStaff.followVoice} is set to true:
3256 @lilypond[fragment,relative,verbatim]
3257 \context PianoStaff <<
3258 \property PianoStaff.followVoice = ##t
3259 \context Staff \context Voice {
3264 \context Staff=two { \clef bass \skip 1*2 }
3268 The associated object is @internalsref{VoiceFollower}.
3272 @cindex @code{\showStaffSwitch}
3273 @code{\showStaffSwitch},
3274 @cindex @code{\hideStaffSwitch}
3275 @code{\hideStaffSwitch}.
3279 @section Vocal music
3281 This section discusses how to enter and print lyrics.
3285 * The Lyrics context::
3290 @node Entering lyrics
3291 @subsection Entering lyrics
3295 @cindex @code{\lyrics}
3298 Lyrics are entered in a special input mode. This mode is is introduced
3299 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3300 punctuation and accents without any hassle. Syllables are entered like
3301 notes, but with pitches replaced by text. For example,
3303 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3306 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3307 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3308 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3309 any 8-bit character with ASCII code over 127, or a two-character
3310 combination of a backslash followed by one of @code{`}, @code{'},
3311 @code{"}, or @code{^}.
3313 Subsequent characters of a word can be any character that is not a digit
3314 and not white space. One important consequence of this is that a word
3315 can end with @code{@}}. The following example is usually a bug. The
3316 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3318 \lyrics @{ twinkle@}
3321 @cindex @code{\property}, in @code{\lyrics}
3322 Similarly, a period following a alphabetic sequence, is included in the
3323 resulting string. As a consequence, spaces must be inserted around
3324 @code{\property} commands:
3326 \property Lyrics . LyricText \set #'font-shape = #'italic
3330 @cindex spaces, in lyrics
3331 @cindex quotes, in lyrics
3333 Any @code{_} character which appears in an unquoted word is converted
3334 to a space. This provides a mechanism for introducing spaces into words
3335 without using quotes. Quoted words can also be used in Lyrics mode to
3336 specify words that cannot be written with the above rules:
3339 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3343 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3348 These will be attached to the end of the first syllable.
3350 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3351 as a separate word between syllables. The hyphen will have variable
3352 length depending on the space between the syllables and it will be
3353 centered between the syllables.
3358 When a lyric is sung over many notes (this is called a melisma), this is
3359 indicated with a horizontal line centered between a syllable and the
3360 next one. Such a line is called an extender line, and it is entered as
3365 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3366 @internalsref{ExtenderEvent}.
3368 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}
3372 The definition of lyrics mode is too complex.
3376 @node The Lyrics context
3377 @subsection The Lyrics context
3379 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3381 \context Lyrics \lyrics @dots{}
3384 @cindex automatic syllable durations
3385 @cindex @code{\lyricsto}
3386 @cindex lyrics and melodies
3388 This will place the lyrics according to the durations that were
3389 entered. The lyrics can also be aligned under a given melody
3390 automatically. In this case, it is no longer necessary to enter the
3391 correct duration for each syllable. This is achieved by combining the
3392 melody and the lyrics with the @code{\lyricsto} expression:
3394 \lyricsto @var{name} \new Lyrics @dots{}
3397 This aligns the lyrics to the
3399 notes of the @internalsref{Voice} context called @var{name}, which has
3400 to exist. Therefore, normally the @code{Voice} is specified first, and
3401 then the lyrics are specified with @code{\lyricsto}.
3403 For different or more complex orderings, the best way is to setup the
3404 hierarchy of staves and lyrics first, e.g.
3406 \context ChoirStaff \notes <<
3407 \context Lyrics = sopranoLyrics @{ s1 @}
3408 \context Voice = soprano @{ @emph{music} @}
3409 \context Lyrics = tenor @{ s1 @}
3410 \context Voice = tenorLyrics @{ @emph{music} @}
3413 and then combine the appropriate melodies and lyric lines:
3415 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3419 The final input would resemble
3422 << \context ChoirStaff \notes << @emph{setup the music} >>
3423 \lyricsto "soprano" @emph{etc}
3424 \lyricsto "alto" @emph{etc}
3430 The @code{\lyricsto} command detects melismata: it only puts one
3431 syllable under a tied or slurred group of notes. If you want to force
3432 an unslurred group of notes to be a melisma, then insert
3433 @code{\melisma} after the first note of the group, and
3434 @code{\melismaEnd} after the last one, e.g.
3436 @lilypond[relative=1,raggedright,fragment,verbatim]
3437 << \context Voice = "lala" { \time 3/4
3443 \lyricsto "lala" \new Lyrics \lyrics {
3448 In addition, notes are considered a melisma if they are manually
3449 beamed, and automatic beaming (see @ref{Setting automatic beam
3450 behavior}) is switched off. The criteria for deciding melismata
3451 can be tuned with the property @code{melismaBusyProperties}. See
3452 @internalsref{Melisma_engraver} for more information.
3454 When multiple stanzas are put on the same melody, it can happen that
3455 two stanzas have melismata in different locations. This can be
3456 remedied by switching off melismata for one
3457 @internalsref{Lyrics}. This is achieved by setting
3458 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3459 in @inputfileref{input/regression,lyric-combine-new.ly}.
3462 @cindex choral score
3464 A complete example of a SATB score setup is in the file
3465 @inputfileref{input/template,satb.ly}.
3470 @code{\melisma}, @code{\melismaEnd}
3471 @cindex @code{\melismaEnd}
3472 @cindex @code{\melisma}
3476 Internals: Music expressions: @internalsref{LyricCombineMusic},
3477 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_engraver}.
3479 Examples: @inputfileref{input/template,satb.ly},
3480 @inputfileref{input/regression,lyric-combine-new.ly}.
3484 Melismata are not detected automatically, and extender lines must be
3488 For proper processing of extender lines, the
3489 @internalsref{Lyrics} and @internalsref{Voice} should be
3490 linked. This can be achieved either by using @code{\lyricsto} or by
3491 setting corresponding names for both contexts. The latter is explained
3492 in @ref{More stanzas}.
3495 @subsection More stanzas
3497 @cindex phrasing, in lyrics
3500 The lyrics should be aligned with the note heads of the melody. To
3501 achieve this, each line of lyrics should be marked to correspond with
3502 the melodic line. This is done automatically when @code{\lyricsto},
3503 but it can also be done manually.
3505 To this end, give the @internalsref{Voice} context an identity:
3507 \context Voice = duet @{
3512 Then set the @internalsref{Lyrics} contexts to names starting with
3513 that identity followed by a dash. In the preceding example, the
3514 @internalsref{Voice} identity is @code{duet}, so the identities of the
3515 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3517 \context Lyrics = "duet-1" @{
3518 Hi, my name is bert. @}
3519 \context Lyrics = "duet-2" @{
3520 Ooooo, ch\'e -- ri, je t'aime. @}
3523 The complete example is shown here:
3524 @lilypond[raggedright,verbatim]
3526 << \notes \relative c'' \context Voice = duet { \time 3/4
3528 \lyrics << \lyricsto "duet" \new Lyrics {
3529 \property Lyrics . stanza = "1"
3530 Hi, my name is bert. }
3531 \lyricsto "duet" \new Lyrics {
3532 \property Lyrics . stanza = "2"
3533 Ooooo, ch\'e -- ri, je t'aime. }
3538 @cindex stanza number
3539 @cindex singer's names
3540 @cindex name of singer
3542 Stanza numbers can be added by setting @code{Lyrics.stanza}, e.g.
3545 \property Lyrics . stanza = "Bert"
3547 \property Lyrics . stanza = "Ernie"
3550 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3551 prevent @code{Lyrics.stanza} being interpreted as a single
3554 Names of the singers should be added using @code{Lyrics
3555 . vocalName} and @code{Lyrics . vocNam}, analogous to instrument
3556 annotations for staves.
3558 To make empty spaces in lyrics, use @code{\skip}.
3563 Internals: Layout objects @internalsref{LyricText}
3564 @internalsref{VocalName}. Music expressions:
3565 @internalsref{LyricEvent}.
3571 Input for lyrics introduces a syntactical ambiguity:
3578 is interpreted as assigning a string identifier @code{\foo} such that
3579 it contains @code{"bar"}. However, it could also be interpreted as
3580 making or a music identifier @code{\foo} containing the syllable
3581 `bar'. The force the latter interpretation, use
3591 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3592 for a given voice in a part of music. It also may denote the pitch
3593 range that a musical instrument is capable of playing. Most musical
3594 instruments have their ambitus standardized (or at least there is
3595 agreement upon the minimal ambitus of a particular type of
3596 instrument), such that a composer or arranger of a piece of music can
3597 easily meet the ambitus constraints of the targeted instrument.
3598 However, the ambitus of the human voice depends on individual
3599 physiological state, including education and training of the voice.
3600 Therefore, a singer potentially has to check for each piece of music
3601 if the ambitus of that piece meets his individual capabilities. This
3602 is why the ambitus of a piece may be of particular value to vocal
3605 The ambitus is typically notated on a per-voice basis at the very
3606 beginning of a piece, e.g. nearby the initial clef or time signature of
3607 each staff. The range is graphically specified by two noteheads, that
3608 represent the minimum and maximum pitch. Some publishers use a textual
3609 notation: they put the range in words in front of the corresponding
3610 staff. LilyPond only supports the graphical ambitus notation.
3612 To apply, add the @internalsref{Ambitus_engraver} to the
3613 @internalsref{Voice} context, i.e.
3619 \consists Ambitus_engraver
3624 This results in the following output:
3625 @lilypond[raggedright]
3626 upper = \notes \relative c {
3629 as'' c e2 bes f cis d4 e f2 g
3631 lower = \notes \relative c {
3634 e'4 b g a c es fis a cis b a g f e d2
3637 \context ChoirStaff {
3639 \new Staff { \upper }
3640 \new Staff { \lower }
3646 \consists Ambitus_engraver
3652 If you have multiple voices in a single staff, and you want a single
3653 ambitus per staff rather than per each voice, then add the
3654 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3655 rather than to the @internalsref{Voice} context.
3657 It is possible to tune individual ambituses for multiple voices on a
3658 single staff, for example by erasing or shifting them horizontally. An
3659 example is in @inputfileref{input/test,ambitus-mixed.ly}
3663 Internals: @internalsref{Ambitus}
3665 Examples: @inputfileref{input/regression,ambitus.ly},
3666 @inputfileref{input/test,ambitus-mixed.ly}.
3670 There is no collision handling in the case of multiple per-voice
3676 Tablature notation is used for notating music for plucked string
3677 instruments. It notates pitches not by using note heads, but by
3678 indicating on which string and fret a note must be played. LilyPond
3679 offers limited support for tablature.
3682 * Tablatures basic::
3683 * Non-guitar tablatures::
3686 @node Tablatures basic
3687 @subsection Tablatures basic
3688 @cindex Tablatures basic
3690 The string number associated to a note is given as a backslash
3691 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3692 string. By default, string 1 is the highest one, and the tuning
3693 defaults to the standard guitar tuning (with 6 strings). The notes
3694 are printed as tablature, by using @internalsref{TabStaff} and
3695 @internalsref{TabVoice} contexts:
3697 @lilypond[fragment,verbatim]
3698 \notes \context TabStaff {
3706 When no string is specified, the first string that does not give a
3707 fret number less than @code{minimumFret} is selected. The default
3708 value for @code{minimumFret} is 0:
3712 e8 fis gis a b cis' dis' e'
3713 \property TabStaff.minimumFret = #8
3714 e8 fis gis a b cis' dis' e'
3719 e8 fis gis a b cis' dis' e'
3720 \property TabStaff.minimumFret = #8
3721 e8 fis gis a b cis' dis' e'
3724 \context StaffGroup <<
3725 \context Staff { \clef "G_8" \frag }
3726 \context TabStaff { \frag }
3733 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3734 @internalsref{StringNumberEvent}.
3738 Chords are not handled in a special way, and hence the automatic
3739 string selector may easily select the same string to two notes in a
3743 @node Non-guitar tablatures
3744 @subsection Non-guitar tablatures
3745 @cindex Non-guitar tablatures
3747 You can change the number of strings, by setting the number of lines
3748 in the @internalsref{TabStaff}.
3750 You can change the tuning of the strings. A string tuning is given as
3751 a Scheme list with one integer number for each string, the number
3752 being the pitch (measured in semitones relative to central C) of an
3753 open string. The numbers specified for @code{stringTuning} are the
3754 numbers of semitones to subtract or add, starting the specified pitch
3755 by default middle C, in string order. Thus, the notes are e, a, d, and
3758 @lilypond[fragment,verbatim]
3759 \context TabStaff <<
3760 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3763 a,4 c' a e' e c' a e'
3768 It is possible to change the Scheme function to format the tablature
3769 note text. The default is @code{fret-number-tablature-format}, which
3770 uses the fret number. For instruments that do not use this notation,
3771 you can create a special tablature formatting function. This function
3772 takes three argument: string number, string tuning and note pitch.
3776 No guitar special effects have been implemented.
3781 @section Chord names
3784 LilyPond has support for both printing chord names. Chords may be
3785 entered in musical chord notation, i.e. @code{< .. >}, but they can
3786 also be entered by name. Internally, the chords are represented as a
3787 set of pitches, so they can be transposed:
3790 @lilypond[verbatim,raggedright]
3791 twoWays = \notes \transpose c c' {
3801 << \context ChordNames \twoWays
3802 \context Voice \twoWays >> }
3805 This example also shows that the chord printing routines do not try to
3806 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3812 * Printing chord names::
3817 @subsection Chords mode
3820 Chord mode is a mode where you can input sets of pitches using common
3821 names. It is introduced by the keyword @code{\chords}.
3822 In chords mode, a chord is entered by the root, which is entered
3823 like a common pitch:
3824 @lilypond[fragment,verbatim,quote,relative=1]
3825 \chords { es4. d8 c2 }
3830 Other chords may be entered by suffixing a colon, and introducing a
3831 modifier, and optionally, a number:
3833 @lilypond[fragment,verbatim,quote]
3834 \chords { e1:m e1:7 e1:m7 }
3836 The first number following the root is taken to be the `type' of the
3837 chord, thirds are added to the root until it reaches the specified
3839 @lilypond[fragment,verbatim]
3840 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3843 @cindex root of chord
3844 @cindex additions, in chords
3845 @cindex removals, in chords
3847 More complex chords may also be constructed adding separate steps
3848 to a chord. Additions are added after the number following
3849 the colon, and are separated by dots:
3851 @lilypond[verbatim,fragment,quote]
3852 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3854 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3856 @lilypond[verbatim,fragment,quote]
3857 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3859 Removals are specified similarly, and are introduced by a caret. They
3860 must come after the additions:
3861 @lilypond[verbatim,fragment]
3862 \chords { c^3 c:7^5 c:9^3.5 }
3865 Modifiers can be used to change pitches. The following modifiers are
3869 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3871 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3874 is the augmented chord. This modifier raises the 5th step.
3876 is the major 7th chord. This modifier raises the 7th step if present.
3878 is the suspended 4th or 2nd. This modifier removes the 3rd
3879 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3882 Modifiers can be mixed with additions:
3883 @lilypond[verbatim,fragment]
3884 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3887 @cindex modifiers, in chords.
3894 Since an unaltered 11 does not sound good when combined with an
3895 unaltered 13, the 11 is removed in this case (unless it is added
3898 @lilypond[fragment,verbatim]
3899 \chords { c:13 c:13.11 c:m13 }
3904 An inversion (putting one pitch of the chord on the bottom), as well
3905 as bass notes, can be specified by appending
3906 @code{/}@var{pitch} to the chord:
3907 @lilypond[fragment,verbatim,center]
3908 \chords { c1 c/g c/f }
3912 A bass note can be added instead of transposed out of the chord,
3913 by using @code{/+}@var{pitch}.
3915 @lilypond[fragment,verbatim,center]
3916 \chords { c1 c/+g c/+f }
3919 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3920 of the commands continue to work, for example, @code{r} and
3921 @code{\skip} can be used to insert rests and spaces, and
3922 @code{\property} may be used to change various settings.
3928 Each step can only be present in a chord once. The following
3929 simply produces the augmented chord, since @code{5+} is interpreted
3932 @lilypond[verbatim,fragment]
3933 \chords { c:5.5-.5+ }
3937 @node Printing chord names
3938 @subsection Printing chord names
3940 @cindex printing chord names
3944 For displaying printed chord names, use the @internalsref{ChordNames} context.
3945 The chords may be entered either using the notation
3946 described above, or directly using @code{<} and @code{>}:
3948 @lilypond[verbatim,raggedright]
3950 \chords {a1 b c} <d' f' a'> <e' g' b'>
3954 \context ChordNames \scheme
3955 \context Staff \scheme
3960 You can make the chord changes stand out by setting
3961 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3962 display chord names when there is a change in the chords scheme and at
3963 the start of a new line:
3965 @lilypond[verbatim,linewidth=9\cm]
3967 c1:m c:m \break c:m c:m d
3971 \context ChordNames {
3972 \property ChordNames.chordChanges = ##t
3974 \context Staff \transpose c c' \scheme
3979 The default chord name layout is a system for Jazz music, proposed by
3980 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3981 following properties:
3984 @cindex chordNameExceptions
3985 @item chordNameExceptions
3986 This is a list that contains the chords that have special formatting.
3988 @inputfileref{input/regression,chord-name-exceptions.ly}.
3989 @cindex exceptions, chord names.
3992 @cindex majorSevenSymbol
3993 @item majorSevenSymbol
3994 This property contains the markup object used for the 7th step, when
3995 it is major. Predefined options are @code{whiteTriangleMarkup} and
3996 @code{blackTriangleMarkup}. See
3997 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3999 @cindex chordNameSeparator
4000 @item chordNameSeparator
4001 Different parts of a chord name are normally separated by a
4002 slash. By setting @code{chordNameSeparator}, you can specify other
4004 @lilypond[fragment,verbatim]
4005 \context ChordNames \chords {
4007 \property ChordNames.chordNameSeparator
4008 = \markup { \typewriter "|" }
4012 @cindex chordRootNamer
4013 @item chordRootNamer
4014 The root of a chord is usually printed as a letter with an optional
4015 alteration. The transformation from pitch to letter is done by this
4016 function. Special note names (for example, the German ``H'' for a
4017 B-chord) can be produced by storing a new function in this property.
4019 The pre-defined variables @code{\germanChords},
4020 @code{\semiGermanChords} set these variables.
4023 @cindex chordNoteNamer
4024 @item chordNoteNamer
4025 The default is to print single pitch, e.g. the bass note, using the
4026 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4027 to a specialized function to change this behavior. For example, the
4028 base can be printed in lower case.
4033 There are also two other chord name schemes implemented: an alternate
4034 Jazz chord notation, and a systematic scheme called Banter chords. The
4035 alternate jazz notation is also shown on the chart in @ref{Chord name
4036 chart}. Turning on these styles is described in the input file
4037 @inputfileref{input/test,chord-names-jazz.ly}.
4041 @cindex chords, jazz
4046 @cindex @code{\germanChords}
4047 @code{\germanChords},
4048 @cindex @code{\semiGermanChords}
4049 @code{\semiGermanChords}.
4056 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4057 @inputfileref{input/regression,chord-name-exceptions.ly},
4058 @inputfileref{input/test,chord-names-jazz.ly},
4059 @inputfileref{input/test,chord-names-german.ly}.
4061 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4066 Chord names are determined solely from the list of pitches. Chord
4067 inversions are not identified, and neither are added bass notes. This
4068 may result in strange chord names when chords are entered with the
4069 @code{< .. >} syntax.
4074 @node Orchestral music
4075 @section Orchestral music
4077 @cindex Writing parts
4079 Orchestral music involves some special notation, both in the full
4080 score and the individual parts. This section explains how to tackle
4081 some common problems in orchestral music.
4086 * Multiple staff contexts::
4089 * Instrument names::
4091 * Multi measure rests::
4092 * Automatic part combining::
4094 * Different editions from one source::
4095 * Sound output for transposing instruments::
4098 @node Multiple staff contexts
4099 @subsection Multiple staff contexts
4101 Polyphonic scores consist of many staves. These staves can be
4102 constructed in three different ways:
4104 @item The group is started with a brace at the left. This is done with the
4105 @internalsref{GrandStaff} context.
4106 @item The group is started with a bracket. This is done with the
4107 @internalsref{StaffGroup} context
4108 @item The group is started with a vertical line. This is the default
4112 @cindex Staff, multiple
4113 @cindex bracket, vertical
4114 @cindex brace, vertical
4121 @node Rehearsal marks
4122 @subsection Rehearsal marks
4123 @cindex Rehearsal marks
4125 @cindex @code{\mark}
4127 To print a rehearsal mark, use the @code{\mark} command:
4128 @lilypond[fragment,verbatim]
4139 (The letter I is skipped in accordance with engraving traditions.)
4141 The mark is incremented automatically if you use @code{\mark
4142 \default}, but you can also use an integer argument to set the mark
4143 manually. The value to use is stored in the property
4144 @code{rehearsalMark}.
4146 The style is defined by the property @code{markFormatter}. It is a
4147 function taking the current mark (an integer) and the current context
4148 as argument. It should return a markup object. In the following
4149 example, @code{markFormatter} is set to a canned procedure. After a
4150 few measures, it is set to function that produces a boxed number.
4152 @lilypond[verbatim,fragment,relative=1]
4153 \property Score.markFormatter = #format-mark-numbers
4156 \property Score.markFormatter
4157 = #(lambda (mark context)
4158 (make-bold-markup (make-box-markup (number->string mark))))
4163 The file @file{scm/translation-functions.scm} contains the definitions
4164 of @code{format-mark-numbers} (the default format) and
4165 @code{format-mark-letters}. They can be used as inspiration for other
4166 formatting functions.
4169 @cindex coda on bar line
4170 @cindex segno on bar line
4171 @cindex fermata on bar line
4172 @cindex bar lines, symbols on
4174 The @code{\mark} command can also be used to put signs like coda,
4175 segno and fermatas on a barline. Use @code{\markup} to
4176 to access the appropriate symbol:
4178 @lilypond[fragment,verbatim,relative=1]
4179 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4183 In this case, during line breaks, marks must also be printed at the
4184 end of the line, and not at the beginning. Use the following to force
4187 \property Score.RehearsalMark \override
4188 #'break-visibility = #begin-of-line-invisible
4194 @cindex barlines, putting symbols on
4198 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4200 Init files: @file{scm/translation-functions.scm} contains the
4201 definition of @code{format-mark-numbers} and
4202 @code{format-mark-letters}. They can be used as inspiration for other
4203 formatting functions.
4205 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4206 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4210 @subsection Bar numbers
4214 @cindex measure numbers
4215 @cindex currentBarNumber
4217 Bar numbers are printed by default at the start of the line. The
4218 number itself is stored in the
4219 @code{currentBarNumber} property,
4220 which is normally updated automatically for every measure.
4222 Bar numbers can be typeset at regular intervals instead of at the
4223 beginning of each line. This is illustrated in the following example,
4224 whose source is available as
4225 @inputfileref{input/test,bar-number-regular-interval.ly}:
4227 @lilypondfile[]{bar-number-regular-interval.ly}
4232 Internals: @internalsref{BarNumber}.
4234 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4235 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4239 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4240 there is one at the top. To solve this, the
4241 @code{padding} property of @internalsref{BarNumber} can be
4242 used to position the number correctly.
4244 @node Instrument names
4245 @subsection Instrument names
4247 In an orchestral score, instrument names are printed left side of the
4250 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4251 and @internalsref{Staff}.@code{instr}. This will print a string before
4252 the start of the staff. For the first start, @code{instrument} is
4253 used, for the next ones @code{instr} is used:
4256 @lilypond[verbatim,raggedright]
4257 \property Staff.instrument = "ploink " { c''4 }
4261 You can also use markup texts to construct more complicated instrument
4265 @lilypond[fragment,verbatim,raggedright]
4267 \property Staff.instrument = \markup {
4268 \column < "Clarinetti"
4270 \smaller \musicglyph #"accidentals--1"
4281 Internals: @internalsref{InstrumentName}.
4285 When you put a name on a grand staff or piano staff the width of the
4286 brace is not taken into account. You must add extra spaces to the end of
4287 the name to avoid a collision.
4290 @subsection Transpose
4292 @cindex transposition of pitches
4293 @cindex @code{\transpose}
4295 A music expression can be transposed with @code{\transpose}. The syntax
4298 \transpose @var{from} @var{to} @var{musicexpr}
4301 This means that @var{musicexpr} is transposed by the interval between
4302 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4303 is changed to @code{to}.
4306 For example, consider a piece written in the key of D major. If
4307 this piece is a little too low for its performer, it can be
4308 transposed up to E major with
4310 \tranpose d e @dots{}
4313 Consider a part written for violin (a C instrument). If
4314 this part is to be played on the A clarinet, the following
4315 transposition will produce the appropriate part
4318 \transpose a c @dots{}
4321 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4322 inside a @code{\notes} section. @code{\transpose} distinguishes
4323 between enharmonic pitches: both @code{\transpose c cis} or
4324 @code{\transpose c des} will transpose up half a tone. The first
4325 version will print sharps and the second version will print flats:
4327 @lilypond[raggedright,verbatim]
4328 mus =\notes { \key d \major cis d fis g }
4329 \score { \notes \context Staff {
4332 \transpose c g' \mus
4333 \transpose c f' \mus
4340 Internals: @internalsref{TransposedMusic}, and
4341 @internalsref{UntransposableMusic}.
4345 If you want to use both @code{\transpose} and @code{\relative}, then
4346 you must put @code{\transpose} outside of @code{\relative}, since
4347 @code{\relative} will have no effect music that appears inside a
4353 @node Multi measure rests
4354 @subsection Multi measure rests
4355 @cindex multi measure rests
4356 @cindex Rests, multi measure
4360 Multi measure rests are entered using `@code{R}'. It is specifically
4361 meant for full bar rests and for entering parts: the rest can expand
4362 to fill a score with rests, or it can be printed as a single
4363 multimeasure rest. This expansion is controlled by the property
4364 @code{Score.skipBars}. If this is set to true, empty measures will not
4365 be expanded, and the appropriate number is added automatically:
4367 @lilypond[fragment,verbatim]
4368 \time 4/4 r1 | R1 | R1*2
4369 \property Score.skipBars = ##t R1*17 R1*4
4372 The @code{1} in @code{R1} is similar to the duration notation used for
4373 notes. Hence, for time signatures other than 4/4, you must enter other
4374 durations. This can be done with augmentation dots or fractions:
4376 @lilypond[fragment,verbatim]
4377 \property Score.skipBars = ##t
4385 An @code{R} spanning a single measure is printed as either a whole rest
4386 or a breve, centered in the measure regardless of the time signature.
4388 @cindex text on multi-measure rest
4389 @cindex script on multi-measure rest
4390 @cindex fermata on multi-measure rest
4392 Texts can be added to multi-measure rests by using the
4393 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4394 replaced. If you need both texts and the number, you must add the
4395 number by hand. A variable (@code{\fermataMarkup}) is provided for
4399 @lilypond[verbatim,fragment]
4401 R2._\markup { "Ad lib" }
4405 If you want to have a text on the left end of a multi-measure rest,
4406 attach the text to a zero-length skip note, i.e.
4414 @cindex whole rests for a full measure
4418 Internals: @internalsref{MultiMeasureRestEvent},
4419 @internalsref{MultiMeasureTextEvent},
4420 @internalsref{MultiMeasureRestMusicGroup}, and
4421 @internalsref{MultiMeasureRest}.
4423 The layout object @internalsref{MultiMeasureRestNumber} is for the
4424 default number, and @internalsref{MultiMeasureRestText} for user
4429 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4430 over multi-measure rests.
4432 @cindex condensing rests
4434 There is no way to automatically condense multiple rests into a single
4435 multimeasure rest. Multi measure rests do not take part in rest
4438 Be careful when entering multimeasure rests followed by whole
4439 notes. The following will enter two notes lasting four measures each:
4443 When @code{skipBars} is set, then the result will look OK, but the
4444 bar numbering will be off.
4446 @node Automatic part combining
4447 @subsection Automatic part combining
4448 @cindex automatic part combining
4449 @cindex part combiner
4452 Automatic part combining is used to merge two parts of music onto a
4453 staff. It is aimed at typesetting orchestral scores. When the two
4454 parts are identical for a period of time, only one is shown. In
4455 places where the two parts differ, they are typeset as separate
4456 voices, and stem directions are set automatically. Also, solo and
4457 @emph{a due} parts are identified and can be marked.
4461 The syntax for part combining is
4464 \partcombine @var{musicexpr1} @var{musicexpr2}
4467 The music expressions will be interpreted as @internalsref{Voice}
4470 The following example demonstrates the basic functionality of the part
4471 combiner: putting parts on one staff, and setting stem directions and
4474 @lilypond[verbatim,raggedright,fragment,relative=1]
4475 \new Staff \partcombine
4484 The first @code{g} appears only once, although it was
4485 specified twice (once in each part). Stem, slur and tie directions are
4486 set automatically, depending whether there is a solo or unisono. The
4487 first part (with context called @code{one}) always gets up stems, and
4488 `solo', while the second (called @code{two}) always gets down stems and
4491 If you just want the merging parts, and not the textual markings, you
4492 may set the property @var{soloADue} to false:
4494 @lilypond[verbatim,raggedright,fragment]
4496 \property Staff.soloADue = ##f
4508 Internals: @internalsref{PartCombineMusic},
4509 @internalsref{SoloOneEvent}, and
4510 @internalsref{SoloTwoEvent}, and
4511 @internalsref{UnisonoEvent}.
4515 In @code{soloADue} mode, when the two voices play the same notes on and
4516 off, the part combiner may typeset @code{a2} more than once in a
4519 @code{\partcombine} can not be inside @code{\times}.
4524 @subsection Hiding staves
4526 @cindex Frenched scores
4527 @cindex Hiding staves
4529 In orchestral scores, staff lines that only have rests are usually
4530 removed. This saves some space. This style is called `French Score'.
4531 For @internalsref{Lyrics}, @internalsref{Lyrics},
4532 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4533 switched on by default. When these line of these contexts turn out
4534 empty after the line-breaking process, they are removed.
4536 For normal staves, a specialized @internalsref{Staff} context is
4537 available, which does the same: staves containing nothing (or only
4538 multi measure rests) are removed. The context definition is stored in
4539 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4540 in this example disappears in the second line:
4545 \notes \relative c' <<
4546 \new Staff { e4 f g a \break c1 }
4547 \new Staff { c4 d e f \break R1 }
4551 \translator { \RemoveEmptyStaffContext }
4556 The first page shows all staffs in full. If they should be removed
4557 from the first page too, set @code{remove-first} to false
4558 in @internalsref{RemoveEmptyVerticalGroup}.
4560 @node Different editions from one source
4561 @subsection Different editions from one source
4563 The @code{\tag} command marks music expressions with a name. These
4564 tagged expressions can be filtered out later. With this mechanism it
4565 is possible to make different versions of the same music source.
4567 In the following example, we see two versions of a piece of music, one
4568 for the full score, and one with cue notes for the instrumental part:
4576 \property Voice.fontSize = #-1
4584 The same can be applied to articulations, texts, etc.: they are
4587 -\tag #@var{your-tag}
4589 to an articulation, for example,
4594 This defines a note with a conditional fingering indication.
4596 By applying the @code{remove-tag} function, tagged expressions can be
4597 filtered. For example,
4601 \apply #(remove-tag 'score) @var{the music}
4602 \apply #(remove-tag 'part) @var{the music}
4607 @lilypondfile[]{tag-filter.ly}
4609 The argument of the @code{\tag} command should be a symbol, or a list
4610 of symbols, for example,
4612 \tag #'(original-part transposed-part) @dots{}
4617 Examples: @inputfileref{input/regression,tag-filter.ly}
4620 @node Sound output for transposing instruments
4621 @subsection Sound output for transposing instruments
4623 When you want to make a MIDI file from a score containing transposed
4624 and untransposed instruments, you have to instruct LilyPond the pitch
4625 offset (in semitones) for the transposed instruments. This is done
4626 using the @code{transposing} property. It does not affect printed
4629 @cindex @code{transposing}
4632 \property Staff.instrument = #"Cl. in B-flat"
4633 \property Staff.transposing = #-2
4637 @node Ancient notation
4638 @section Ancient notation
4640 @cindex Vaticana, Editio
4641 @cindex Medicaea, Editio
4646 @c [TODO: write more comprehensive introduction on ancient notation]
4648 Support for ancient notation is still under heavy development.
4649 Regardless of all of the current limitations (see the bugs section
4650 below for details), it includes features for mensural
4651 notation and Gregorian Chant notation. There is also limited support
4652 for figured bass notation.
4654 Many graphical objects provide a @code{style} property, see
4655 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4656 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4657 signatures}. By manipulating such a grob property, the typographical
4658 appearance of the affected graphical objects can be accomodated for a
4659 specific notation flavour without need for introducing any new
4663 Other aspects of ancient notation can not that easily be expressed as
4664 in terms of just changing a style property of a graphical object.
4665 Therefore, some notational concepts are introduced specifically for
4666 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4667 @ref{Ligatures}, and @ref{Figured bass}.
4671 * Ancient note heads::
4672 * Ancient accidentals::
4676 * Ancient time signatures::
4681 * Vaticana style contexts::
4684 If this all is way too much of documentation for you, and you just
4685 want to dive into typesetting without worrying too much about the
4686 details on how to customize a context, then you may have a look at the
4687 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4688 set up predefined style-specific voice and staff contexts, and
4689 directly go ahead with the note entry.
4693 Ligatures need special spacing that has not yet been implemented. As
4694 a result, there is too much space between ligatures most of the time,
4695 and line breaking often is unsatisfactory. Also, lyrics do not
4696 correctly align with ligatures.
4698 Accidentals must not be printed within a ligature, but instead need to
4699 be collected and printed in front of it.
4701 Augmentum dots within ligatures are not handled correctly.
4704 @node Ancient note heads
4705 @subsection Ancient note heads
4711 For ancient notation, a note head style other than the @code{default}
4712 style may be chosen. This is accomplished by setting the @code{style}
4713 property of the NoteHead object to the desired value (@code{baroque},
4714 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4715 differs from the @code{default} style only in using a square shape for
4716 @code{\breve} note heads. The @code{neo_mensural} style differs from
4717 the @code{baroque} style in that it uses rhomboidal heads for whole
4718 notes and all smaller durations. Stems are centered on the note
4719 heads. This style is in particular useful when transcribing mensural
4720 music, e.g. for the incipit. The @code{mensural} style finally
4721 produces note heads that mimick the look of note heads in historic
4722 printings of the 16th century.
4724 The following example demonstrates the @code{neo_mensural} style:
4726 @lilypond[fragment,raggedright,verbatim]
4727 \property Voice.NoteHead \set #'style = #'neo_mensural
4728 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4731 When typesetting a piece in Gregorian Chant notation, a Gregorian
4732 ligature engraver will automatically select the proper note heads,
4733 such there is no need to explicitly set the note head style. Still,
4734 the note head style can be set e.g. to @code{vaticana_punctum} to
4735 produce punctum neumes. Similarly, a mensural ligature engraver is
4736 used to automatically assemble mensural ligatures. See
4737 @ref{Ligatures} for how ligature engravers work.
4742 @ref{Percussion staves} use note head styles of their own that are
4743 frequently used in contemporary music notation.
4745 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4746 overview over all available note head styles.
4749 @node Ancient accidentals
4750 @subsection Ancient accidentals
4756 Use the @code{style} property of grob @internalsref{Accidental} to
4757 select ancient accidentals. Supported styles are
4758 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4760 @lilypond[raggedright,staffsize=26]
4768 { " " \musicglyph #"accidentals-vaticana-1"
4769 " " \musicglyph #"accidentals-vaticana0" }
4773 { " " \musicglyph #"accidentals-medicaea-1" }
4777 { " " \musicglyph #"accidentals-hufnagel-1" }
4781 { " " \musicglyph #"accidentals-mensural-1"
4782 " " \musicglyph #"accidentals-mensural1" }
4791 \remove "Bar_number_engraver"
4795 \remove "Clef_engraver"
4796 \remove "Key_engraver"
4797 \remove "Time_signature_engraver"
4798 \remove "Staff_symbol_engraver"
4799 minimumVerticalExtent = ##f
4805 As shown, not all accidentals are supported by each style. When
4806 trying to access an unsupported accidental, LilyPond will switch to a
4807 different style, as demonstrated in
4808 @inputfileref{input/test,ancient-accidentals.ly}.
4810 Similarly to local accidentals, the style of the key signature can be
4811 controlled by the @code{style} property of the
4812 @internalsref{KeySignature} grob.
4816 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4817 @ref{Accidentals} give a general introduction into the use of
4818 accidentals. @ref{Key signature} gives a general introduction into
4819 the use of key signatures.
4821 Internals: @internalsref{KeySignature}
4823 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4826 @subsection Ancient rests
4832 Use the @code{style} property of grob @internalsref{Rest} to select
4833 ancient accidentals. Supported styles are @code{classical},
4834 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4835 from the @code{default} style only in that the quarter rest looks like
4836 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4837 well for e.g. the incipit of a transcribed mensural piece of music.
4838 The @code{mensural} style finally mimicks the appearance of rests as
4839 in historic prints of the 16th century.
4841 The following example demonstrates the @code{neo_mensural} style:
4843 @lilypond[fragment,raggedright,verbatim]
4844 \property Voice.Rest \set #'style = #'neo_mensural
4845 r\longa r\breve r1 r2 r4 r8 r16
4848 There are no 32th and 64th rests specifically for the mensural or
4849 neo-mensural style. Instead, the rests from the default style will be
4850 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4853 There are no rests in Gregorian Chant notation; instead, it uses
4858 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4862 @subsection Ancient clefs
4868 LilyPond supports a variety of clefs, many of them ancient.
4870 The following table shows all ancient clefs that are supported via the
4871 @code{\clef} command. Some of the clefs use the same glyph, but
4872 differ only with respect to the line they are printed on. In such
4873 cases, a trailing number in the name is used to enumerate these clefs.
4874 Still, you can manually force a clef glyph to be typeset on an
4875 arbitrary line, as described in @ref{Clef}. The note printed to the
4876 right side of each clef in the example column denotes the @code{c'}
4877 with respect to that clef.
4879 @multitable @columnfractions .3 .3 .3 .1
4883 @b{Description} @tab
4884 @b{Supported Clefs} @tab
4888 @code{clefs-neo_mensural_c} @tab
4889 modern style mensural C clef @tab
4890 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4891 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4892 @lilypond[relative,notime]
4893 \property Staff.TimeSignature \set #'transparent = ##t
4894 \clef "neo_mensural_c2" c
4898 @code{clefs-petrucci_c1}
4899 @code{clefs-petrucci_c2}
4900 @code{clefs-petrucci_c3}
4901 @code{clefs-petrucci_c4}
4902 @code{clefs-petrucci_c5}
4905 petrucci style mensural C clefs, for use on different stafflines
4906 (the examples shows the 2nd staffline C clef).
4916 @lilypond[relative,notime]
4917 \property Staff.TimeSignature \set #'transparent = ##t
4918 \clef "petrucci_c2" c
4922 @code{clefs-petrucci_f} @tab
4923 petrucci style mensural F clef @tab
4924 @code{petrucci_f} @tab
4925 @lilypond[relative,notime]
4926 \property Staff.TimeSignature \set #'transparent = ##t
4927 \clef "petrucci_f" c
4931 @code{clefs-petrucci_g} @tab
4932 petrucci style mensural G clef @tab
4933 @code{petrucci_g} @tab
4934 @lilypond[relative,notime]
4935 \property Staff.TimeSignature \set #'transparent = ##t
4936 \clef "petrucci_g" c
4940 @code{clefs-mensural_c} @tab
4941 historic style mensural C clef @tab
4942 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4943 @code{mensural_c4} @tab
4944 @lilypond[relative,notime]
4945 \property Staff.TimeSignature \set #'transparent = ##t
4946 \clef "mensural_c2" c
4950 @code{clefs-mensural_f} @tab
4951 historic style mensural F clef @tab
4952 @code{mensural_f} @tab
4953 @lilypond[relative,notime]
4954 \property Staff.TimeSignature \set #'transparent = ##t
4955 \clef "mensural_f" c
4959 @code{clefs-mensural_g} @tab
4960 historic style mensural G clef @tab
4961 @code{mensural_g} @tab
4962 @lilypond[relative,notime]
4963 \property Staff.TimeSignature \set #'transparent = ##t
4964 \clef "mensural_g" c
4968 @code{clefs-vaticana_do} @tab
4969 Editio Vaticana style do clef @tab
4970 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4971 @lilypond[relative,notime]
4972 \property Staff.StaffSymbol \set #'line-count = #4
4973 \property Staff.TimeSignature \set #'transparent = ##t
4974 \clef "vaticana_do2" c
4978 @code{clefs-vaticana_fa} @tab
4979 Editio Vaticana style fa clef @tab
4980 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4981 @lilypond[relative,notime]
4982 \property Staff.StaffSymbol \set #'line-count = #4
4983 \property Staff.TimeSignature \set #'transparent = ##t
4984 \clef "vaticana_fa2" c
4988 @code{clefs-medicaea_do} @tab
4989 Editio Medicaea style do clef @tab
4990 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4991 @lilypond[relative,notime]
4992 \property Staff.StaffSymbol \set #'line-count = #4
4993 \property Staff.TimeSignature \set #'transparent = ##t
4994 \clef "medicaea_do2" c
4998 @code{clefs-medicaea_fa} @tab
4999 Editio Medicaea style fa clef @tab
5000 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5001 @lilypond[relative,notime]
5002 \property Staff.StaffSymbol \set #'line-count = #4
5003 \property Staff.TimeSignature \set #'transparent = ##t
5004 \clef "medicaea_fa2" c
5008 @code{clefs-hufnagel_do} @tab
5009 historic style hufnagel do clef @tab
5010 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5011 @lilypond[relative,notime]
5012 \property Staff.StaffSymbol \set #'line-count = #4
5013 \property Staff.TimeSignature \set #'transparent = ##t
5014 \clef "hufnagel_do2" c
5018 @code{clefs-hufnagel_fa} @tab
5019 historic style hufnagel fa clef @tab
5020 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5021 @lilypond[relative,notime]
5022 \property Staff.StaffSymbol \set #'line-count = #4
5023 \property Staff.TimeSignature \set #'transparent = ##t
5024 \clef "hufnagel_fa2" c
5028 @code{clefs-hufnagel_do_fa} @tab
5029 historic style hufnagel combined do/fa clef @tab
5030 @code{hufnagel_do_fa} @tab
5031 @lilypond[relative,notime]
5032 \property Staff.TimeSignature \set #'transparent = ##t
5033 \clef "hufnagel_do_fa" c
5038 @c --- This should go somewhere else: ---
5039 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5042 @c @code{percussion}
5044 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5046 @c @item modern style tab clef (glyph: @code{clefs-tab})
5051 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5053 @emph{Modern style} means ``as is typeset in contemporary editions of
5054 transcribed mensural music''.
5056 @emph{Petrucci style} means ``inspired by printings published by the
5057 famous engraver Petrucci (1466-1539)''.
5059 @emph{Historic style} means ``as was typeset or written in historic
5060 editions (other than those of Petrucci)''.
5062 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5064 Petrucci used C clefs with differently balanced left-side vertical
5065 beams, depending on which staffline it is printed.
5069 In this manual: for the percussion clef, see @ref{Percussion staves}.
5070 For the @code{TAB} clef, see @ref{Tablatures}.
5072 Internals: for modern clefs, see @ref{Clef}.
5076 The mensural g clef is temporarily mapped to the Petrucci g clef,
5077 until a new mensural g clef will have been implemented.
5082 @subsection Ancient flags
5088 Use the @code{flag-style} property of grob @internalsref{Stem} to
5089 select ancient flags. Besides the @code{default} flag style,
5090 only @code{mensural} style is supported:
5092 @lilypond[fragment,raggedright,verbatim]
5093 \property Voice.Stem \set #'flag-style = #'mensural
5094 \property Voice.Stem \set #'thickness = #1.0
5095 \property Voice.NoteHead \set #'style = #'mensural
5097 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
5098 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5101 Note that the innermost flare of each mensural flag always is
5102 vertically aligned with a staff line. If you do not like this
5103 behaviour, you can set the @code{adjust-if-on-staffline} property of
5104 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5105 of the end of each flare is different between notes on staff lines and
5106 notes between staff lines:
5108 @lilypond[fragment,raggedright]
5109 \property Voice.Stem \set #'flag-style = #'mensural
5110 \property Voice.Stem \set #'thickness = #1.0
5111 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5112 \property Voice.NoteHead \set #'style = #'mensural
5114 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
5115 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5118 There is no particular flag style for neo-mensural notation. Hence,
5119 when typesetting e.g. the incipit of a transcibed piece of mensural
5120 music, the default flag style should be used. There are no flags in
5121 Gregorian Chant notation.
5124 @node Ancient time signatures
5125 @subsection Ancient time signatures
5127 @cindex time signatures
5131 There is limited support for mensural time signatures. The
5132 glyphs are hard-wired to particular time fractions. In other words,
5133 to get a particular mensural signature glyph with the @code{\time n/m}
5134 command, @code{n} and @code{m} have to be chosen according to the
5140 \property Score.timing = ##f
5141 \property Score.barAlways = ##t
5142 s_\markup { "$\\backslash$time 4/4" }
5143 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5145 s_\markup { "$\\backslash$time 2/2" }
5146 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5148 s_\markup { "$\\backslash$time 6/4" }
5149 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5151 s_\markup { "$\\backslash$time 6/8" }
5152 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5154 s_\markup { "$\\backslash$time 3/2" }
5155 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5157 s_\markup { "$\\backslash$time 3/4" }
5158 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5160 s_\markup { "$\\backslash$time 9/4" }
5161 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5163 s_\markup { "$\\backslash$time 9/8" }
5164 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5166 s_\markup { "$\\backslash$time 4/8" }
5167 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5169 s_\markup { "$\\backslash$time 2/4" }
5170 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5178 \remove Staff_symbol_engraver
5179 \remove Clef_engraver
5180 \remove Time_signature_engraver
5186 Use the @code{style} property of grob @internalsref{TimeSignature} to
5187 select ancient time signatures. Supported styles are
5188 @code{neo_mensural} and @code{mensural}. The above table uses the
5189 @code{neo_mensural} style. This style is appropriate e.g. for the
5190 incipit of transcriptions of mensural pieces. The @code{mensural}
5191 style mimicks the look of historical printings of the 16th century.
5193 @inputfileref{input/test,time.ly} gives an overview over all available
5194 ancient and modern styles.
5198 Internals: @ref{Time signature} gives a general introduction into the use of time
5203 Mensural signature glyphs are mapped to time fractions in a
5204 hard-wired way. This mapping is sensible, but still arbitrary: given
5205 a mensural time signature, the time fraction represents a modern meter
5206 that usually will be a good choice when transcribing a mensural piece
5207 of music. For a particular piece of mensural music, however, the
5208 mapping may be unsatisfactory. In particular, the mapping assumes a
5209 fixed transcription of durations (e.g. brevis = half note in 2/2,
5210 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5211 are not at all accessible through the @code{\time} command.
5213 Mensural time signatures are supported typographically, but not yet
5214 musically. The internal representation of durations is
5215 based on a purely binary system; a ternary division such as 1 brevis =
5216 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5217 prolatione maiori) is not correctly handled: event times in ternary
5218 modes will be badly computed, resulting e.g. in horizontally
5219 misaligned note heads, and bar checks are likely to erroneously fail.
5221 The syntax and semantics of the @code{\time} command for mensural
5222 music is subject to change.
5225 @subsection Custodes
5230 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5231 symbol that appears at the end of a staff. It anticipates the pitch
5232 of the first note(s) of the following line and thus helps the player
5233 or singer to manage line breaks during performance, thus enhancing
5234 readability of a score.
5236 Custodes were frequently used in music notation until the 17th
5237 century. Nowadays, they have survived only in a few particular forms
5238 of musical notation such as contemporary editions of Gregorian chant
5239 like the @emph{editio vaticana}. There are different custos glyphs
5240 used in different flavours of notational style.
5244 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5245 @internalsref{Staff} context when declaring the @code{\paper} block,
5246 as shown in the following example:
5252 \consists Custos_engraver
5253 Custos \override #'style = #'mensural
5258 The result looks like this:
5264 \property Staff.Custos \set #'style = #'mensural
5271 \consists Custos_engraver
5278 The custos glyph is selected by the @code{style} property. The styles
5279 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5280 @code{mensural}. They are demonstrated in the following fragment:
5290 { " " \musicglyph #"custodes-vaticana-u0" }
5294 { " " \musicglyph #"custodes-medicaea-u0" }
5298 { " " \musicglyph #"custodes-hufnagel-u0" }
5302 { " " \musicglyph #"custodes-mensural-u0" }
5311 \remove "Bar_number_engraver"
5315 \remove "Clef_engraver"
5316 \remove "Key_engraver"
5317 \remove "Time_signature_engraver"
5318 \remove "Staff_symbol_engraver"
5319 minimumVerticalExtent = ##f
5325 If the boolean property @code{adjust-if-on-staffline} is set to
5326 @code{#t} (which it is by default), lily typesets slightly different
5327 variants of the custos glyph, depending on whether the custos, is
5328 typeset on or between stafflines. The glyph will
5329 optically fit well into the staff, with the appendage on the right of
5330 the custos always ending at the same vertical position between two
5331 stafflines regardless of the pitch. If you set
5332 @code{adjust-if-on-staffline} to @code{#f}, then
5333 a compromise between both forms is used.
5335 Just like stems can be attached to noteheads in two directions
5336 @emph{up} and @emph{down}, each custos glyph is available with its
5337 appendage pointing either up or down. If the pitch of a custos is
5338 above a selectable position, the appendage will point downwards; if
5339 the pitch is below this position, the appendage will point upwards.
5340 Use property @code{neutral-position} to select this position. By
5341 default, it is set to @code{0}, such that the neutral position is the
5342 center of the staff. Use property @code{neutral-direction} to control
5343 what happens if a custos is typeset on the neutral position itself.
5344 By default, this property is set to @code{-1}, such that the appendage
5345 will point downwards. If set to @code{1}, the appendage will point
5346 upwards. Other values such as @code{0} are reserved for future
5347 extensions and should not be used.
5351 Internals: @internalsref{Custos}
5353 Examples: @inputfileref{input/regression,custos.ly}.
5357 @subsection Divisiones
5363 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5364 `division') is a staff context symbol that is used to structure
5365 Gregorian music into phrases and sections. The musical meaning of
5366 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5367 can be characterized as short, medium and long pause, somewhat like
5368 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5369 a chant, but is also frequently used within a single
5370 antiphonal/responsorial chant to mark the end of each section.
5374 To use divisiones, include the file @code{gregorian-init.ly}. It
5375 contains definitions that you can apply by just inserting
5376 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5377 and @code{\finalis} at proper places in the input. Some editions use
5378 @emph{virgula} or @emph{caesura} instead of divisio minima.
5379 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5382 @lilypondfile[]{divisiones.ly}
5386 @cindex @code{\virgula}
5388 @cindex @code{\caesura}
5390 @cindex @code{\divisioMinima}
5391 @code{\divisioMinima},
5392 @cindex @code{\divisioMaior}
5393 @code{\divisioMaior},
5394 @cindex @code{\divisioMaxima}
5395 @code{\divisioMaxima},
5396 @cindex @code{\finalis}
5401 In this manual: @ref{Breath marks}.
5403 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5405 Examples: @inputfileref{input/test,divisiones.ly}
5408 @subsection Ligatures
5412 @c TODO: Should double check if I recalled things correctly when I wrote
5413 @c down the following paragraph by heart.
5415 In musical terminology, a ligature is a coherent graphical symbol that
5416 represents at least two distinct notes. Ligatures originally appeared
5417 in the manuscripts of Gregorian chant notation roughly since the 9th
5418 century as an allusion to the accent symbols of greek lyric poetry to
5419 denote ascending or descending sequences of notes. Both, the shape
5420 and the exact meaning of ligatures changed tremendously during the
5421 following centuries: In early notation, ligatures were used for
5422 monophonic tunes (Gregorian chant) and very soon denoted also the way
5423 of performance in the sense of articulation. With upcoming
5424 multiphony, the need for a metric system arised, since multiple voices
5425 of a piece have to be synchronized some way. New notation systems
5426 were invented that used the manifold shapes of ligatures to now denote
5427 rhythmical patterns (e.g. black mensural notation, mannered notation,
5428 ars nova). With the invention of the metric system of the white
5429 mensural notation, the need for ligatures to denote such patterns
5430 disappeared. Nevertheless, ligatures were still in use in the
5431 mensural system for a couple of decades until they finally disappeared
5432 during the late 16th / early 17th century. Still, ligatures have
5433 survived in contemporary editions of Gregorian chant such as the
5434 Editio Vaticana from 1905/08.
5438 Syntactically, ligatures are simply enclosed by @code{\[} and
5439 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5440 additional input syntax specific for this particular type of ligature.
5441 By default, the @internalsref{LigatureBracket} engraver just puts a
5442 square bracket above the ligature:
5444 @lilypond[raggedright,verbatim]
5446 \notes \transpose c c' {
5454 To select a specific style of ligatures, a proper ligature engraver
5455 has to be added to the @internalsref{Voice} context, as explained in
5456 the following subsections. Only white mensural ligatures
5457 are supported with certain limitations. Support for Editio Vaticana
5458 will be added in the future.
5461 * White mensural ligatures::
5462 * Gregorian square neumes ligatures::
5465 @node White mensural ligatures
5466 @subsubsection White mensural ligatures
5468 @cindex Mensural ligatures
5469 @cindex White mensural ligatures
5471 There is limited support for white mensural ligatures. The
5472 implementation is still experimental; it may output strange
5473 warnings or even crash in some cases or produce weird results on more
5478 To engrave white mensural ligatures, in the paper block the
5479 @internalsref{Mensural_ligature_engraver} has to be put into the
5480 @internalsref{Voice} context, and remove the
5481 @internalsref{Ligature_bracket_engraver}:
5487 \remove Ligature_bracket_engraver
5488 \consists Mensural_ligature_engraver
5493 There is no additional input language to describe the shape of a
5494 white mensural ligature. The shape is rather determined solely from
5495 the pitch and duration of the enclosed notes. While this approach may
5496 take a new user a while to get accustomed, it has the great advantage
5497 that the full musical information of the ligature is known internally.
5498 This is not only required for correct MIDI output, but also allows for
5499 automatic transcription of the ligatures.
5504 \property Score.timing = ##f
5505 \property Score.defaultBarType = "empty"
5506 \property Voice.NoteHead \set #'style = #'neo_mensural
5507 \property Staff.TimeSignature \set #'style = #'neo_mensural
5509 \[ g\longa c\breve a\breve f\breve d'\longa \]
5511 \[ e1 f1 a\breve g\longa \]
5513 @lilypond[raggedright]
5515 \notes \transpose c c' {
5516 \property Score.timing = ##f
5517 \property Score.defaultBarType = "empty"
5518 \property Voice.NoteHead \set #'style = #'neo_mensural
5519 \property Staff.TimeSignature \set #'style = #'neo_mensural
5521 \[ g\longa c\breve a\breve f\breve d'\longa \]
5523 \[ e1 f1 a\breve g\longa \]
5528 \remove Ligature_bracket_engraver
5529 \consists Mensural_ligature_engraver
5535 Without replacing @internalsref{Ligature_bracket_engraver} with
5536 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5539 @lilypond[raggedright]
5541 \notes \transpose c c' {
5542 \property Score.timing = ##f
5543 \property Score.defaultBarType = "empty"
5544 \property Voice.NoteHead \set #'style = #'neo_mensural
5545 \property Staff.TimeSignature \set #'style = #'neo_mensural
5547 \[ g\longa c\breve a\breve f\breve d'\longa \]
5549 \[ e1 f1 a\breve g\longa \]
5555 @node Gregorian square neumes ligatures
5556 @subsubsection Gregorian square neumes ligatures
5558 @cindex Square neumes ligatures
5559 @cindex Gregorian square neumes ligatures
5561 Gregorian square neumes notation (following the style of the Editio
5562 Vaticana) is under heavy development, but not yet really usable for
5563 production purposes. Core ligatures can already be typeset, but
5564 essential issues for serious typesetting are still under development,
5565 such as (among others) horizontal alignment of multiple ligatures,
5566 lyrics alignment and proper accidentals handling. Still, this section
5567 gives a sneak preview of what Gregorian chant may look like once it
5570 The following table contains the extended neumes table of the 2nd
5571 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5572 1983 by the monks of Solesmes.
5574 @multitable @columnfractions .4 .2 .2 .2
5577 @b{Neuma aut@*Neumarum Elementa} @tab
5578 @b{Figurae@*Rectae} @tab
5579 @b{Figurae@*Liquescentes Auctae} @tab
5580 @b{Figurae@*Liquescentes Deminutae}
5582 @c TODO: \paper block is identical in all of the below examples.
5583 @c Therefore, it should somehow be included rather than duplicated all
5586 @c why not make identifiers in ly/engraver-init.ly? --hwn
5588 @c Because it's just used to typeset plain notes without
5589 @c a staff for demonstration purposes rather than something
5590 @c special of Gregorian chant notation. --jr
5595 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5596 \include "gregorian-init.ly"
5598 \notes \transpose c c' {
5601 \noBreak s^\markup {"a"} \noBreak
5603 % Punctum Inclinatum
5605 \noBreak s^\markup {"b"}
5611 \remove "Bar_number_engraver"
5615 \remove "Clef_engraver"
5616 \remove "Key_engraver"
5617 StaffSymbol \set #'transparent = ##t
5618 \remove "Time_signature_engraver"
5619 \remove "Bar_engraver"
5620 minimumVerticalExtent = ##f
5624 \remove Ligature_bracket_engraver
5625 \consists Vaticana_ligature_engraver
5626 NoteHead \set #'style = #'vaticana_punctum
5627 Stem \set #'transparent = ##t
5633 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5634 \include "gregorian-init.ly"
5636 \notes \transpose c c' {
5637 % Punctum Auctum Ascendens
5638 \[ \auctum \ascendens b \]
5639 \noBreak s^\markup {"c"} \noBreak
5641 % Punctum Auctum Descendens
5642 \[ \auctum \descendens b \]
5643 \noBreak s^\markup {"d"} \noBreak
5645 % Punctum Inclinatum Auctum
5646 \[ \inclinatum \auctum b \]
5647 \noBreak s^\markup {"e"}
5653 \remove "Bar_number_engraver"
5657 \remove "Clef_engraver"
5658 \remove "Key_engraver"
5659 StaffSymbol \set #'transparent = ##t
5660 \remove "Time_signature_engraver"
5661 \remove "Bar_engraver"
5662 minimumVerticalExtent = ##f
5666 \remove Ligature_bracket_engraver
5667 \consists Vaticana_ligature_engraver
5668 NoteHead \set #'style = #'vaticana_punctum
5669 Stem \set #'transparent = ##t
5675 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5676 \include "gregorian-init.ly"
5678 \notes \transpose c c' {
5679 % Punctum Inclinatum Parvum
5680 \[ \inclinatum \deminutum b \]
5681 \noBreak s^\markup {"f"}
5687 \remove "Bar_number_engraver"
5691 \remove "Clef_engraver"
5692 \remove "Key_engraver"
5693 StaffSymbol \set #'transparent = ##t
5694 \remove "Time_signature_engraver"
5695 \remove "Bar_engraver"
5696 minimumVerticalExtent = ##f
5700 \remove Ligature_bracket_engraver
5701 \consists Vaticana_ligature_engraver
5702 NoteHead \set #'style = #'vaticana_punctum
5703 Stem \set #'transparent = ##t
5712 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5713 \include "gregorian-init.ly"
5715 \notes \transpose c c' {
5718 \noBreak s^\markup {"g"}
5724 \remove "Bar_number_engraver"
5728 \remove "Clef_engraver"
5729 \remove "Key_engraver"
5730 StaffSymbol \set #'transparent = ##t
5731 \remove "Time_signature_engraver"
5732 \remove "Bar_engraver"
5733 minimumVerticalExtent = ##f
5737 \remove Ligature_bracket_engraver
5738 \consists Vaticana_ligature_engraver
5739 NoteHead \set #'style = #'vaticana_punctum
5740 Stem \set #'transparent = ##t
5749 @code{3. Apostropha vel Stropha}
5751 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5752 \include "gregorian-init.ly"
5754 \notes \transpose c c' {
5757 \noBreak s^\markup {"h"}
5763 \remove "Bar_number_engraver"
5767 \remove "Clef_engraver"
5768 \remove "Key_engraver"
5769 StaffSymbol \set #'transparent = ##t
5770 \remove "Time_signature_engraver"
5771 \remove "Bar_engraver"
5772 minimumVerticalExtent = ##f
5776 \remove Ligature_bracket_engraver
5777 \consists Vaticana_ligature_engraver
5778 NoteHead \set #'style = #'vaticana_punctum
5779 Stem \set #'transparent = ##t
5785 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5786 \include "gregorian-init.ly"
5788 \notes \transpose c c' {
5790 \[ \stropha \auctum b \]
5791 \noBreak s^\markup {"i"}
5797 \remove "Bar_number_engraver"
5801 \remove "Clef_engraver"
5802 \remove "Key_engraver"
5803 StaffSymbol \set #'transparent = ##t
5804 \remove "Time_signature_engraver"
5805 \remove "Bar_engraver"
5806 minimumVerticalExtent = ##f
5810 \remove Ligature_bracket_engraver
5811 \consists Vaticana_ligature_engraver
5812 NoteHead \set #'style = #'vaticana_punctum
5813 Stem \set #'transparent = ##t
5823 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5824 \include "gregorian-init.ly"
5826 \notes \transpose c c' {
5829 \noBreak s^\markup {"j"}
5835 \remove "Bar_number_engraver"
5839 \remove "Clef_engraver"
5840 \remove "Key_engraver"
5841 StaffSymbol \set #'transparent = ##t
5842 \remove "Time_signature_engraver"
5843 \remove "Bar_engraver"
5844 minimumVerticalExtent = ##f
5848 \remove Ligature_bracket_engraver
5849 \consists Vaticana_ligature_engraver
5850 NoteHead \set #'style = #'vaticana_punctum
5851 Stem \set #'transparent = ##t
5860 @code{5. Clivis vel Flexa}
5862 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5863 \include "gregorian-init.ly"
5865 \notes \transpose c c' {
5874 \remove "Bar_number_engraver"
5878 \remove "Clef_engraver"
5879 \remove "Key_engraver"
5880 StaffSymbol \set #'transparent = ##t
5881 \remove "Time_signature_engraver"
5882 \remove "Bar_engraver"
5883 minimumVerticalExtent = ##f
5887 \remove Ligature_bracket_engraver
5888 \consists Vaticana_ligature_engraver
5889 NoteHead \set #'style = #'vaticana_punctum
5890 Stem \set #'transparent = ##t
5896 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5897 \include "gregorian-init.ly"
5899 \notes \transpose c c' {
5900 % Clivis Aucta Descendens
5901 \[ b \flexa \auctum \descendens g \]
5902 \noBreak s^\markup {"l"} \noBreak
5904 % Clivis Aucta Ascendens
5905 \[ b \flexa \auctum \ascendens g \]
5906 \noBreak s^\markup {"m"}
5912 \remove "Bar_number_engraver"
5916 \remove "Clef_engraver"
5917 \remove "Key_engraver"
5918 StaffSymbol \set #'transparent = ##t
5919 \remove "Time_signature_engraver"
5920 \remove "Bar_engraver"
5921 minimumVerticalExtent = ##f
5925 \remove Ligature_bracket_engraver
5926 \consists Vaticana_ligature_engraver
5927 NoteHead \set #'style = #'vaticana_punctum
5928 Stem \set #'transparent = ##t
5934 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5935 \include "gregorian-init.ly"
5937 \notes \transpose c c' {
5939 \[ b \flexa \deminutum g \]
5946 \remove "Bar_number_engraver"
5950 \remove "Clef_engraver"
5951 \remove "Key_engraver"
5952 StaffSymbol \set #'transparent = ##t
5953 \remove "Time_signature_engraver"
5954 \remove "Bar_engraver"
5955 minimumVerticalExtent = ##f
5959 \remove Ligature_bracket_engraver
5960 \consists Vaticana_ligature_engraver
5961 NoteHead \set #'style = #'vaticana_punctum
5962 Stem \set #'transparent = ##t
5969 @code{6. Podatus vel Pes}
5971 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5972 \include "gregorian-init.ly"
5974 \notes \transpose c c' {
5983 \remove "Bar_number_engraver"
5987 \remove "Clef_engraver"
5988 \remove "Key_engraver"
5989 StaffSymbol \set #'transparent = ##t
5990 \remove "Time_signature_engraver"
5991 \remove "Bar_engraver"
5992 minimumVerticalExtent = ##f
5996 \remove Ligature_bracket_engraver
5997 \consists Vaticana_ligature_engraver
5998 NoteHead \set #'style = #'vaticana_punctum
5999 Stem \set #'transparent = ##t
6005 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6006 \include "gregorian-init.ly"
6008 \notes \transpose c c' {
6009 % Pes Auctus Descendens
6010 \[ g \pes \auctum \descendens b \]
6011 \noBreak s^\markup {"p"} \noBreak
6013 % Pes Auctus Ascendens
6014 \[ g \pes \auctum \ascendens b \]
6015 \noBreak s^\markup {"q"}
6021 \remove "Bar_number_engraver"
6025 \remove "Clef_engraver"
6026 \remove "Key_engraver"
6027 StaffSymbol \set #'transparent = ##t
6028 \remove "Time_signature_engraver"
6029 \remove "Bar_engraver"
6030 minimumVerticalExtent = ##f
6034 \remove Ligature_bracket_engraver
6035 \consists Vaticana_ligature_engraver
6036 NoteHead \set #'style = #'vaticana_punctum
6037 Stem \set #'transparent = ##t
6043 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6044 \include "gregorian-init.ly"
6046 \notes \transpose c c' {
6048 \[ g \pes \deminutum b \]
6055 \remove "Bar_number_engraver"
6059 \remove "Clef_engraver"
6060 \remove "Key_engraver"
6061 StaffSymbol \set #'transparent = ##t
6062 \remove "Time_signature_engraver"
6063 \remove "Bar_engraver"
6064 minimumVerticalExtent = ##f
6068 \remove Ligature_bracket_engraver
6069 \consists Vaticana_ligature_engraver
6070 NoteHead \set #'style = #'vaticana_punctum
6071 Stem \set #'transparent = ##t
6078 @code{7. Pes Quassus}
6080 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6081 \include "gregorian-init.ly"
6083 \notes \transpose c c' {
6085 \[ \oriscus g \pes \virga b \]
6092 \remove "Bar_number_engraver"
6096 \remove "Clef_engraver"
6097 \remove "Key_engraver"
6098 StaffSymbol \set #'transparent = ##t
6099 \remove "Time_signature_engraver"
6100 \remove "Bar_engraver"
6101 minimumVerticalExtent = ##f
6105 \remove Ligature_bracket_engraver
6106 \consists Vaticana_ligature_engraver
6107 NoteHead \set #'style = #'vaticana_punctum
6108 Stem \set #'transparent = ##t
6114 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6115 \include "gregorian-init.ly"
6117 \notes \transpose c c' {
6118 % Pes Quassus Auctus Descendens
6119 \[ \oriscus g \pes \auctum \descendens b \]
6126 \remove "Bar_number_engraver"
6130 \remove "Clef_engraver"
6131 \remove "Key_engraver"
6132 StaffSymbol \set #'transparent = ##t
6133 \remove "Time_signature_engraver"
6134 \remove "Bar_engraver"
6135 minimumVerticalExtent = ##f
6139 \remove Ligature_bracket_engraver
6140 \consists Vaticana_ligature_engraver
6141 NoteHead \set #'style = #'vaticana_punctum
6142 Stem \set #'transparent = ##t
6150 @code{8. Quilisma Pes}
6152 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6153 \include "gregorian-init.ly"
6155 \notes \transpose c c' {
6157 \[ \quilisma g \pes b \]
6164 \remove "Bar_number_engraver"
6168 \remove "Clef_engraver"
6169 \remove "Key_engraver"
6170 StaffSymbol \set #'transparent = ##t
6171 \remove "Time_signature_engraver"
6172 \remove "Bar_engraver"
6173 minimumVerticalExtent = ##f
6177 \remove Ligature_bracket_engraver
6178 \consists Vaticana_ligature_engraver
6179 NoteHead \set #'style = #'vaticana_punctum
6180 Stem \set #'transparent = ##t
6186 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6187 \include "gregorian-init.ly"
6189 \notes \transpose c c' {
6190 % Quilisma Pes Auctus Descendens
6191 \[ \quilisma g \pes \auctum \descendens b \]
6198 \remove "Bar_number_engraver"
6202 \remove "Clef_engraver"
6203 \remove "Key_engraver"
6204 StaffSymbol \set #'transparent = ##t
6205 \remove "Time_signature_engraver"
6206 \remove "Bar_engraver"
6207 minimumVerticalExtent = ##f
6211 \remove Ligature_bracket_engraver
6212 \consists Vaticana_ligature_engraver
6213 NoteHead \set #'style = #'vaticana_punctum
6214 Stem \set #'transparent = ##t
6222 @code{9. Podatus Initio Debilis}
6224 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6225 \include "gregorian-init.ly"
6227 \notes \transpose c c' {
6228 % Pes Initio Debilis
6229 \[ \deminutum g \pes b \]
6236 \remove "Bar_number_engraver"
6240 \remove "Clef_engraver"
6241 \remove "Key_engraver"
6242 StaffSymbol \set #'transparent = ##t
6243 \remove "Time_signature_engraver"
6244 \remove "Bar_engraver"
6245 minimumVerticalExtent = ##f
6249 \remove Ligature_bracket_engraver
6250 \consists Vaticana_ligature_engraver
6251 NoteHead \set #'style = #'vaticana_punctum
6252 Stem \set #'transparent = ##t
6258 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6259 \include "gregorian-init.ly"
6261 \notes \transpose c c' {
6262 % Pes Auctus Descendens Initio Debilis
6263 \[ \deminutum g \pes \auctum \descendens b \]
6270 \remove "Bar_number_engraver"
6274 \remove "Clef_engraver"
6275 \remove "Key_engraver"
6276 StaffSymbol \set #'transparent = ##t
6277 \remove "Time_signature_engraver"
6278 \remove "Bar_engraver"
6279 minimumVerticalExtent = ##f
6283 \remove Ligature_bracket_engraver
6284 \consists Vaticana_ligature_engraver
6285 NoteHead \set #'style = #'vaticana_punctum
6286 Stem \set #'transparent = ##t
6296 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6297 \include "gregorian-init.ly"
6299 \notes \transpose c c' {
6301 \[ a \pes b \flexa g \]
6308 \remove "Bar_number_engraver"
6312 \remove "Clef_engraver"
6313 \remove "Key_engraver"
6314 StaffSymbol \set #'transparent = ##t
6315 \remove "Time_signature_engraver"
6316 \remove "Bar_engraver"
6317 minimumVerticalExtent = ##f
6321 \remove Ligature_bracket_engraver
6322 \consists Vaticana_ligature_engraver
6323 NoteHead \set #'style = #'vaticana_punctum
6324 Stem \set #'transparent = ##t
6330 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6331 \include "gregorian-init.ly"
6333 \notes \transpose c c' {
6334 % Torculus Auctus Descendens
6335 \[ a \pes b \flexa \auctum \descendens g \]
6342 \remove "Bar_number_engraver"
6346 \remove "Clef_engraver"
6347 \remove "Key_engraver"
6348 StaffSymbol \set #'transparent = ##t
6349 \remove "Time_signature_engraver"
6350 \remove "Bar_engraver"
6351 minimumVerticalExtent = ##f
6355 \remove Ligature_bracket_engraver
6356 \consists Vaticana_ligature_engraver
6357 NoteHead \set #'style = #'vaticana_punctum
6358 Stem \set #'transparent = ##t
6364 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6365 \include "gregorian-init.ly"
6367 \notes \transpose c c' {
6368 % Torculus Deminutus
6369 \[ a \pes b \flexa \deminutum g \]
6376 \remove "Bar_number_engraver"
6380 \remove "Clef_engraver"
6381 \remove "Key_engraver"
6382 StaffSymbol \set #'transparent = ##t
6383 \remove "Time_signature_engraver"
6384 \remove "Bar_engraver"
6385 minimumVerticalExtent = ##f
6389 \remove Ligature_bracket_engraver
6390 \consists Vaticana_ligature_engraver
6391 NoteHead \set #'style = #'vaticana_punctum
6392 Stem \set #'transparent = ##t
6399 @code{11. Torculus Initio Debilis}
6401 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6402 \include "gregorian-init.ly"
6404 \notes \transpose c c' {
6405 % Torculus Initio Debilis
6406 \[ \deminutum a \pes b \flexa g \]
6413 \remove "Bar_number_engraver"
6417 \remove "Clef_engraver"
6418 \remove "Key_engraver"
6419 StaffSymbol \set #'transparent = ##t
6420 \remove "Time_signature_engraver"
6421 \remove "Bar_engraver"
6422 minimumVerticalExtent = ##f
6426 \remove Ligature_bracket_engraver
6427 \consists Vaticana_ligature_engraver
6428 NoteHead \set #'style = #'vaticana_punctum
6429 Stem \set #'transparent = ##t
6435 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6436 \include "gregorian-init.ly"
6438 \notes \transpose c c' {
6439 % Torculus Auctus Descendens Initio Debilis
6440 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6447 \remove "Bar_number_engraver"
6451 \remove "Clef_engraver"
6452 \remove "Key_engraver"
6453 StaffSymbol \set #'transparent = ##t
6454 \remove "Time_signature_engraver"
6455 \remove "Bar_engraver"
6456 minimumVerticalExtent = ##f
6460 \remove Ligature_bracket_engraver
6461 \consists Vaticana_ligature_engraver
6462 NoteHead \set #'style = #'vaticana_punctum
6463 Stem \set #'transparent = ##t
6469 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6470 \include "gregorian-init.ly"
6472 \notes \transpose c c' {
6473 % Torculus Deminutus Initio Debilis
6474 \[ \deminutum a \pes b \flexa \deminutum g \]
6481 \remove "Bar_number_engraver"
6485 \remove "Clef_engraver"
6486 \remove "Key_engraver"
6487 StaffSymbol \set #'transparent = ##t
6488 \remove "Time_signature_engraver"
6489 \remove "Bar_engraver"
6490 minimumVerticalExtent = ##f
6494 \remove Ligature_bracket_engraver
6495 \consists Vaticana_ligature_engraver
6496 NoteHead \set #'style = #'vaticana_punctum
6497 Stem \set #'transparent = ##t
6504 @code{12. Porrectus}
6506 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6507 \include "gregorian-init.ly"
6509 \notes \transpose c c' {
6511 \[ a \flexa g \pes b \]
6518 \remove "Bar_number_engraver"
6522 \remove "Clef_engraver"
6523 \remove "Key_engraver"
6524 StaffSymbol \set #'transparent = ##t
6525 \remove "Time_signature_engraver"
6526 \remove "Bar_engraver"
6527 minimumVerticalExtent = ##f
6531 \remove Ligature_bracket_engraver
6532 \consists Vaticana_ligature_engraver
6533 NoteHead \set #'style = #'vaticana_punctum
6534 Stem \set #'transparent = ##t
6540 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6541 \include "gregorian-init.ly"
6543 \notes \transpose c c' {
6544 % Porrectus Auctus Descendens
6545 \[ a \flexa g \pes \auctum \descendens b \]
6552 \remove "Bar_number_engraver"
6556 \remove "Clef_engraver"
6557 \remove "Key_engraver"
6558 StaffSymbol \set #'transparent = ##t
6559 \remove "Time_signature_engraver"
6560 \remove "Bar_engraver"
6561 minimumVerticalExtent = ##f
6565 \remove Ligature_bracket_engraver
6566 \consists Vaticana_ligature_engraver
6567 NoteHead \set #'style = #'vaticana_punctum
6568 Stem \set #'transparent = ##t
6574 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6575 \include "gregorian-init.ly"
6577 \notes \transpose c c' {
6578 % Porrectus Deminutus
6579 \[ a \flexa g \pes \deminutum b \]
6586 \remove "Bar_number_engraver"
6590 \remove "Clef_engraver"
6591 \remove "Key_engraver"
6592 StaffSymbol \set #'transparent = ##t
6593 \remove "Time_signature_engraver"
6594 \remove "Bar_engraver"
6595 minimumVerticalExtent = ##f
6599 \remove Ligature_bracket_engraver
6600 \consists Vaticana_ligature_engraver
6601 NoteHead \set #'style = #'vaticana_punctum
6602 Stem \set #'transparent = ##t
6611 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6612 \include "gregorian-init.ly"
6614 \notes \transpose c c' {
6616 \[ \virga b \inclinatum a \inclinatum g \]
6623 \remove "Bar_number_engraver"
6627 \remove "Clef_engraver"
6628 \remove "Key_engraver"
6629 StaffSymbol \set #'transparent = ##t
6630 \remove "Time_signature_engraver"
6631 \remove "Bar_engraver"
6632 minimumVerticalExtent = ##f
6636 \remove Ligature_bracket_engraver
6637 \consists Vaticana_ligature_engraver
6638 NoteHead \set #'style = #'vaticana_punctum
6639 Stem \set #'transparent = ##t
6645 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6646 \include "gregorian-init.ly"
6648 \notes \transpose c c' {
6650 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6657 \remove "Bar_number_engraver"
6661 \remove "Clef_engraver"
6662 \remove "Key_engraver"
6663 StaffSymbol \set #'transparent = ##t
6664 \remove "Time_signature_engraver"
6665 \remove "Bar_engraver"
6666 minimumVerticalExtent = ##f
6670 \remove Ligature_bracket_engraver
6671 \consists Vaticana_ligature_engraver
6672 NoteHead \set #'style = #'vaticana_punctum
6673 Stem \set #'transparent = ##t
6679 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6680 \include "gregorian-init.ly"
6682 \notes \transpose c c' {
6683 % Climacus Deminutus
6684 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6691 \remove "Bar_number_engraver"
6695 \remove "Clef_engraver"
6696 \remove "Key_engraver"
6697 StaffSymbol \set #'transparent = ##t
6698 \remove "Time_signature_engraver"
6699 \remove "Bar_engraver"
6700 minimumVerticalExtent = ##f
6704 \remove Ligature_bracket_engraver
6705 \consists Vaticana_ligature_engraver
6706 NoteHead \set #'style = #'vaticana_punctum
6707 Stem \set #'transparent = ##t
6714 @code{14. Scandicus}
6716 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6717 \include "gregorian-init.ly"
6719 \notes \transpose c c' {
6721 \[ g \pes a \virga b \]
6728 \remove "Bar_number_engraver"
6732 \remove "Clef_engraver"
6733 \remove "Key_engraver"
6734 StaffSymbol \set #'transparent = ##t
6735 \remove "Time_signature_engraver"
6736 \remove "Bar_engraver"
6737 minimumVerticalExtent = ##f
6741 \remove Ligature_bracket_engraver
6742 \consists Vaticana_ligature_engraver
6743 NoteHead \set #'style = #'vaticana_punctum
6744 Stem \set #'transparent = ##t
6750 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6751 \include "gregorian-init.ly"
6753 \notes \transpose c c' {
6754 % Scandicus Auctus Descendens
6755 \[ g \pes a \pes \auctum \descendens b \]
6762 \remove "Bar_number_engraver"
6766 \remove "Clef_engraver"
6767 \remove "Key_engraver"
6768 StaffSymbol \set #'transparent = ##t
6769 \remove "Time_signature_engraver"
6770 \remove "Bar_engraver"
6771 minimumVerticalExtent = ##f
6775 \remove Ligature_bracket_engraver
6776 \consists Vaticana_ligature_engraver
6777 NoteHead \set #'style = #'vaticana_punctum
6778 Stem \set #'transparent = ##t
6784 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6785 \include "gregorian-init.ly"
6787 \notes \transpose c c' {
6788 % Scandicus Deminutus
6789 \[ g \pes a \pes \deminutum b \]
6796 \remove "Bar_number_engraver"
6800 \remove "Clef_engraver"
6801 \remove "Key_engraver"
6802 StaffSymbol \set #'transparent = ##t
6803 \remove "Time_signature_engraver"
6804 \remove "Bar_engraver"
6805 minimumVerticalExtent = ##f
6809 \remove Ligature_bracket_engraver
6810 \consists Vaticana_ligature_engraver
6811 NoteHead \set #'style = #'vaticana_punctum
6812 Stem \set #'transparent = ##t
6821 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6822 \include "gregorian-init.ly"
6824 \notes \transpose c c' {
6826 \[ g \oriscus a \pes \virga b \]
6833 \remove "Bar_number_engraver"
6837 \remove "Clef_engraver"
6838 \remove "Key_engraver"
6839 StaffSymbol \set #'transparent = ##t
6840 \remove "Time_signature_engraver"
6841 \remove "Bar_engraver"
6842 minimumVerticalExtent = ##f
6846 \remove Ligature_bracket_engraver
6847 \consists Vaticana_ligature_engraver
6848 NoteHead \set #'style = #'vaticana_punctum
6849 Stem \set #'transparent = ##t
6855 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6856 \include "gregorian-init.ly"
6858 \notes \transpose c c' {
6859 % Salicus Auctus Descendens
6860 \[ g \oriscus a \pes \auctum \descendens b \]
6867 \remove "Bar_number_engraver"
6871 \remove "Clef_engraver"
6872 \remove "Key_engraver"
6873 StaffSymbol \set #'transparent = ##t
6874 \remove "Time_signature_engraver"
6875 \remove "Bar_engraver"
6876 minimumVerticalExtent = ##f
6880 \remove Ligature_bracket_engraver
6881 \consists Vaticana_ligature_engraver
6882 NoteHead \set #'style = #'vaticana_punctum
6883 Stem \set #'transparent = ##t
6893 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6894 \include "gregorian-init.ly"
6896 \notes \transpose c c' {
6898 \[ \stropha b \stropha b \stropha a \]
6905 \remove "Bar_number_engraver"
6909 \remove "Clef_engraver"
6910 \remove "Key_engraver"
6911 StaffSymbol \set #'transparent = ##t
6912 \remove "Time_signature_engraver"
6913 \remove "Bar_engraver"
6914 minimumVerticalExtent = ##f
6918 \remove Ligature_bracket_engraver
6919 \consists Vaticana_ligature_engraver
6920 NoteHead \set #'style = #'vaticana_punctum
6921 Stem \set #'transparent = ##t
6933 Unlike most other neumes notation systems, the input language for
6934 neumes does not necessarily reflect directly the typographical
6935 appearance, but is designed to solely focuse on musical meaning. For
6936 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6937 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6938 a Porrectus with a curved flexa shape and only a single Punctum head.
6939 There is no command to explicitly typeset the curved flexa shape; the
6940 decision of when to typeset a curved flexa shape is purely taken from
6941 the musical input. The idea of this approach is to separate the
6942 musical aspects of the input from the notation style of the output.
6943 This way, the same input can be reused to typeset the same music in a
6944 different style of Gregorian chant notation such as Hufnagel (also
6945 known as German gothic neumes) or Medicaea (kind of a very simple
6946 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6947 engraver and Medicaea ligature engraver will have been implemented, it
6948 will be as simple as replacing the ligature engraver in the
6949 @internalsref{Voice} context to get the desired notation style from
6952 The following table shows the code fragments that produce the
6953 ligatures in the above neumes table. The letter in the first column
6954 in each line of the below table indicates to which ligature in the
6955 above table it refers. The second column gives the name of the
6956 ligature. The third column shows the code fragment that produces this
6957 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6959 @multitable @columnfractions .1 .4 .5
6973 Punctum Inclinatum @tab
6974 @code{\[ \inclinatum b \]}
6978 Punctum Auctum Ascendens @tab
6979 @code{\[ \auctum \ascendens b \]}
6983 Punctum Auctum Descendens @tab
6984 @code{\[ \auctum \descendens b \]}
6988 Punctum Inclinatum Auctum @tab
6989 @code{\[ \inclinatum \auctum b \]}
6993 Punctum Inclinatum Parvum @tab
6994 @code{\[ \inclinatum \deminutum b \]}
6999 @code{\[ \virga b \]}
7004 @code{\[ \stropha b \]}
7009 @code{\[ \stropha \auctum b \]}
7014 @code{\[ \oriscus b \]}
7018 Clivis vel Flexa @tab
7019 @code{\[ b \flexa g \]}
7023 Clivis Aucta Descendens @tab
7024 @code{\[ b \flexa \auctum \descendens g \]}
7028 Clivis Aucta Ascendens @tab
7029 @code{\[ b \flexa \auctum \ascendens g \]}
7034 @code{\[ b \flexa \deminutum g \]}
7038 Podatus vel Pes @tab
7039 @code{\[ g \pes b \]}
7043 Pes Auctus Descendens @tab
7044 @code{\[ g \pes \auctum \descendens b \]}
7048 Pes Auctus Ascendens @tab
7049 @code{\[ g \pes \auctum \ascendens b \]}
7054 @code{\[ g \pes \deminutum b \]}
7059 @code{\[ \oriscus g \pes \virga b \]}
7063 Pes Quassus Auctus Descendens @tab
7064 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7069 @code{\[ \quilisma g \pes b \]}
7073 Quilisma Pes Auctus Descendens @tab
7074 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7078 Pes Initio Debilis @tab
7079 @code{\[ \deminutum g \pes b \]}
7083 Pes Auctus Descendens Initio Debilis @tab
7084 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7089 @code{\[ a \pes b \flexa g \]}
7093 Torculus Auctus Descendens @tab
7094 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7098 Torculus Deminutus @tab
7099 @code{\[ a \pes b \flexa \deminutum g \]}
7103 Torculus Initio Debilis @tab
7104 @code{\[ \deminutum a \pes b \flexa g \]}
7108 Torculus Auctus Descendens Initio Debilis @tab
7109 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7113 Torculus Deminutus Initio Debilis @tab
7114 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7119 @code{\[ a \flexa g \pes b \]}
7123 Porrectus Auctus Descendens @tab
7124 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7128 Porrectus Deminutus @tab
7129 @code{\[ a \flexa g \pes \deminutum b \]}
7134 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7138 Climacus Auctus @tab
7139 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7143 Climacus Deminutus @tab
7144 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7149 @code{\[ g \pes a \virga b \]}
7153 Scandicus Auctus Descendens @tab
7154 @code{\[ g \pes a \pes \auctum \descendens b \]}
7158 Scandicus Deminutus @tab
7159 @code{\[ g \pes a \pes \deminutum b \]}
7164 @code{\[ g \oriscus a \pes \virga b \]}
7168 Salicus Auctus Descendens @tab
7169 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7174 @code{\[ \stropha b \stropha b \stropha a \]}
7180 The following head prefixes are supported:
7182 @cindex @code{\virga}
7184 @cindex @code{\stropha}
7186 @cindex @code{\inclinatum}
7188 @cindex @code{\auctum}
7190 @cindex @code{\descendens}
7192 @cindex @code{\ascendens}
7194 @cindex @code{\oriscus}
7196 @cindex @code{\quilisma}
7198 @cindex @code{\deminutum}
7201 Head prefixes can be accumulated, though restrictions apply. For
7202 example, either @code{\descendens} or @code{\ascendens} can be applied
7203 to a head, but not both to the same head.
7206 @cindex @code{\flexa}
7207 Two adjacent heads can be tied together with the @code{\pes} and
7208 @code{\flexa} infix commands for a rising and falling line of melody,
7213 Trigonus: apply equal spacing, regardless of pitch.
7216 @subsection Figured bass
7218 @cindex Basso continuo
7220 @c TODO: musicological blurb about FB
7224 LilyPond has limited support for figured bass:
7226 @lilypond[verbatim,fragment]
7228 \context Voice \notes { \clef bass dis4 c d ais}
7229 \context FiguredBass
7231 < 6 >4 < 7 >8 < 6+ [_!] >
7237 The support for figured bass consists of two parts: there is an input
7238 mode, introduced by @code{\figures}, where you can enter bass figures
7239 as numbers, and there is a context called @internalsref{FiguredBass} that
7240 takes care of making @internalsref{BassFigure} objects.
7242 In figures input mode, a group of bass figures is delimited by
7243 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7248 \context FiguredBass
7252 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7259 \context FiguredBass
7260 \figures { <4- 6+ 7!> }
7263 Spaces or dashes may be inserted by using @code{_}. Brackets are
7264 introduced with @code{[} and @code{]}:
7270 \context FiguredBass
7271 \figures { < [4 6] 8 [_! 12]> }
7274 Although the support for figured bass may superficially resemble chord
7275 support, it works much simpler. The @code{\figures} mode simply
7276 stores the numbers , and @internalsref{FiguredBass} context prints
7277 them as entered. There is no conversion to pitches, and no
7278 realizations of the bass are played in the MIDI file.
7280 Internally, the code produces markup texts. You can use any of the
7281 markup text properties to override formatting. For example, the
7282 vertical spacing of the figures may be set with @code{baseline-skip}.
7286 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7287 and @internalsref{FiguredBass} context.
7291 Slash notation for alterations is not supported.
7294 @node Vaticana style contexts
7295 @subsection Vaticana style contexts
7297 @cindex VaticanaVoiceContext
7298 @cindex VaticanaStaffContext
7300 The predefined @code{VaticanaVoiceContext} and
7301 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7302 Gregorian Chant in the style of the Editio Vaticana. These contexts
7303 initialize all relevant context properties and grob properties to
7304 proper values. With these contexts, you can immediately go ahead
7305 entering the chant, as the following short excerpt demonstrates:
7307 @lilypond[raggedright,verbatim,noindent]
7308 \include "gregorian-init.ly"
7311 \context VaticanaVoice = "cantus" {
7312 \property Score.BarNumber \set #'transparent = ##t
7314 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7315 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7316 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7319 \lyricsto "cantus" \new Lyrics \lyrics {
7320 San- ctus, San- ctus, San- ctus
7326 @node Contemporary notation
7327 @section Contemporary notation
7329 In the 20th century, composers have greatly expanded the musical
7330 vocabulary. With this expansion, many innovations in musical notation
7331 have been tried. The book by Stone (1980) gives a comprehensive
7332 overview (see @ref{Literature list}). In general, the use of new,
7333 innovative notation makes a piece harder to understand and perform and
7334 its use should therefore be avoided if possible. For this reason,
7335 support for contemporary notation in LilyPond is limited.
7344 @subsection Clusters
7348 In musical terminology, a @emph{cluster} denotes a range of
7349 simultaneously sounding pitches that may change over time. The set of
7350 available pitches to apply usually depends on the accoustic source.
7351 Thus, in piano music, a cluster typically consists of a continous range
7352 of the semitones as provided by the piano's fixed set of a chromatic
7353 scale. In choral music, each singer of the choir typically may sing an
7354 arbitrary pitch within the cluster's range that is not bound to any
7355 diatonic, chromatic or other scale. In electronic music, a cluster
7356 (theoretically) may even cover a continuous range of pitches, thus
7357 resulting in coloured noise, such as pink noise.
7359 Clusters can be denoted in the context of ordinary staff notation by
7360 engraving simple geometrical shapes that replace ordinary notation of
7361 notes. Ordinary notes as musical events specify starting time and
7362 duration of pitches; however, the duration of a note is expressed by the
7363 shape of the note head rather than by the horizontal graphical extent of
7364 the note symbol. In contrast, the shape of a cluster geometrically
7365 describes the development of a range of pitches (vertical extent) over
7366 time (horizontal extent). Still, the geometrical shape of a cluster
7367 covers the area in wich any single pitch contained in the cluster would
7368 be notated as an ordinary note. From this point of view, it is
7369 reasonable to specify a cluster as the envelope of a set of notes.
7373 A cluster is engraved as the envelope of a set of
7374 cluster-notes. Cluster notes are created by applying the function
7375 @code{notes-to-clusters} to a sequence of chords, e.g.
7377 @lilypond[relative=1,verbatim]
7378 \apply #notes-to-clusters { <c e > <b f'> }
7381 The following example (from
7382 @inputfileref{input/regression,cluster.ly}) shows what the result
7385 @lilypondfile[]{cluster.ly}
7387 By default, @internalsref{Cluster_spanner_engraver} is in the
7388 @internalsref{Voice} context. This allows putting ordinary notes and
7389 clusters together in the same staff, even simultaneously. In such a
7390 case no attempt is made to automatically avoid collisions between
7391 ordinary notes and clusters.
7395 Internals: @internalsref{ClusterSpanner},
7396 @internalsref{ClusterSpannerBeacon},
7397 @internalsref{Cluster_spanner_engraver}, and
7398 @internalsref{ClusterNoteEvent}.
7400 Examples: @inputfileref{input/regression,cluster.ly}.
7404 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7405 accurately. Use @code{<g a>8 <e a>8} instead.
7410 @subsection Fermatas
7416 Contemporary music notation frequently uses special fermata symbols to
7417 indicate fermatas of differing lengths.
7421 The following are supported
7423 @lilypond[raggedright]
7425 << \addlyrics \notes {
7445 \context Lyrics \lyrics {
7446 "shortfermata" "fermata" "longfermata" "verylongfermata"
7451 See @ref{Articulations} for general instructions how to apply scripts
7452 such as fermatas to a @code{\notes@{@}} block.
7455 @node Special notation
7456 @section Special notation
7460 * Easy Notation note heads::
7464 @subsection Balloon help
7466 Elements of notation can be marked and named with the help of a square
7467 balloon. The primary purpose of this feature is to explain notation.
7469 The following example demonstrates its use.
7471 @lilypond[verbatim,fragment,raggedright,relative=1]
7474 #(add-balloon-text 'NoteHead "heads, or tails?"
7480 The function @code{add-balloon-text} takes the name of a grob, the
7481 label to print and where to put the label relative to the object. In
7482 the above example, the text ``heads or tails?'' ends 3 spaces below
7486 @cindex notation, explaining
7490 Internals: @internalsref{text-balloon-interface}
7492 Examples: @inputfileref{input/regression,balloon.ly}
7494 @node Easy Notation note heads
7495 @subsection Easy Notation note heads
7497 @cindex easy notation
7500 The `easy play' note head includes a note name inside the head. It is
7501 used in music aimed at beginners:
7503 @lilypond[raggedright,verbatim,staffsize=26]
7505 \notes { c'2 e'4 f' | g'1 }
7506 \paper { \translator { \EasyNotation } }
7510 The @code{EasyNotation} variable overrides a @internalsref{Score}
7511 context. To make the letters readable, it has to be printed in a
7512 large font size. To print with a larger font, see @ref{Font Size}.
7517 If you view the result with Xdvi, then staff lines may show through
7518 the letters. Printing the PostScript file obtained does produce the
7524 @section Tuning output
7526 There are situations where default layout decisions are not
7527 sufficient. In this section we discuss ways to override these
7530 Formatting is internally done by manipulating so called objects
7531 (graphic objects). Each object carries with it a set of properties
7532 (object or layout properties) specific to that object. For example, a
7533 stem object has properties that specify its direction, length and
7536 The most direct way of tuning the output is by altering the values of
7537 these properties. There are two ways of doing that: first, you can
7538 temporarily change the definition of one type of object, thus
7539 affecting a whole set of objects. Second, you can select one specific
7540 object, and set a layout property in that object.
7542 Do not confuse layout properties with translation
7543 properties. Translation properties always use a mixed caps style
7544 naming, and are manipulated using @code{\property}:
7546 \property Context.propertyName = @var{value}
7549 Layout properties are use Scheme style variable naming, i.e. lower
7550 case words separated with dashes. They are symbols, and should always
7551 be quoted using @code{#'}. For example, this could be an imaginary
7552 layout property name:
7554 #'layout-property-name
7559 The introduction of the @ref{Technical manual} gives a more in-depth
7560 treatment of the difference between translation and layout.
7564 * Constructing a tweak::
7572 @node Tuning objects
7573 @subsection Tuning objects
7575 @cindex object description
7577 The definition of an object is a list of default object
7578 properties. For example, the definition of the Stem object (available
7579 in @file{scm/define-grobs.scm}), includes the following definitions
7580 for @internalsref{Stem}:
7584 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7585 (Y-extent-callback . ,Stem::height)
7590 Adding variables on top of this existing definition overrides the
7591 system default, and alters the resulting appearance of the layout
7597 Changing a variable for only one object is commonly achieved with
7601 \once \property @var{context}.@var{objectname}
7602 \override @var{symbol} = @var{value}
7604 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7605 and @var{objectname} is a string and @var{value} is a Scheme expression.
7606 This command applies a setting only during one moment in the score.
7608 In the following example, only one @internalsref{Stem} object is
7609 changed from its original setting:
7611 @lilypond[verbatim,fragment,relative=1]
7613 \once \property Voice.Stem \set #'thickness = #4
7617 @cindex @code{\once}
7619 For changing more objects, the same command, without @code{\once} can
7622 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7624 This command adds @code{@var{symbol} = @var{value}} to the definition
7625 of @var{objectname} in the context @var{context}, and this definition
7626 stays in place until it is removed.
7628 An existing definition may be removed by the following command:
7631 \property @var{context}.@var{objectname} \revert @var{symbol}
7634 All @code{\override} and @code{\revert} commands should be balanced.
7635 The @code{\set} shorthand performs a revert followed by an override,
7636 and is often more convenient to use
7639 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7643 @lilypond[verbatim,quote]
7644 c'4 \property Voice.Stem \override #'thickness = #4.0
7646 c'4 \property Voice.Stem \revert #'thickness
7650 The following example gives exactly the same result as the previous
7651 one (assuming the system default for stem thickness is 1.3):
7653 @lilypond[verbatim,quote]
7654 c'4 \property Voice.Stem \set #'thickness = #4.0
7656 c'4 \property Voice.Stem \set #'thickness = #1.3
7660 Reverting a setting which was not set in the first place has no
7661 effect. However, if the setting was set as a system default, this may
7662 remove the default value, and this may give surprising results,
7663 including crashes. In other words, @code{\override} and
7664 @code{\revert} must be carefully balanced. The following are examples
7665 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7669 a clumsy but correct form:
7671 \override \revert \override \revert \override \revert
7675 shorter version of the same:
7677 \override \set \set \revert
7681 a short form, using only @code{\set}. This requires you to know the
7684 \set \set \set \set @var{to default value}
7688 if there is no default (i.e. by default, the object property is unset),
7691 \set \set \set \revert
7695 The object description is an Scheme association list. Since a Scheme
7696 list is a singly linked list, we can treat it as a stack, and
7697 @code{\override} and @code{\revert} are push and pop operations. The
7698 association list is stored in a normal context property, hence
7700 \property Voice.NoteHead = #'()
7702 will effectively erase @internalsref{NoteHead}s from the current
7703 @internalsref{Voice}. Typically, this will blank the object. However,
7704 this mechanism should not be used: it may cause crashes or other
7709 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7710 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7711 @internalsref{All-layout-objects}.
7716 The backend is not very strict in type-checking object properties.
7717 Cyclic references in Scheme values for properties cause hangs and/or
7718 crashes. Reverting properties that are system defaults may also lead
7722 * Constructing a tweak::
7728 @node Constructing a tweak
7729 @subsection Constructing a tweak
7732 @cindex internal documentation
7733 @cindex finding graphical objects
7734 @cindex graphical object descriptions
7736 @cindex @code{\override}
7738 @cindex internal documentation
7742 Three pieces of information are required to use @code{\override} and
7743 @code{\set}: the name of the layout object, the context and the name
7744 of the property. We demonstrate how to glean this information from
7745 the notation manual and the generated documentation.
7747 The generated documentation is a set of HTML pages which should be
7748 included if you installed a binary distribution, typically in
7749 @file{/usr/share/doc/lilypond}. They are also available on the web:
7750 go to the @uref{http://lilypond.org,LilyPond website}, click
7751 ``Documentation'', select the correct version, and click then
7752 ``Program reference.'' It is advisable to bookmark the local HTML
7753 files. They will load faster than the ones on the web. If you use the
7754 version from the web, you must check whether the documentation matches
7755 the program version: it is generated from the definitions that the
7756 program uses, and therefore it is strongly tied to the LilyPond
7760 @c [TODO: revise for new site.]
7762 Suppose we want to move the fingering indication in the fragment below:
7764 @lilypond[relative=2,verbatim]
7770 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7771 instructions}), you will notice that there is written:
7776 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7783 In other words, the fingerings once entered, are internally stored as
7784 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7785 layout object is created for every @code{FingerEvent}.
7787 The Fingering object has a number of different functions, and each of
7788 those is captured in an interface. The interfaces are listed under
7789 @internalsref{Fingering} in the program reference.
7793 The @code{Fingering} object has a fixed size
7794 (@internalsref{item-interface}), the symbol is a piece of text
7795 (@internalsref{text-interface}), whose font can be set
7796 (@internalsref{font-interface}). It is centered horizontally
7797 (@internalsref{self-alignment-interface}), it is placed next to other
7798 objects (@internalsref{side-position-interface}) vertically, and its
7799 placement is coordinated with other scripts
7800 (@internalsref{text-script-interface}). It also has the standard
7801 @internalsref{grob-interface} (grob stands for Graphical object)
7803 @cindex graphical object
7804 @cindex layout object
7805 @cindex object, layout
7806 with all the variables that come with
7807 it. Finally, it denotes a fingering instruction, so it has
7808 @internalsref{finger-interface}.
7810 For the vertical placement, we have to look under
7811 @code{side-position-interface}:
7813 @code{side-position-interface}
7815 Position a victim object (this one) next to other objects (the
7816 support). In this case, the property @code{direction} signifies where to put the
7817 victim object relative to the support (left or right, up or down?)
7822 below this description, the variable @code{padding} is described as
7826 (dimension, in staff space)
7828 add this much extra space between objects that are next to each
7829 other. Default value: @code{0.6}
7833 By increasing the value of @code{padding}, we can move away the
7834 fingering. The following command inserts 3 staff spaces of white
7835 between the note and the fingering:
7837 \once \property Voice.Fingering \set #'padding = #3
7840 Inserting this command before the Fingering object is created,
7841 i.e. before @code{c2}, yields the following result:
7843 @lilypond[relative=2,fragment,verbatim]
7844 \once \property Voice.Fingering
7851 The context name @code{Voice} in the example above can be determined
7852 as follows. In the documentation for @internalsref{Fingering}, it says
7854 Fingering grobs are created by: @internalsref{Fingering_engraver}
7857 Clicking @code{Fingering_engraver} shows the documentation of
7858 the module responsible for interpreting the fingering instructions and
7859 translating them to a @code{Fingering} object. Such a module is called
7860 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7863 Fingering_engraver is part of contexts: Voice
7865 so tuning the settings for Fingering should be done with
7867 \property Voice.Fingering \set @dots{}
7870 Of course, the tweak may also done in a larger context than
7871 @code{Voice}, for example, @internalsref{Staff} or
7872 @internalsref{Score}.
7876 Internals: the program reference also contains alphabetical lists of
7877 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7878 @internalsref{Music-expressions}, so you can also find which objects
7879 to tweak by browsing the internals document.
7883 @subsection Applyoutput
7885 The most versatile way of tuning an object is @code{\applyoutput}. Its
7888 \applyoutput @var{proc}
7892 where @var{proc} is a Scheme function, taking three arguments.
7894 When interpreted, the function @var{proc} is called for every layout
7895 object found in the context, with the following arguments:
7897 @item the layout object itself,
7898 @item the context where the layout object was created, and
7899 @item the context where @code{\applyoutput} is processed.
7903 In addition, the cause of the layout object, i.e. the music
7904 expression or object that was responsible for creating it, is in the
7905 object property @code{cause}. For example, for a note head, this is a
7906 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7907 this is a @internalsref{NoteHead} object.
7909 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7912 (define (blanker grob grob-origin context)
7913 (if (and (memq (ly:get-grob-property grob 'interfaces)
7914 note-head-interface)
7915 (eq? (ly:get-grob-property grob 'staff-position) 0))
7917 (ly:set-grob-property! grob 'transparent #t)))
7922 @node Font selection
7923 @subsection Font selection
7925 The most common thing to change about the appearance of fonts is their
7926 size. The font size of any context can be easily changed by setting
7927 the @code{fontSize} property for that context. Its value is a number:
7928 negative numbers make the font smaller, positive numbers larger. An
7929 example is given below:
7931 @lilypond[fragment,relative=1,verbatim,quote]
7932 c4 c4 \property Voice.fontSize = #-1
7935 This command will set @code{font-size} (see below), and does
7936 not change the size of variable symbols, such as beams or slurs.
7938 One of the uses of @code{fontSize} is to get smaller symbols for cue
7939 notes. An elaborate example of those is in
7940 @inputfileref{input/test,cue-notes.ly}.
7942 @cindex magnification
7945 The font used for printing a object can be selected by setting
7946 @code{font-name}, e.g.
7948 \property Staff.TimeSignature
7949 \set #'font-name = #"cmr17"
7953 Any font can be used, as long as it is available to @TeX{}. Possible
7954 fonts include foreign fonts or fonts that do not belong to the
7955 Computer Modern font family. The size of fonts selected in this way
7956 can be changed with the @code{font-magnification} property. For
7957 example, @code{2.0} blows up all letters by a factor 2 in both
7961 @cindex font magnification
7963 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7964 can also be adjusted with a more fine-grained mechanism. By setting
7965 the object properties described below, you can select a different font;
7966 all three mechanisms work for every object that supports
7967 @code{font-interface}:
7972 is a symbol indicating the general class of the typeface. Supported are
7973 @code{roman} (Computer Modern), @code{braces} (for piano staff
7974 braces), @code{music} (the standard music font, including ancient
7975 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7978 is a symbol indicating the shape of the font, there are typically several
7979 font shapes available for each font family. Choices are @code{italic},
7980 @code{caps} and @code{upright}.
7983 is a symbol indicating the series of the font. There are typically several
7984 font series for each font family and shape. Choices are @code{medium}
7989 For any of these properties, the value @code{*} (i.e. the symbol
7990 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7991 to override default setting, which are always present. For example:
7993 \property Lyrics . LyricText \override #'font-series = #'bold
7994 \property Lyrics . LyricText \override #'font-family = #'typewriter
7995 \property Lyrics . LyricText \override #'font-shape = #'*
7998 @cindex @code{font-style}
8000 The font size is set by modifying the @code{font-size} property. Its
8001 value is a number indicating the size relative to the standard size.
8002 Each step up is an increase of approximately 12% of the font size. Six
8003 steps is exactly a factor two. The Scheme function @code{magstep}
8004 converts a @code{font-size} number to a scaling factor.
8006 LilyPond has fonts in different design sizes: the music fonts for
8007 smaller sizes are chubbier, while the text fonts are relatively wider.
8008 Font size changes are achieved by scaling the design size that is
8009 closest to the desired size.
8011 The @code{font-size} mechanism does not work for fonts selected
8012 through @code{font-name}. These may be scaled with
8013 @code{font-magnification}.
8017 The following commands set @code{fontSize} for the current voice.
8019 @cindex @code{\tiny}
8021 @cindex @code{\small}
8023 @cindex @code{\normalsize}
8028 Init files: @file{ly/declarations-init.ly} contains hints how new
8029 fonts may be added to LilyPond.
8033 There is no style sheet provided for other fonts besides the @TeX{}
8034 Computer Modern family.
8036 @cindex font selection
8037 @cindex font magnification
8038 @cindex @code{font-interface}
8042 @subsection Text markup
8047 @cindex typeset text
8049 LilyPond has an internal mechanism to typeset texts. You can access it
8050 with the keyword @code{\markup}. Within markup mode, you can enter texts
8051 similar to lyrics: simply enter them, surrounded by spaces:
8054 @lilypond[verbatim,fragment,relative=1]
8055 c1^\markup { hello }
8056 c1_\markup { hi there }
8057 c1^\markup { hi \bold there, is \italic anyone home? }
8060 @cindex font switching
8062 The markup in the example demonstrates font switching commands. The
8063 command @code{\bold} and @code{\italic} only apply to the first
8064 following word; enclose a set of texts with braces to apply a command
8067 \markup @{ \bold @{ hi there @} @}
8071 For clarity, you can also do this for single arguments, e.g.
8074 \markup { is \italic { anyone } home }
8077 @cindex font size, texts
8084 * Common text markup commands::
8085 * Markup construction in scheme::
8086 * Markup command definition::
8089 @node Common text markup commands
8090 @subsubsection Common text markup commands
8093 The following size commands set absolute sizes:
8095 @cindex @code{\teeny}
8096 @cindex @code{\tiny}
8097 @cindex @code{\small}
8098 @cindex @code{\large}
8099 @cindex @code{\huge}
8109 You can also make letter larger or smaller relative to their neighbors,
8110 with the commands @code{\larger} and @code{\smaller}.
8114 @cindex font style, for texts
8115 @cindex @code{\bold}
8116 @cindex @code{\dynamic}
8117 @cindex @code{\number}
8118 @cindex @code{\italic}
8120 The following font change commands are defined:
8123 changes to the font used in dynamic signs. This font does not
8124 contain all characters of the alphabet, so when producing ``piu f'',
8125 the ``piu'' should be done in a different font.
8129 changes to the font used in time signatures. It only contains
8130 numbers and a few punctuation marks.
8132 changes @code{font-shape} to @code{italic}.
8134 changes @code{font-series} to @code{bold}.
8137 @cindex raising text
8138 @cindex lowering text
8140 @cindex translating text
8143 @cindex @code{\super}
8145 Raising and lowering texts can be done with @code{\super} and
8148 @lilypond[verbatim,fragment,relative=1]
8149 c1^\markup { E "=" mc \super "2" }
8152 @cindex @code{\raise}
8154 If you want to give an explicit amount for lowering or raising, use
8155 @code{\raise}. This command takes a Scheme valued first argument, and
8156 a markup object as second argument:
8158 @lilypond[verbatim,fragment,relative=1,quote]
8159 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8161 The argument to @code{\raise} is the vertical displacement amount,
8162 measured in (global) staff spaces. @code{\raise} and @code{\super}
8163 raise objects in relation to their surrounding markups. They cannot be
8164 used to move a single text up or down, when it is above or below a
8165 note, since the mechanism that positions it next to the note cancels
8166 any vertical shift. For vertical positioning, use the @code{padding}
8167 and/or @code{extra-offset} properties.
8169 Other commands taking single arguments include
8172 @item \bracket, \hbracket
8173 Bracket the argument markup with normal and horizontal brackets
8177 @cindex @code{\musicglyph}
8178 This is converted to a musical symbol, e.g. @code{\musicglyph
8179 #"accidentals-0"} will select the natural sign from the music font.
8180 See @ref{The Feta font} for a complete listing of the possible glyphs.
8183 This produces a single character, e.g. @code{\char #65} produces the
8186 @item \note @var{duration} @var{dir}
8187 @cindex @code{\note}
8189 This produces a note with a stem pointing in @var{dir} direction, with
8190 the @var{duration} for the note head type and augmentation dots. For
8191 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8192 a shortened down stem.
8194 @item \hspace #@var{amount}
8195 @cindex @code{\hspace}
8196 This produces a invisible object taking horizontal space.
8198 \markup @{ A \hspace #2.0 B @}
8200 will put extra space between A and B, on top of the space that is
8201 normally inserted before elements on a line.
8203 @item \fontsize #@var{size}
8204 @cindex @code{\fontsize}
8205 This sets the relative font size, eg.
8207 A \fontsize #2 @{ B C @} D
8211 This will enlarge the B and the C by two steps.
8212 @item \translate #(cons @var{x} @var{y})
8214 This translates an object. Its first argument is a cons of numbers
8216 A \translate #(cons 2 -3) @{ B C @} D
8218 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8219 surroundings. This command cannot be used to move isolated scripts
8220 vertically, for the same reason that @code{\raise} cannot be used for
8223 @item \magnify #@var{mag}
8224 @cindex @code{\magnify}
8225 This sets the font magnification for the its argument. In the following
8226 example, the middle A will be 10% larger:
8228 A \magnify #1.1 @{ A @} A
8232 @item \override #(@var{key} . @var{value})
8233 @cindex @code{\override}
8234 This overrides a formatting property for its argument. The argument
8235 should be a key/value pair, e.g.
8237 m \override #'(font-family . math) m m
8241 In markup mode you can compose expressions, similar to mathematical
8242 expressions, XML documents and music expressions. The braces group
8243 notes into horizontal lines. Other types of lists also exist: you can
8244 stack expressions grouped with @code{<}, and @code{>} vertically with
8245 the command @code{\column}. Similarly, @code{\center} aligns texts by
8248 @lilypond[verbatim,fragment,relative=1]
8249 c1^\markup { \column < a bbbb c > }
8250 c1^\markup { \center < a bbbb c > }
8251 c1^\markup { \line < a b c > }
8255 Markups can be stored in variables, and these variables
8256 may be attached to notes, like
8258 allegro = \markup { \bold \large { Allegro } }
8259 \notes { a^\allegro b c d }
8263 Some objects have alignment procedures of their own, which cancel out
8264 any effects of alignments applied to their markup arguments as a
8265 whole. For example, the @internalsref{RehearsalMark} is horizontally
8266 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8267 effect. Similarly, whole texts over notes cannot be moved vertically
8268 with @code{\raise}. For moving and aligning complete objects, grob
8269 properties should be used.
8273 Internals: @internalsref{Markup-functions} contains a complete list of
8274 all markup commands.
8276 Init files: @file{scm/new-markup.scm}.
8284 Text layout is ultimately done by @TeX{}, which does kerning of
8285 letters. LilyPond does not account for kerning, so texts will be
8286 spaced slightly too wide.
8288 Syntax errors for markup mode are confusing.
8290 Markup texts cannot be used in the titling of the @code{\header}
8291 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8296 @node Markup construction in scheme
8297 @subsubsection Markup construction in scheme
8299 @cindex defining markup commands
8301 The @code{markup} macro builds markup expressions in Scheme while
8302 providing a LilyPond-like syntax. For example,
8304 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8305 #:bigger #:line ("foo" "bar" "baz")))
8311 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8312 \bigger @{ foo bar baz @} >
8316 This example exposes the main translation rules between regular
8317 LilyPond markup syntax and scheme markup syntax, which are summed up
8319 @multitable @columnfractions .5 .5
8320 @item @b{LilyPond} @tab @b{Scheme}
8321 @item @code{\command} @tab @code{#:command}
8322 @item @code{\variable} @tab @code{variable}
8323 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8324 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8325 @item @code{string} @tab @code{"string"}
8326 @item @code{#scheme-arg} @tab @code{scheme-arg}
8329 Besides, the whole scheme language is accessible inside the
8330 @code{markup} macro: thus, one may use function calls inside
8331 @code{markup} in order to manipulate character strings for
8332 instance. This proves useful when defining new markup commands (see
8333 @ref{Markup command definition}).
8337 One can not feed the @code{#:line} (resp @code{#:center},
8338 @code{#:column}) command with a variable or the result of a function
8341 (markup #:line (fun-that-returns-markups))
8343 is illegal. One should use the @code{make-line-markup} (resp
8344 @code{make-center-markup}, @code{make-column-markup}) function
8347 (markup (make-line-markup (fun-that-returns-markups)))
8350 @node Markup command definition
8351 @subsubsection Markup command definition
8353 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8355 (def-markup-command (@emph{command-name} @emph{paper} @emph{props} @emph{arg1} @emph{arg2} ...) (@emph{arg1-type?} @emph{arg2-type?} ...)
8358 @emph{argi}: i@emph{th} command argument
8359 @emph{argi-type?}: a type predicate for the i@emph{th} argument
8360 @emph{paper}: the `paper' definition
8361 @emph{props}: a list of alists, containing all active properties.
8364 As a simple example, we show how to add a @code{\smallcaps} command,
8365 which selects @TeX{}'s small caps font. Normally, we could select the
8366 small caps font as follows:
8369 \markup { \override #'(font-shape . caps) Text-in-caps }
8372 This selects the caps font by setting the @code{font-shape} property to
8373 @code{#'caps} for interpreting @code{Text-in-caps}.
8375 To make the above available as @code{\smallcaps} command, we have to
8376 define a function using @code{def-markup-command}. The command should
8377 take a single argument, of markup type. Therefore, the start of the
8378 definition should read
8380 (def-markup-command (smallcaps paper props argument) (markup?)
8385 What follows is the content of the command: we should interpret
8386 the @code{argument} as a markup, i.e.
8389 (interpret-markup paper @dots{} argument)
8393 This interpretation should add @code{'(font-shape . caps)} to the active
8394 properties, so we substitute the the following for the @dots{} in the
8398 (cons (list '(font-shape . caps) ) props)
8402 The variable @code{props} is a list of alists, and we prepend to it by
8403 consing a list with the extra setting.
8405 However, suppose that we are using a font that does not have a
8406 small-caps variant. In that case, we have to fake the small caps font,
8407 by setting a string in upcase, with the first letter a little larger:
8410 #(def-markup-command (smallcaps paper props str) (string?)
8411 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8412 (interpret-markup paper props
8415 (if (= (string-length s) 0)
8417 (markup #:large (string-upcase (substring s 0 1))
8418 #:translate (cons -0.6 0)
8419 #:tiny (string-upcase (substring s 1)))))
8420 (string-split str #\Space)))))
8423 The @code{smallcaps} command first splits its string argument into
8424 tokens separated by spaces (@code{(string-split str #\Space)}); for
8425 each token, a markup is built with the first letter made large and
8426 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8427 second markup built with the following letters made tiny and upcased
8428 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8429 introduces a space between markups on a line, the second markup is
8430 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8431 the markups built for each token are put in a line
8432 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8433 passed to the @code{interpret-markup} function, with the @code{paper}
8434 and @code{props} arguments.
8436 Finally, suppose that we are typesetting a recitative in an opera, and
8437 we would like to define a command that will show character names in a
8438 custom manner. Names should be printed with small caps and translated a
8439 bit to the left and top. We will define a @code{\character} command
8440 that takes into account the needed translation, and uses the newly
8441 defined @code{\smallcaps} command:
8444 #(def-markup-command (character paper props name) (string?)
8445 "Print the character name in small caps, translated to the left and
8446 top. Syntax: \\character #\"name\""
8447 (interpret-markup paper props
8448 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8451 There is one complication that needs explanation: texts above and below
8452 the staff are moved vertically to be at a certain distance (the
8453 @code{padding} property) from the staff and the notes. To make sure
8454 that this mechanism does not annihilate the vertical effect of our
8455 @code{#:translate}, we add an empty string (@code{""}) before the
8456 translated text. Now the @code{""} will be put above the notes, and the
8457 @code{name} is moved in relation to that empty string. The net effect is
8458 that the text is moved to the upper left.
8460 The final result is as follows:
8464 c''^\markup \character #"Cleopatra"
8465 e'^\markup \character #"Giulio Cesare"
8470 @lilypond[raggedright]
8471 #(def-markup-command (smallcaps paper props str) (string?)
8472 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8473 (interpret-markup paper props
8476 (if (= (string-length s) 0)
8478 (markup #:large (string-upcase (substring s 0 1))
8479 #:translate (cons -0.6 0)
8480 #:tiny (string-upcase (substring s 1)))))
8481 (string-split str #\Space)))))
8483 #(def-markup-command (character paper props name) (string?)
8484 "Print the character name in small caps, translated to the left and
8485 top. Syntax: \\character #\"name\""
8486 (interpret-markup paper props
8487 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8491 c''^\markup \character #"Cleopatra"
8492 e'^\markup \character #"Giulio Cesare"
8500 @section Global layout
8502 The global layout determined by three factors: the page layout, the
8503 line breaks and the spacing. These all influence each other. The
8504 choice of spacing determines how densely each system of music is set,
8505 which influences where line breaks breaks are chosen, and thus
8506 ultimately how many pages a piece of music takes. This section
8507 explains how to tune the algorithm for spacing.
8509 Globally spoken, this procedure happens in three steps: first,
8510 flexible distances (``springs'') are chosen, based on durations. All
8511 possible line breaking combination are tried, and the one with the
8512 best results---a layout that has uniform density and requires as
8513 little stretching or cramping as possible---is chosen. When the score
8514 is processed by @TeX{}, each page is filled with systems, and page breaks
8515 are chosen whenever the page gets full.
8520 * Vertical spacing::
8521 * Horizontal spacing::
8528 @node Vertical spacing
8529 @subsection Vertical spacing
8531 @cindex vertical spacing
8532 @cindex distance between staves
8533 @cindex staff distance
8534 @cindex between staves, distance
8535 @cindex staffs per page
8536 @cindex space between staves
8538 The height of each system is determined automatically by LilyPond, to
8539 keep systems from bumping into each other, some minimum distances are
8540 set. By changing these, you can put staves closer together, and thus
8541 put more systems onto one page.
8543 Normally staves are stacked vertically. To make
8544 staves maintain a distance, their vertical size is padded. This is
8545 done with the property @code{minimumVerticalExtent}. It takes a pair
8546 of numbers, so if you want to make it smaller from its, then you could
8549 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8551 This sets the vertical size of the current staff to 4 staff spaces on
8552 either side of the center staff line. The argument of
8553 @code{minimumVerticalExtent} is interpreted as an interval, where the
8554 center line is the 0, so the first number is generally negative. The
8555 staff can be made larger at the bottom by setting it to @code{(-6
8558 The piano staves are handled a little differently: to make cross-staff
8559 beaming work correctly, it is necessary that the distance between staves
8560 is fixed beforehand. This is also done with a
8561 @internalsref{VerticalAlignment} object, created in
8562 @internalsref{PianoStaff}. In this object the distance between the
8563 staves is fixed by setting @code{forced-distance}. If you want to
8564 override this, use a @code{\translator} block as follows:
8568 VerticalAlignment \override #'forced-distance = #9
8571 This would bring the staves together at a distance of 9 staff spaces,
8572 measured from the center line of each staff.
8576 Internals: Vertical alignment of staves is handled by the
8577 @internalsref{VerticalAlignment} object.
8581 @node Horizontal spacing
8582 @subsection Horizontal Spacing
8584 The spacing engine translates differences in durations into
8585 stretchable distances (``springs'') of differing lengths. Longer
8586 durations get more space, shorter durations get less. The shortest
8587 durations get a fixed amount of space (which is controlled by
8588 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8589 The longer the duration, the more space it gets: doubling a
8590 duration adds a fixed amount (this amount is controlled by
8591 @code{spacing-increment}) of space to the note.
8593 For example, the following piece contains lots of half, quarter and
8594 8th notes, the eighth note is followed by 1 note head width (NHW).
8595 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8596 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8600 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8601 width of a note head, and @code{shortest-duration-space} is set to
8602 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8603 @code{shortest-duration-space}) of space. For normal notes, this space
8604 is always counted from the left edge of the symbol, so the shortest
8605 notes are generally followed by one NHW of space.
8607 If one would follow the above procedure exactly, then adding a single
8608 32th note to a score that uses 8th and 16th notes, would widen up the
8609 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8610 thus adding 1 NHW to every note. To prevent this, the
8611 shortest duration for spacing is not the shortest note in the score,
8612 but the most commonly found shortest note. Notes that are even
8613 shorter this are followed by a space that is proportional to their
8614 duration relative to the common shortest note. So if we were to add
8615 only a few 16th notes to the example above, they would be followed by
8618 @lilypond[fragment,verbatim,relative=2]
8619 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8622 The most common shortest duration is determined as follows: in every
8623 measure, the shortest duration is determined. The most common short
8624 duration, is taken as the basis for the spacing, with the stipulation
8625 that this shortest duration should always be equal to or shorter than
8626 1/8th note. The shortest duration is printed when you run lilypond
8627 with @code{--verbose}. These durations may also be customized. If you
8628 set the @code{common-shortest-duration} in
8629 @internalsref{SpacingSpanner}, then this sets the base duration for
8630 spacing. The maximum duration for this base (normally 1/8th), is set
8631 through @code{base-shortest-duration}.
8633 @cindex @code{common-shortest-duration}
8634 @cindex @code{base-shortest-duration}
8635 @cindex @code{stem-spacing-correction}
8636 @cindex @code{spacing}
8638 In the introduction it was explained that stem directions influence
8639 spacing. This is controlled with @code{stem-spacing-correction}
8640 property in @internalsref{NoteSpacing}, which are generated for every
8641 @internalsref{Voice} context. The @code{StaffSpacing} object
8642 (generated at @internalsref{Staff} context) contains the same property
8643 for controlling the stem/barline spacing. The following example
8644 shows these corrections, once with default settings, and once with
8645 exaggerated corrections:
8651 \property Staff.NoteSpacing \override #'stem-spacing-correction
8653 \property Staff.StaffSpacing \override #'stem-spacing-correction
8658 \paper { raggedright = ##t } }
8661 @cindex SpacingSpanner, overriding properties
8663 Properties of the @internalsref{SpacingSpanner} must be overridden
8664 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8665 created before any @code{\property} statements are interpreted.
8667 \paper @{ \translator @{
8669 SpacingSpanner \override #'spacing-increment = #3.0
8676 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8677 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8678 @internalsref{SeparatingGroupSpanner}.
8682 Spacing is determined on a score wide basis. If you have a score that
8683 changes its character (measured in durations) halfway during the
8684 score, the part containing the longer durations will be spaced too
8687 There is no convenient mechanism to manually override spacing.
8692 @subsection Font size
8693 @cindex font size, setting
8694 @cindex staff size, setting
8695 @cindex @code{paper} file
8697 The Feta font provides musical symbols at eight seven different
8698 sizes. Each font is tuned for a different staff size: at smaller sizes
8699 the font gets heavier, to match the relatively heavier staff lines.
8700 The recommended font sizes are listed in the following table:
8702 @multitable @columnfractions .25 .25 .25 .25
8705 @tab @b{staff height (pt)}
8706 @tab @b{staff height (mm)}
8748 @c modern rental material ?
8752 These fonts are available in any sizes. The context property
8753 @code{fontSize} and the layout property @code{staff-space} (in
8754 @internalsref{StaffSymbol}) can be used to tune size for individual
8755 staffs. The size of individual staffs are relative to the global size,
8756 which can be set in the following manner:
8759 #(set-global-staff-size 14)
8762 This sets the global default size to 14pt staff height, and scales all
8768 @subsection Line breaking
8771 @cindex breaking lines
8773 Line breaks are normally computed automatically. They are chosen such
8774 that lines look neither cramped nor loose, and that consecutive lines
8775 have similar density.
8777 Occasionally you might want to override the automatic breaks; you can
8778 do this by specifying @code{\break}. This will force a line break at
8779 this point. Line breaks can only occur at places where there are bar
8780 lines. If you want to have a line break where there is no bar line,
8781 you can force an invisible bar line by entering @code{\bar
8782 ""}. Similarly, @code{\noBreak} forbids a line break at a
8786 @cindex regular line breaks
8787 @cindex four bar music.
8789 For linebreaks at regular intervals use @code{\break} separated by
8790 skips and repeated with @code{\repeat}:
8792 << \repeat unfold 7 @{
8793 s1 \noBreak s1 \noBreak
8794 s1 \noBreak s1 \break @}
8795 @emph{the real music}
8800 This makes the following 28 measures (assuming 4/4 time) be broken every
8801 4 measures, and only there.
8805 @code{\break}, @code{\noBreak}
8806 @cindex @code{\break}
8807 @cindex @code{\noBreak}
8811 Internals: @internalsref{BreakEvent}.
8815 @subsection Page layout
8818 @cindex breaking pages
8820 @cindex @code{indent}
8821 @cindex @code{linewidth}
8823 The most basic settings influencing the spacing are @code{indent} and
8824 @code{linewidth}. They are set in the @code{\paper} block. They
8825 control the indentation of the first line of music, and the lengths of
8828 If @code{raggedright} is set to true in the @code{\paper}
8829 block, then the lines are justified at their natural length. This
8830 useful for short fragments, and for checking how tight the natural
8834 @cindex vertical spacing
8836 The page layout process happens outside the LilyPond formatting
8837 engine: variables controlling page layout are passed to the output,
8838 and are further interpreted by @code{lilypond} wrapper program. It
8839 responds to the following variables in the @code{\paper} block. The
8840 variable @code{textheight} sets the total height of the music on each
8841 page. The spacing between systems is controlled with
8842 @code{interscoreline}, its default is 16pt. The distance between the
8843 score lines will stretch in order to fill the full page
8844 @code{interscorelinefill} is set to a positive number. In that case
8845 @code{interscoreline} specifies the minimum spacing.
8847 @cindex @code{textheight}
8848 @cindex @code{interscoreline}
8849 @cindex @code{interscorelinefill}
8851 If the variable @code{lastpagefill} is defined,
8852 @c fixme: this should only be done if lastpagefill= #t
8853 systems are evenly distributed vertically on the last page. This
8854 might produce ugly results in case there are not enough systems on the
8855 last page. The @command{lilypond-book} command ignores
8856 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8859 @cindex @code{lastpagefill}
8861 Page breaks are normally computed by @TeX{}, so they are not under
8862 direct control of LilyPond. However, you can insert a commands into
8863 the @file{.tex} output to instruct @TeX{} where to break pages. This
8864 is done by setting the @code{between-systems-strings} on the
8865 @internalsref{NonMusicalPaperColumn} where the system is broken.
8866 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8867 The predefined command @code{\newpage} also does this.
8871 @cindex @code{papersize}
8873 To change the paper size, use the following Scheme code:
8876 #(set-paper-size "a4")
8883 @cindex @code{\newpage}
8889 In this manual @ref{Invoking lilypond}
8891 Examples: @inputfileref{input/regression,between-systems.ly}
8893 Internals: @internalsref{NonMusicalPaperColumn}.
8897 LilyPond has no concept of page layout, which makes it difficult to
8898 reliably choose page breaks in longer pieces.
8907 Entered music can also be converted to MIDI output. The performance
8908 is good enough for proof-hearing the music for errors.
8910 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8911 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8912 marks translate to a fixed fraction of the available MIDI volume
8913 range, crescendi and decrescendi make the volume vary linearly between
8914 their two extremities. The fractions can be adjusted by
8915 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8916 For each type of MIDI instrument, a volume range can be defined. This
8917 gives a basic equalizer control, which can enhance the quality of
8918 the MIDI output remarkably. The equalizer can be controlled by
8919 setting @code{instrumentEqualizer}.
8923 Many musically interesting effects, such as swing, articulation,
8924 slurring, etc., are not translated to MIDI.
8926 Since slurs are not interpreted, @code{\lyricsto} and
8927 @code{\addlyrics} sections will be interpreted wrongly.
8929 The MIDI output allocates a channel for each Staff, and one for global
8930 settings. Hence, the MIDI file should not have more than 15 staves
8931 (or 14 if you do not use drums).
8936 * MIDI instrument names::
8941 @subsection MIDI block
8945 The MIDI block is analogous to the paper block, but it is somewhat
8946 simpler. The @code{\midi} block can contain:
8950 @item a @code{\tempo} definition, and
8951 @item context definitions.
8954 Assignments in the @code{\midi} block are not allowed.
8956 A number followed by a period is interpreted as a real number, so
8957 for setting the tempo for dotted notes, an extra space should be
8958 inserted, for example:
8961 \midi @{ \tempo 4 . = 120 @}
8965 @cindex context definition
8967 Context definitions follow precisely the same syntax as within the
8968 \paper block. Translation modules for sound are called performers.
8969 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8972 @node MIDI instrument names
8973 @subsection MIDI instrument names
8975 @cindex instrument names
8976 @cindex @code{Staff.midiInstrument}
8978 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8979 property. The instrument name should be chosen from the list in
8980 @ref{MIDI instruments}.
8984 If the selected string does not exactly match, then the default is
8985 used, which is the Grand Piano.