3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[singleline,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[singleline,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[singleline,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[singleline,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative 2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a @internalsref{Stem} object is created
367 automatically. For whole notes and rests, they are also created but
372 @cindex @code{\stemUp}
374 @cindex @code{\stemDown}
376 @cindex @code{\stemBoth}
387 A tie connects two adjacent note heads of the same pitch. The tie in
388 effect extends the length of a note. Ties should not be confused with
389 slurs, which indicate articulation, or phrasing slurs, which indicate
390 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
392 @lilypond[fragment,verbatim,center]
393 e' ~ e' <c' e' g'> ~ <c' e' g'>
396 When a tie is applied to a chord, all note heads whose pitches match
397 are connected. When no note heads match, no ties will be created.
399 In its meaning a tie is just a way of extending a note duration, similar
400 to the augmentation dot; in the following example there are two ways of
401 notating exactly the same concept:
403 @lilypond[fragment, singleline,quote]
404 \time 3/4 c'2. c'2 ~ c'4
406 If you need to tie a lot of notes over bars, it may be easier to use automatic
407 note splitting (See @ref{Automatic note splitting}).
412 @cindex @code{\tieUp}
414 @cindex @code{\tieDown}
416 @cindex @code{\tieBoth}
418 @cindex @code{\tieDotted}
420 @cindex @code{\tieSolid}
425 In this manual: @ref{Automatic note splitting}.
427 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 Examples: if you want less ties created for a chord, see
431 @inputfileref{input/test,tie-sparse.ly}.
433 For tying only a subset of the note heads of a pair of chords, see
434 @inputfileref{input/regression,tie-chord-partial.ly}.
439 Switching staves when a tie is active will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
462 The duration of @var{musicexpr} will be multiplied by the fraction.
463 The fraction's denominator will be printed over the notes, optionally
464 with a bracket. The most common tuplet is the triplet in which 3
465 notes have the length of 2, so the notes are 2/3 of their written
468 @lilypond[fragment,verbatim,center]
469 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
472 The property @code{tupletSpannerDuration} specifies how long each
473 bracket should last. With this, you can make lots of tuplets while
474 typing @code{\times} only once, saving lots of typing. In the next
475 example, there are two triplets shown, while @code{\times} was only
478 @lilypond[fragment, relative, singleline, verbatim]
479 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
480 \times 2/3 { c'8 c c c c c }
483 The format of the number is determined by the property
484 @code{tupletNumberFormatFunction}. The default prints only the
485 denominator, but if it is set to the Scheme function
486 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
490 @cindex @code{tupletNumberFormatFunction}
491 @cindex tuplet formatting
496 @cindex @code{\tupletUp}
498 @cindex @code{\tupletDown}
500 @cindex @code{\tupletBoth}
505 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
509 Nested tuplets are not formatted automatically. In this case, outer
510 tuplet brackets should be moved manually.
512 @node Easy Notation note heads
513 @subsection Easy Notation note heads
515 @cindex easy notation
518 The `easy play' note head includes a note name inside the head. It is
519 used in music aimed at beginners:
521 @lilypond[singleline,verbatim,26pt]
523 \notes { c'2 e'4 f' | g'1 }
524 \paper { \translator { \EasyNotation } }
528 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
529 You probably will want to print it with magnification or a
530 large font size to make it more readable. To print with
531 magnification, you must create a DVI file (with @file{lilypond}) and
532 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
533 See the @code{dvips} documentation for more details. To print with a
534 larger font, see @ref{Font Size}.
540 If you view the result with Xdvi, then staff lines will show through
541 the letters. Printing the PostScript file obtained does produce the
545 @node Easier music entry
546 @section Easier music entry
549 When entering music it is easy to introduce errors. This section deals
550 with tricks and features of the input language that were added solely
551 to help entering music, and find and correct mistakes.
553 It is also possible to use external programs, for example GUI
554 interfaces, or MIDI transcription programs, to enter or edit
555 music. Refer to the website for more information. Finally, there are
556 tools make debugging easier, by linking the input file and the output
557 shown on screen. See @ref{Point and click} for more information.
564 * Skipping corrected music::
565 * Automatic note splitting::
571 @node Relative octaves
572 @subsection Relative octaves
574 @cindex relative octave specification
576 Octaves are specified by adding @code{'} and @code{,} to pitch names.
577 When you copy existing music, it is easy to accidentally put a pitch
578 in the wrong octave and hard to find such an error. The relative
579 octave mode prevents these errors: a single error puts the rest of the
580 piece off by one octave:
582 @cindex @code{\relative}
584 \relative @var{startpitch} @var{musicexpr}
587 The octave of notes that appear in @var{musicexpr} are calculated as
588 follows: If no octave changing marks are used, the basic interval
589 between this and the last note is always taken to be a fourth or less
590 (; this distance is determined without regarding alterations: a
591 @code{fisis} following a @code{ceses} will be put above the
594 The octave changing marks @code{'} and @code{,} can be added to raise
595 or lower the pitch by an extra octave. Upon entering relative mode,
596 an absolute starting pitch must be specified that will act as the
597 predecessor of the first note of @var{musicexpr}.
599 Here is the relative mode shown in action:
600 @lilypond[fragment,singleline,verbatim,center]
606 Octave changing marks are used for intervals greater than a fourth:
607 @lilypond[fragment,verbatim,center]
612 If the preceding item is a chord, the first note of the chord is used
613 to determine the first note of the next chord:
615 @lilypond[fragment,verbatim,center]
622 @cindex @code{\notes}
624 The pitch after the @code{\relative} contains a note name. To parse
625 the pitch as a note name, you have to be in note mode, so there must
626 be a surrounding @code{\notes} keyword (which is not
629 The relative conversion will not affect @code{\transpose},
630 @code{\chords} or @code{\relative} sections in its argument. If you
631 want to use relative within transposed music, you must place an
632 additional @code{\relative} inside the @code{\transpose}.
635 @subsection Octave check
638 Octave checks make octave errors easier to correct: a note may be
639 followed by @code{=}@var{quotes} which indicates what its absolute
640 octave should be. In the following example,
642 \relative c'' @{ c='' b=' d,='' @}
646 the @code{d} will generate a warning, because a @code{d''} is
647 expected, but a @code{d'} is found. In the output, the octave is
648 corrected this and the following notes.
650 There is also a syntax that is separate from the notes.
655 This checks that @var{pitch} (without octave) yields @var{pitch} (with
656 octave) in \relative mode. If not, a warning is printed, and the
657 octave is corrected, for example, the first check is passed
658 successfully. The second check fails with an error message. The
659 octave is adjusted so the following notes are in the correct octave
670 The octave of a note following an octave check is determined with
671 respect to the note preceding it. In the next fragment, the last note
672 is a @code{a'}, above central C. Hence, the @code{\octave} check may
673 be deleted without changing the meaning of the piece.
675 @lilypond[verbatim,fragment]
684 @subsection Bar check
688 @cindex @code{barCheckSynchronize}
691 Bar checks help detect errors in the durations. A bar check is
692 entered using the bar symbol, `@code{|}'. Whenever it is encountered
693 during interpretation, it should fall on a measure boundary. If it
694 does not, a warning is printed. Depending on the value of
695 @code{barCheckSynchronize}, the beginning of the measure will be
698 In the next example, the second bar check will signal an error:
700 \time 3/4 c2 e4 | g2 |
703 Bar checks can also be used in lyrics, for example
708 Twin -- kle | Twin -- kle
713 @cindex skipTypesetting
715 Failed bar checks are caused by entering incorrect
716 durations. Incorrect durations often completely garble up the score,
717 especially if it is polyphonic, so you should start correcting the
718 score by scanning for failed bar checks and incorrect durations. To
719 speed up this process, you can use @code{skipTypesetting}, described
722 @node Skipping corrected music
723 @subsection Skipping corrected music
725 The property @code{Score.skipTypesetting} can be used to switch on and
726 off typesetting completely during the interpretation phase. When
727 typesetting is switched off, the music is processed much more quickly.
728 This can be used to skip over the parts of a score that have already
729 been checked for errors:
731 @lilypond[fragment,singleline,verbatim]
733 \property Score.skipTypesetting = ##t
735 \property Score.skipTypesetting = ##f
739 @node Automatic note splitting
740 @subsection Automatic note splitting
742 Long notes can be converted automatically to tied notes. This is done
743 by replacing the @internalsref{Note_heads_engraver} by the
744 @internalsref{Completion_heads_engraver}:
747 \paper @{ \translator @{
749 \remove "Note_heads_engraver"
750 \consists "Completion_heads_engraver"
754 which will make long notes tied in the following example:
757 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
764 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
766 \paper { \translator {
768 \remove "Note_heads_engraver"
769 \consists "Completion_heads_engraver"
774 This engraver splits all running notes at the bar line, and inserts
775 ties. One of its uses is to debug complex scores: if the measures are
776 not entirely filled, then the ties exactly show how much each measure
781 Not all durations (especially those containing tuplets) can be
782 represented exactly; the engraver will not insert tuplets.
788 @section Staff notation
790 This section describes music notation that occurs on staff level,
791 such as keys, clefs and time signatures.
793 @cindex Staff notation
807 @subsection Staff symbol
809 @cindex adjusting staff symbol
810 @cindex StaffSymbol, using \property
812 Notes, dynamic signs, etc. are grouped
813 with a set of horizontal lines, into a staff (plural `staves'). In our
814 system, these lines are drawn using a separate layout object called
818 @cindex staff lines, setting number of
819 @cindex staff lines, setting thickness of
820 @cindex thickness of staff lines, setting
821 @cindex number of staff lines, setting
825 Internals: @internalsref{StaffSymbol},
827 Examples: @inputfileref{input/test,staff-lines.ly},
828 @inputfileref{input/test,staff-size.ly}
832 If a staff is ended halfway a piece, the staff symbol may not end
833 exactly on the barline.
837 @subsection Key signature
838 @cindex Key signature
842 The key signature indicates the scale in which a piece is played. It
843 is denoted by a set of alterations (flats or sharps) at the start of
848 Setting or changing the key signature is done with the @code{\key}
851 @code{\key} @var{pitch} @var{type}
854 @cindex @code{\minor}
855 @cindex @code{\major}
856 @cindex @code{\minor}
857 @cindex @code{\ionian}
858 @cindex @code{\locrian}
859 @cindex @code{\aeolian}
860 @cindex @code{\mixolydian}
861 @cindex @code{\lydian}
862 @cindex @code{\phrygian}
863 @cindex @code{\dorian}
865 Here, @var{type} should be @code{\major} or @code{\minor} to get
866 @var{pitch}-major or @var{pitch}-minor, respectively.
867 The standard mode names @code{\ionian},
868 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
869 @code{\phrygian}, and @code{\dorian} are also defined.
871 This command sets the context property
872 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
873 can be specified by setting this property directly.
875 Accidentals and key signatures often confuse new users, because
876 unaltered notes get natural signs depending on the keysignature. The
877 tutorial explains why this is so in @ref{More about pitches}.
881 The ordering of a key cancellation is wrong when it is combined with
882 repeat bar lines. The cancellation is also printed after a line break.
886 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
888 @cindex @code{keySignature}
895 The clef indicates which lines of the staff correspond to which
900 The clef can be set or changed with the @code{\clef} command:
901 @lilypond[fragment,verbatim]
902 \key f\major c''2 \clef alto g'2
905 Supported clef-names include:
906 @c Moved standard clefs to the top /MB
910 @item treble, violin, G, G2
923 G clef on 1st line, so-called French violin clef
928 @cindex mezzosoprano clef
931 @cindex baritone clef
934 @cindex varbaritone clef
943 By adding @code{_8} or @code{^8} to the clef name, the clef is
944 transposed one octave down or up, respectively, and @code{_15} and
945 @code{^15} transposes by two octaves. The argument @var{clefname}
946 must be enclosed in quotes when it contains underscores or digits. For
950 @cindex choral tenor clef
951 @lilypond[verbatim,fragment,relative]
955 This command is equivalent to setting @code{clefGlyph},
956 @code{clefPosition} (which controls the Y position of the clef),
957 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
958 when any of these properties are changed.
962 Internals: the object for this symbol is @internalsref{Clef}.
966 @node Ottava brackets
967 @subsection Ottava brackets
969 ``Ottava'' brackets introduce an extra transposition of an octave for
970 the staff. They are created by invoking the function
971 @code{set-octavation}:
977 @lilypond[verbatim,fragment]
986 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
987 (for 15ma) as arguments. Internally the function sets the properties
988 @code{ottavation} (eg. to @code{"8va"}) and
989 @code{centralCPosition}. For overriding the text of the bracket, set
990 @code{ottavation} after invoking @code{set-octavation}, i.e.,
994 \property Staff.ottavation = #"8"
999 Internals: @internalsref{OttavaSpanner}.
1001 Examples: @inputfileref{input/regression,ottava.ly},
1002 @inputfileref{input/regression,ottava-broken.ly}.
1006 @code{set-octavation} will get confused when clef changes happen
1007 during an octavation bracket.
1009 @node Time signature
1010 @subsection Time signature
1011 @cindex Time signature
1013 @cindex @code{\time}
1015 Time signature indicates the metrum of a piece: a regular pattern of
1016 strong and weak beats. It is denoted by a fraction at the start of the
1021 The time signature is set or changed by the @code{\time}
1023 @lilypond[fragment,verbatim]
1024 \time 2/4 c'2 \time 3/4 c'2.
1027 The symbol that is printed can be customized with the @code{style}
1028 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1029 2/2 time. There are many more options for its layout. See
1030 @inputfileref{input/test,time.ly} for more examples.
1033 This command sets the property @code{timeSignatureFraction},
1034 @code{beatLength} and @code{measureLength} in the @code{Timing}
1035 context, which is normally aliased to @internalsref{Score}. The
1036 property @code{measureLength} determines where bar lines should be
1037 inserted, and how automatic beams should be generated. Changing the
1038 value of @code{timeSignatureFraction} also causes the symbol to be
1041 More options are available through the Scheme function
1042 @code{set-time-signature}. In combination with the
1043 @internalsref{Measure_grouping_engraver}, it will create
1044 @internalsref{MeasureGrouping} signs. Such signs ease reading
1045 rhythmically complex modern music. In the following example, the 9/8
1046 measure is subdivided in 2, 2, 2 and 3. This is passed to
1047 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1050 \score { \notes \relative c'' {
1051 #(set-time-signature 9 8 '(2 2 2 3))
1052 g8[ g] d[ d] g[ g] a8[( bes g]) |
1053 #(set-time-signature 5 8 '(3 2))
1058 \translator { \StaffContext
1059 \consists "Measure_grouping_engraver"
1065 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1070 Automatic beaming does not use measure grouping specified with
1071 @code{set-time-signature}.
1073 @node Partial measures
1074 @subsection Partial measures
1077 @cindex partial measure
1078 @cindex measure, partial
1079 @cindex shorten measures
1080 @cindex @code{\partial}
1082 Partial measures, for example in upsteps, are entered using the
1083 @code{\partial} command:
1084 @lilypond[fragment,verbatim,relative 1]
1085 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1088 The syntax for this command is
1090 \partial @var{duration}
1092 This is internally translated into
1094 \property Timing.measurePosition = -@var{length of duration}
1097 The property @code{measurePosition} contains a rational number
1098 indicating how much of the measure has passed at this point.
1100 @node Unmetered music
1101 @subsection Unmetered music
1103 Bar lines and bar numbers are calculated automatically. For unmetered
1104 music (e.g. cadenzas), this is not desirable. By setting
1105 @code{Score.timing} to false, this automatic timing can be switched
1111 @cindex @code{\cadenzaOn}
1113 @cindex @code{\cadenzaOff}
1117 @subsection Bar lines
1121 @cindex measure lines
1125 Bar lines delimit measures, but are also used to indicate repeats.
1126 Normally, they are inserted automatically. Line breaks may only
1132 of barlines can be forced with the @code{\bar} command:
1134 @lilypond[relative=1,fragment,verbatim]
1138 The following bar types are available:
1139 @lilypond[fragment, relative, singleline, verbatim]
1152 For allowing linebreaks, there is a special command,
1156 This will insert an invisible barline, and allow linebreaks at this
1159 In scores with many staves, a @code{\bar} command in one staff is
1160 automatically applied to all staves. The resulting bar lines are
1161 connected between different staves of a @internalsref{StaffGroup}:
1163 @lilypond[fragment, verbatim]
1164 << \context StaffGroup <<
1168 \new Staff { \clef bass c4 g e g } >>
1169 \new Staff { \clef bass c2 c2 } >>
1173 The command @code{\bar @var{bartype}} is a short cut for doing
1174 @code{\property Score.whichBar = @var{bartype}} Whenever
1175 @code{whichBar} is set to a string, a bar line of that type is
1176 created. At the start of a measure it is set to
1177 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1178 to override default measure bars.
1180 Property @code{whichBar} can also be set directly, using @code{\property}
1181 or @code{\bar}. These settings take precedence over the automatic
1182 @code{whichBar} settings.
1185 @cindex repeatCommands
1186 @cindex defaultBarType
1188 You are encouraged to use @code{\repeat} for repetitions. See
1195 In this manual: @ref{Repeats}.
1198 Internals: the bar line objects that are created at
1199 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1200 lines that span staves are @internalsref{SpanBar}s.
1202 @cindex bar lines at start of system
1203 @cindex start of system
1205 The barlines at the start of each system are
1206 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1207 @internalsref{SystemStartBracket}. Only one of these types is created
1208 in every context, and that type is determined by the property
1209 @code{systemStartDelimiter}.
1211 Examples: @inputfileref{input/test,bar-lines.ly},
1217 The easiest way to enter fragments with more than one voice on a staff
1218 is to split chords using the separator @code{\\}. You can use it for
1219 small, short-lived voices or for single chords:
1221 @lilypond[verbatim,fragment]
1222 \context Staff \relative c'' {
1223 c4 << { f d e } \\ { b c2 } >>
1224 c4 << g' \\ b, \\ f' \\ d >>
1228 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1229 voices are sometimes called "layers" other notation packages}
1231 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1232 each of these contexts, vertical direction of slurs, stems, etc. is set
1235 @cindex @code{\voiceOne}
1236 @cindex @code{\voiceFour}
1238 This can also be done by instantiating @internalsref{Voice} contexts
1239 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1240 a stem directions and horizontal shift for each part:
1243 @lilypond[singleline, verbatim]
1245 \context Staff << \new Voice { \voiceOne cis2 b }
1246 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1247 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1251 The command @code{\oneVoice} will revert back to the normal setting.
1252 @cindex @code{\oneVoice}
1255 Normally, note heads with a different number of dots are not merged, but
1256 when the object property @code{merge-differently-dotted} is set in
1257 the @internalsref{NoteCollision} object, they are merged:
1258 @lilypond[verbatim,fragment,singleline]
1259 \relative c'' \context Voice << {
1261 \property Staff.NoteCollision \override
1262 #'merge-differently-dotted = ##t
1264 } \\ { g8.[ f16] g8.[ f16] }
1268 Similarly, you can merge half note heads with eighth notes, by setting
1269 @code{merge-differently-headed}:
1270 @lilypond[fragment, relative=2,verbatim]
1273 \property Staff.NoteCollision
1274 \override #'merge-differently-headed = ##t
1275 c8 c4. } \\ { c2 c2 } >>
1278 LilyPond also vertically shifts rests that are opposite of a stem:
1281 @lilypond[singleline,fragment,verbatim]
1282 \context Voice << c''4 \\ r4 >>
1290 @cindex @code{\oneVoice}
1292 @cindex @code{\voiceOne}
1294 @cindex @code{\voiceTwo}
1296 @cindex @code{\voiceThree}
1298 @cindex @code{\voiceFour}
1302 The following commands specify in what chords of the current voice
1303 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1304 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1307 @cindex @code{\shiftOn}
1309 @cindex @code{\shiftOnn}
1311 @cindex @code{\shiftOnnn}
1313 @cindex @code{\shiftOff}
1320 Internals: the objects responsible for resolving collisions are
1321 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1323 Examples: See also example files
1324 @inputfileref{input/regression,collision-dots.ly},
1325 @inputfileref{input/regression,collision-head-chords.ly},
1326 @inputfileref{input/regression,collision-heads.ly},
1327 @inputfileref{input/regression,collision-mesh.ly}, and
1328 @inputfileref{input/regression,collisions.ly}.
1333 Resolving collisions is a intricate subject, and only a few situations
1334 are handled. When LilyPond cannot cope, the @code{force-hshift}
1335 property of the @internalsref{NoteColumn} object and pitched rests can
1336 be used to override typesetting decisions.
1338 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1339 note, and a downstem half note, the 8th note gets the wrong offset.
1341 There is no support for clusters where the same note occurs with
1342 different accidentals in the same chord. In this case, it is
1343 recommended to use enharmonic transcription, or to use special cluster
1344 notation (see @ref{Clusters}).
1349 Beams are used to group short notes into chunks that are aligned with
1350 the metrum. They are inserted automatically in most cases:
1352 @lilypond[fragment,verbatim, relative=2]
1353 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1356 When these automatic decisions are not good enough, beaming can be
1357 entered explicitly. It is also possible to define beaming patterns
1358 that differ from the defaults.
1362 Internals: @internalsref{Beam}.
1365 @cindex Automatic beams
1366 @subsection Manual beams
1367 @cindex beams, manual
1371 In some cases it may be necessary to override the automatic beaming
1372 algorithm. For example, the auto beamer will not put beams over rests
1373 or bar lines. Such beams are specified by manually: the begin and end
1374 point are marked with @code{[} and @code{]}:
1376 @lilypond[fragment,relative,verbatim]
1378 r4 r8[ g' a r8] r8 g[ | a] r8
1382 @cindex @code{stemLeftBeamCount}
1384 Normally, beaming patterns within a beam are determined automatically.
1385 When this mechanism fouls up, the properties
1386 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1387 be used to control the beam subdivision on a stem. If either property
1388 is set, its value will be used only once, and then it is erased.
1390 @lilypond[fragment,relative,verbatim]
1393 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1396 @cindex @code{stemRightBeamCount}
1399 The property @code{subdivideBeams} can be set in order to subdivide
1400 all 16th or shorter beams at beat positions, as defined by the
1401 @code{beatLength} property . This accomplishes the same effect as
1402 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1403 but it take less typing:
1406 @lilypond[relative=1,verbatim,noindent]
1408 \property Voice.subdivideBeams = ##t
1410 \property Score.beatLength = #(ly:make-moment 1 8)
1413 @cindex subdivideBeams
1415 Kneed beams are inserted automatically, when a large gap is detected
1416 between the note heads. This behavior can be tuned through the object
1417 property @code{auto-knee-gap}.
1419 Normally, line breaks are forbidden when beams cross bar lines. This
1420 behavior can be changed by setting @code{allowBeamBreak}.
1422 @cindex @code{allowBeamBreak}
1423 @cindex beams and line breaks
1425 @cindex beams, kneed
1427 @cindex auto-knee-gap
1433 @cindex Frenched staves
1435 Automatically kneed beams cannot be used together with hidden staves.
1440 * Setting automatic beam behavior::
1444 @no de Beam typography
1445 @sub section Beam typography
1447 One of the strong points of LilyPond is how beams are formatted. Beams
1448 are quantized, meaning that the left and right endpoints beams start
1449 exactly on staff lines. Without quantization, small wedges of white
1450 space appear between the beam and staff line, and this looks untidy.
1452 Beams are also slope-damped: melodies that go up or down should also
1453 have beams that go up or down, but the slope of the beams should be
1454 less than the slope of the notes themselves.
1456 Some beams should be horizontal. These are so-called concave beams.
1458 [TODO: some pictures.]
1462 @node Setting automatic beam behavior
1463 @subsection Setting automatic beam behavior
1465 @cindex @code{autoBeamSettings}
1466 @cindex @code{(end * * * *)}
1467 @cindex @code{(begin * * * *)}
1468 @cindex automatic beams, tuning
1469 @cindex tuning automatic beaming
1471 @c [TODO: use \applycontext]
1473 In normal time signatures, automatic beams can start on any note but can
1474 only end in a few positions within the measure: beams can end on a beat,
1475 or at durations specified by the properties in
1476 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1477 are defined in @file{scm/auto-beam.scm}.
1479 The value of @code{autoBeamSettings} is changed using
1480 @code{\override} and restored with @code{\revert}:
1482 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1483 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1485 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1486 whether the rule applies to begin or end-points. The quantity
1487 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1488 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1489 signature (wildcards, `@code{* *}' may be entered to designate all time
1492 For example, if automatic beams should end on every quarter note, use
1495 \property Voice.autoBeamSettings \override
1496 #'(end * * * *) = #(ly:make-moment 1 4)
1498 Since the duration of a quarter note is 1/4 of a whole note, it is
1499 entered as @code{(ly:make-moment 1 4)}.
1501 The same syntax can be used to specify beam starting points. In this
1502 example, automatic beams can only end on a dotted quarter note:
1504 \property Voice.autoBeamSettings \override
1505 #'(end * * * *) = #(ly:make-moment 3 8)
1507 In 4/4 time signature, this means that automatic beams could end only on
1508 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1509 3/8 has passed within the measure).
1511 Rules can also be restricted to specific time signatures. A rule that
1512 should only be applied in @var{N}/@var{M} time signature is formed by
1513 replacing the second asterisks by @var{N} and @var{M}. For example, a
1514 rule for 6/8 time exclusively looks like
1516 \property Voice.autoBeamSettings \override
1517 #'(begin * * 6 8) = ...
1520 If a rule should be to applied only to certain types of beams, use the
1521 first pair of asterisks. Beams are classified according to the
1522 shortest note they contain. For a beam ending rule that only applies
1523 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1526 If a score ends while an automatic beam has not been ended and is still
1527 accepting notes, this last beam will not be typeset at all.
1529 @cindex automatic beam generation
1531 @cindex @code{Voice.autoBeaming}
1534 For melodies that have lyrics, you may want to switch off
1535 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1540 @cindex @code{\autoBeamOff}
1541 @code{\autoBeamOff},
1542 @cindex @code{\autoBeamOn}
1548 The rules for ending a beam depend on the shortest note in a beam.
1549 So, while it is possible to have different ending rules for eight
1550 beams and sixteenth beams, a beam that contains both eight and
1551 sixteenth notes will use the rules for the sixteenth beam.
1553 In the example below, the autobeamer makes eight beams and sixteenth
1554 end at 3 eights; the third beam can only be corrected by specifying
1557 @lilypond[singleline,fragment,relative,noverbatim,quote]
1558 \property Voice.autoBeamSettings
1559 \override #'(end * * * *) = #(ly:make-moment 3 8)
1560 % rather show case where it goes wrong
1561 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1562 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1564 It is not possible to specify beaming parameters that act differently in
1565 different parts of a measure. This means that it is not possible to use
1566 automatic beaming in irregular meters such as @code{5/8}.
1569 @section Accidentals
1572 This section describes how to change the way that accidentals are
1573 inserted automatically before the running notes.
1577 * Using the predefined accidental variables::
1578 * Customized accidental rules::
1581 @node Using the predefined accidental variables
1582 @subsection Using the predefined accidental variables
1584 The constructs for describing the accidental typesetting rules are
1585 quite hairy, so non-experts should stick to the variables
1586 defined in @file{ly/property-init.ly}.
1587 @cindex @file{property-init.ly}
1589 The variables set properties in the ``@code{Current}'' context (see
1590 @ref{Context properties}). This means that the variables should
1591 normally be added right after the creation of the context in which the
1592 accidental typesetting described by the variable is to take
1593 effect. For example, if you want to use piano-accidentals in a piano
1594 staff then issue @code{\pianoAccidentals} first thing after the
1595 creation of the piano staff:
1598 \notes \relative c'' <<
1599 \new Staff @{ cis4 d e2 @}
1600 \context GrandStaff <<
1602 \new Staff @{ cis4 d e2 @}
1603 \new Staff @{ es2 c @}
1605 \new Staff @{ es2 c @}
1609 @lilypond[singleline]
1611 \notes \relative c'' <<
1612 \new Staff { cis4 d e2 }
1613 \context GrandStaff <<
1615 \new Staff { cis4 d e2 }
1616 \new Staff { es2 c }
1618 \new Staff { es2 c }
1623 minimumVerticalExtent = #'(-4.0 . 4.0)
1631 @item \defaultAccidentals
1632 @cindex @code{\defaultAccidentals}
1633 This is the default typesetting behaviour. It should correspond
1634 to 18th century common practice: Accidentals are
1635 remembered to the end of the measure in which they occur and
1636 only on their own octave.
1638 @item \voiceAccidentals
1639 @cindex @code{\voiceAccidentals}
1641 The normal behaviour is to
1642 remember the accidentals on Staff-level. This variable, however,
1643 typesets accidentals individually for each voice. Apart from that the
1644 rule is similar to @code{\defaultAccidentals}.
1646 This leads to some weird and often unwanted results
1647 because accidentals from one voice do not get cancelled in other
1649 @lilypond[singleline,relative,fragment,verbatim,quote]
1657 Hence you should only use @code{\voiceAccidentals} if the voices
1658 are to be read solely by individual musicians. If the staff is to be
1659 used by one musician (e.g. a conductor) then you use
1660 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1663 @item \modernAccidentals
1664 @cindex @code{\modernAccidentals}
1665 This rule corresponds to the common practice in the 20th
1667 The rule is more complex than @code{\defaultAccidentals}.
1668 You get all the same accidentals, but temporary
1669 accidentals also get cancelled in other octaves. Furthermore,
1670 in the same octave, they also get cancelled in the following measure:
1671 @lilypond[singleline,fragment,verbatim]
1673 cis' c'' cis'2 | c'' c'
1676 @item \modernCautionaries
1677 @cindex @code{\modernCautionaries}
1678 This rule is similar to @code{\modernAccidentals}, but the
1679 ``extra'' accidentals (the ones not typeset by
1680 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1681 They are printed in reduced size or with parentheses:
1682 @lilypond[singleline,fragment,verbatim]
1684 cis' c'' cis'2 | c'' c'
1687 @cindex @code{\modernVoiceAccidentals}
1688 @item \modernVoiceAccidentals
1689 is used for multivoice accidentals to be read both by musicians
1690 playing one voice and musicians playing all voices. Accidentals are
1691 typeset for each voice, but they @emph{are} cancelled across voices in
1692 the same @internalsref{Staff}.
1694 @cindex @code{\modernVoiceCautionaries}
1695 @item \modernVoiceCautionaries
1696 is the same as @code{\modernVoiceAccidentals}, but with the extra
1697 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1698 as cautionaries. Even though all accidentals typeset by
1699 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1700 some of them are typeset as cautionaries.
1702 @item \pianoAccidentals
1703 @cindex @code{\pianoAccidentals}
1704 20th century practice for piano notation. Very similar to
1705 @code{\modernAccidentals} but accidentals also get cancelled
1706 across the staves in the same @internalsref{GrandStaff} or
1707 @internalsref{PianoStaff}.
1709 @item \pianoCautionaries
1710 @cindex @code{\pianoCautionaries}
1711 As @code{\pianoAccidentals} but with the extra accidentals
1712 typeset as cautionaries.
1715 @cindex @code{\noResetKey}
1716 Same as @code{\defaultAccidentals} but with accidentals lasting
1717 ``forever'' and not only until the next measure:
1718 @lilypond[singleline,fragment,verbatim,relative]
1723 @item \forgetAccidentals
1724 @cindex @code{\forgetAccidentals}
1725 This is sort of the opposite of @code{\noResetKey}: Accidentals
1726 are not remembered at all---and hence all accidentals are
1727 typeset relative to the key signature, regardless of what was
1728 before in the music:
1729 @lilypond[singleline,fragment,verbatim,relative]
1731 \key d\major c4 c cis cis d d dis dis
1735 @node Customized accidental rules
1736 @subsection Customized accidental rules
1738 For determining when to print an accidental, several different rules
1739 are tried. The rule that gives the highest number of accidentals is
1740 used. Each rule consists of
1743 In which context is the rule applied. For example, if
1744 @var{context} is @internalsref{Score} then all staves share
1745 accidentals, and if @var{context} is @internalsref{Staff} then all
1746 voices in the same staff share accidentals, but staves do not.
1748 Whether the accidental changes all octaves or only the current
1751 Over how many barlines the accidental lasts.
1752 If @var{lazyness} is @code{-1} then the accidental is forget
1753 immediately, and if @var{lazyness} is @code{#t} then the accidental
1756 @c [TODO: should use +infinity for this case?]
1762 @cindex @code{\defaultAccidentals}
1763 @code{\defaultAccidentals},
1764 @cindex @code{\voiceAccidentals}
1765 @code{\voiceAccidentals},
1766 @cindex @code{\modernAccidentals}
1767 @code{\modernAccidentals},
1768 @cindex @code{\modernCautionaries}
1769 @code{\modernCautionaries},
1770 @cindex @code{\modernVoiceAccidentals}
1771 @code{\modernVoiceAccidentals},
1772 @cindex @code{\modernVoiceCautionaries}
1773 @code{\modernVoiceCautionaries},
1774 @cindex @code{\pianoAccidentals}
1775 @code{\pianoAccidentals},
1776 @cindex @code{\pianoCautionaries}
1777 @code{\pianoCautionaries},
1778 @cindex @code{\noResetKey}
1780 @cindex @code{\forgetAccidentals}
1781 @code{\forgetAccidentals}.
1785 Internals: @internalsref{Accidental_engraver},
1786 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1791 Currently the simultaneous notes are considered to be entered in
1792 sequential mode. This means that in a chord the accidentals are
1793 typeset as if the notes in the chord happened once at a time - in the
1794 order in which they appear in the input file.
1796 This is only a problem when there are simultaneous notes whose
1797 accidentals depend on each other. The problem only occurs when using
1798 non-default accidentals. In the default scheme, accidentals only
1799 depend on other accidentals with the same pitch on the same staff, so
1800 no conflicts possible.
1802 This example shows two examples of the same music giving different
1803 accidentals depending on the order in which the notes occur in the
1806 @lilypond[singleline,fragment,verbatim]
1807 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1808 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1809 | <cis' c''> r | <c'' cis'> r |
1812 This problem can be solved by manually inserting @code{!} and @code{?}
1813 for the problematic notes.
1815 @node Expressive marks
1816 @section Expressive marks
1819 @c todo: should change ordering
1820 @c where to put text spanners, metronome marks,
1829 * Analysis brackets::
1831 * Fingering instructions::
1842 A slur indicates that notes are to be played bound or @emph{legato}.
1846 They are entered using parentheses:
1847 @lilypond[relative 1,fragment,verbatim,center]
1848 f( g)( a) a8 b( a4 g2 f4)
1853 @c TODO: should explain that ^( and _( set directions
1854 @c should set attachments with ^ and _ ?
1856 Slurs avoid crossing stems, and are generally attached to note heads.
1857 However, in some situations with beams, slurs may be attached to stem
1858 ends. If you want to override this layout you can do this through the
1859 object property @code{attachment} of @internalsref{Slur} in
1860 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1861 the attachment type of the left and right end points:
1863 @lilypond[fragment,relative,verbatim]
1865 \property Voice.Stem \set #'length = #5.5
1867 \property Voice.Slur \set #'attachment = #'(stem . stem)
1871 If a slur would strike through a stem or beam, the slur will be moved
1872 away upward or downward. If this happens, attaching the slur to the
1873 stems might look better:
1875 @lilypond[fragment,relative,verbatim]
1878 \property Voice.Slur \set #'attachment = #'(stem . stem)
1885 @cindex @code{\slurUp}
1887 @cindex @code{\slurDown}
1889 @cindex @code{\slurBoth}
1891 @cindex @code{\slurDotted}
1893 @cindex @code{\slurSolid}
1898 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1903 Producing nice slurs is a difficult problem, and LilyPond currently
1904 uses a simple, empiric method to produce slurs. In some cases, its
1908 @cindex Adjusting slurs
1910 @node Phrasing slurs
1911 @subsection Phrasing slurs
1913 @cindex phrasing slurs
1914 @cindex phrasing marks
1916 A phrasing slur (or phrasing mark) connects chords and is used to
1917 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1920 @lilypond[fragment,verbatim,center,relative]
1921 \time 6/4 c'\( d( e) f( e) d\)
1924 Typographically, the phrasing slur behaves almost exactly like a
1925 normal slur. However, they are treated as different objects. A
1926 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1927 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1928 @code{\phrasingSlurBoth}.
1930 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1931 will only affect normal slurs and not phrasing slurs.
1935 @cindex @code{\phrasingSlurUp}
1936 @code{\phrasingSlurUp},
1937 @cindex @code{\phrasingSlurDown}
1938 @code{\phrasingSlurDown},
1939 @cindex @code{\phrasingSlurBoth}
1940 @code{\phrasingSlurBoth},
1944 Internals: see also @internalsref{PhrasingSlur}, and
1945 @internalsref{PhrasingSlurEvent}.
1949 Phrasing slurs have the same limitations in their formatting as normal
1950 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1953 @subsection Breath marks
1955 Breath marks are entered using @code{\breathe}:
1958 @lilypond[fragment,relative,verbatim]
1962 The glyph of the breath mark can be tweaked by overriding the
1963 @code{text} property of the @code{BreathingSign} layout object with
1964 any markup text. For example,
1965 @lilypond[fragment,verbatim,relative]
1967 \property Voice.BreathingSign \override #'text
1968 = #(make-musicglyph-markup "scripts-rvarcomma")
1975 Internals: @internalsref{BreathingSign},
1976 @internalsref{BreathingSignEvent}
1978 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1981 @node Metronome marks
1982 @subsection Metronome marks
1985 @cindex beats per minute
1986 @cindex metronome marking
1988 Metronome settings can be entered as follows:
1990 \tempo @var{duration} = @var{perminute}
1993 In the MIDI output, they are interpreted as a tempo change, and in the
1994 paper output, a metronome marking is printed:
1995 @cindex @code{\tempo}
1996 @lilypond[fragment,verbatim]
2002 Internals: @internalsref{MetronomeChangeEvent}.
2007 @subsection Text spanners
2008 @cindex Text spanners
2010 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2011 are written as texts, and extended over many measures with dotted
2012 lines. You can create such texts using text spanners: attach
2013 @code{\startTextSpan} and @code{\stopTextSpan} to the
2014 start and ending note of the spanner.
2016 The string to be printed, as well as the style, is set through object
2019 @lilypond[fragment,relative,verbatim]
2021 \property Voice.TextSpanner \set #'direction = #-1
2022 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
2023 c2\startTextSpan b c\stopTextSpan a }
2029 Internals @internalsref{TextSpanEvent},
2030 @internalsref{TextSpanner}.
2032 Examples: @inputfileref{input/regression,text-spanner.ly}.
2035 @node Analysis brackets
2036 @subsection Analysis brackets
2038 @cindex phrasing brackets
2039 @cindex musicological analysis
2040 @cindex note grouping bracket
2042 Brackets are used in musical analysis to indicate structure in musical
2043 pieces. LilyPond supports a simple form of nested horizontal brackets.
2044 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2045 @internalsref{Staff} context. A bracket is started with
2046 @code{\startGroup} and closed with @code{\stopGroup}:
2048 @lilypond[singleline,verbatim]
2049 \score { \notes \relative c'' {
2050 c4\startGroup\startGroup
2053 c4\stopGroup\stopGroup
2055 \paper { \translator {
2056 \StaffContext \consists "Horizontal_bracket_engraver"
2062 Internals: @internalsref{HorizontalBracket},
2063 @internalsref{NoteGroupingEvent}
2065 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2069 @subsection Articulations
2070 @cindex Articulations
2072 @cindex articulations
2076 A variety of symbols can appear above and below notes to indicate
2077 different characteristics of the performance. They are added to a note
2078 by adding a dash and the character signifying the
2079 articulation. They are demonstrated here:
2081 @lilypondfile[notexidoc]{script-abbreviations.ly}
2083 The meanings of these shorthands can be changed: see
2084 @file{ly/script-init.ly} for examples.
2087 The script is automatically placed, but if you need to force
2088 directions, you can use @code{_} to force them down, or @code{^} to
2090 @lilypond[fragment, verbatim]
2094 Other symbols can be added using the syntax
2095 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2096 can be forced up or down using @code{^} and @code{_},
2099 @lilypond[verbatim,fragment,relative 2]
2100 c\fermata c^\fermata c_\fermata
2107 @cindex staccatissimo
2116 @cindex organ pedal marks
2125 @cindex prallmordent
2129 @cindex thumb marking
2134 @lilypondfile[notexidoc]{script-chart.ly}
2139 @cindex @code{\scriptUp}
2141 @cindex @code{\scriptDown}
2143 @cindex @code{\scriptBoth}
2148 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2152 These note ornaments appear in the printed output but have no
2153 effect on the MIDI rendering of the music.
2156 @node Fingering instructions
2157 @subsection Fingering instructions
2161 Fingering instructions can be entered using
2163 @var{note}-@var{digit}
2165 For finger changes, use markup texts:
2167 @lilypond[verbatim, singleline, fragment]
2168 c'4-1 c'4-2 c'4-3 c'4-4
2169 c'^\markup { \fontsize #-3 \number "2-3" }
2172 @cindex finger change
2177 You can use the thumb-script to indicate that a note should be
2178 played with your thumb (used in cello music):
2180 @lilypond[verbatim, singleline, fragment]
2181 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2182 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2185 Fingerings for chords can also be added to individual notes
2186 of the chord by adding them after the pitches:
2187 @lilypond[verbatim,singleline,fragment,relative=1]
2188 < c-1 e-2 g-3 b-5 > 4
2191 Setting @code{fingeringOrientations} will put fingerings next
2194 @lilypond[verbatim,singleline,fragment,relative=1]
2195 \property Voice.fingeringOrientations = #'(left down)
2196 <c-1 es-2 g-4 bes-5 > 4
2197 \property Voice.fingeringOrientations = #'(up right down)
2198 <c-1 es-2 g-4 bes-5 > 4
2203 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2207 @subsection Text scripts
2208 @cindex Text scripts
2210 @cindex text items, non-empty
2211 @cindex non-empty texts
2213 It is possible to place arbitrary strings of text or markup text (see
2214 @ref{Text markup}) above or below notes by using a string:
2215 @code{c^"text"}. By default, these indications do not influence the
2216 note spacing, but by using the command @code{\fatText}, the widths
2217 will be taken into account:
2219 @lilypond[fragment,singleline,verbatim] \relative c' {
2220 c4^"longtext" \fatText c4_"longlongtext" c4 }
2223 It is possible to use @TeX{} commands in the strings, but this should
2224 be avoided because the exact dimensions of the string can then no
2229 @refcommand{fatText}, @refcommand{emptyText}.
2234 In this manual: @ref{Text markup}.
2236 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2242 @subsection Grace notes
2245 @c should have blurb about accaciatura / appogiatura
2247 @cindex @code{\grace}
2251 Grace notes are ornaments that are written out. The most common ones
2252 are acciaccatura, which should be played as very short. It is denoted
2253 by a slurred small note with a slashed stem. The appoggiatura is a
2254 grace note that takes a fixed fraction of the main note, is and
2255 denoted as a slurred note in small print without a slash.
2256 They are entered with the commands @code{\acciaccatura} and
2257 @code{\appoggiatura}, as demonstrated in the following example:
2260 @cindex appoggiatura
2261 @cindex acciaccatura
2263 @lilypond[relative=2,verbatim,fragment]
2264 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2265 \acciaccatura { g16[ f] } e4
2268 Both are special forms of the @code{\grace} command. By prefixing this
2269 keyword to a music expression, a new one is formed, which will be
2270 printed in a smaller font and takes up no logical time in a measure.
2271 @lilypond[relative=2,verbatim,fragment]
2273 \grace { c16[ d16] } c2 c4
2277 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2278 @code{\grace} command does not start a slur.
2280 Internally, timing for grace notes is done using a second, `grace'
2281 time. Every point in time consists of two rational numbers: one
2282 denotes the logical time, one denotes the grace timing. The above
2283 example is shown here with timing tuples:
2285 @lilypond[singleline]
2288 c4 \grace c16 c4 \grace {
2291 \new Lyrics \lyrics {
2294 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2295 \markup { (\fraction 1 4 , 0 ) } 4
2297 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2298 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2300 \markup { ( \fraction 2 4 , 0 ) }
2305 The placement of grace notes is synchronized between different staves.
2306 In the following example, there are two sixteenth graces notes for
2307 every eighth grace note:
2309 @lilypond[relative=2,verbatim,fragment]
2310 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2311 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2316 If you want to end a note with a grace, then the standard trick
2317 is to put the grace notes after a ``space note'', e.g.
2318 @lilypond[fragment,verbatim, relative=2]
2321 { s2 \grace { c16[ d] } } >>
2327 By adjusting the duration of the skip note (here it is a half-note),
2328 the space between the main-note and the grace is adjusted.
2331 A @code{\grace} section will introduce special typesetting settings,
2332 for example, to produce smaller type, and set directions. Hence, when
2333 introducing layout tweaks, they should be inside the grace section,
2335 @lilypond[fragment,verbatim,relative 1]
2338 \property Voice.Stem \override #'direction = #-1
2340 \property Voice.Stem \revert #'direction
2347 The overrides should also be reverted inside the grace section.
2349 If the layout of grace sections must be changed throughout the music,
2350 then this can be accomplished through the function
2351 @code{add-grace-property}. The following example
2352 undefines the Stem direction grace section, so stems do not always
2357 #(add-grace-property "Voice" Stem direction '())
2363 Another option is to change the variables @code{startGraceMusic},
2364 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2365 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2366 @code{stopAppoggiaturaMstuic}. More information is in the file
2367 @file{ly/grace-init.ly}
2372 Internals: @internalsref{GraceMusic}.
2376 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2378 A score that starts with an @code{\grace} section needs an explicit
2379 @code{\context Voice} declaration, otherwise the main note and grace
2380 note end up on different staves.
2382 Grace note synchronization can also lead to surprises. Staff notation,
2383 such as key signatures, barlines, etc. are also synchronized. Take
2384 care when you mix staves with grace notes and staves without, for example,
2386 @lilypond[relative=2,verbatim,fragment]
2387 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2388 \new Staff { c4 \bar "|:" d4 } >>
2391 Grace sections should only be used within sequential music
2392 expressions. Nesting or juxtaposing grace sections is not supported,
2393 and might produce crashes or other errors.
2395 Overriding settings cannot be done in separate styles for appoggiatura
2400 @subsection Glissando
2403 @cindex @code{\glissando}
2405 A glissando is a smooth change in pitch. It is denoted by a line or a
2406 wavy line between two notes.
2410 A glissando line can be requested by attaching a @code{\glissando} to
2413 @lilypond[fragment,relative,verbatim]
2419 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2424 Adding additional texts (such as @emph{gliss.}) is not supported.
2428 @subsection Dynamics
2441 @cindex @code{\ffff}
2451 Absolute dynamic marks are specified using an variable after a
2452 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2453 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2454 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2455 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2457 @lilypond[verbatim,singleline,fragment,relative]
2458 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2464 @cindex @code{\decr}
2465 @cindex @code{\rced}
2472 A crescendo mark is started with @code{\<} and terminated with
2473 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2474 with @code{\!}. Because these marks are bound to notes, if you must
2475 use spacer notes if multiple marks during one note are needed:
2477 @lilypond[fragment,verbatim,center,quote]
2478 c''\< c''\! d''\decr e''\rced
2479 << f''1 { s4 s4\< s4\! \> s4\! } >>
2481 This may give rise to very short hairpins. Use @code{minimum-length}
2482 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2486 \property Staff.Hairpin \override #'minimum-length = #5
2489 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2490 is an example how to do it:
2492 @lilypond[fragment,relative=2,verbatim]
2493 c4 \cresc c4 c c c \endcresc c4
2499 You can also supply your own texts:
2500 @lilypond[fragment,relative,verbatim]
2502 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2503 \property Voice.crescendoSpanner = #'dashed-line
2513 @cindex @code{\dynamicUp}
2515 @cindex @code{\dynamicDown}
2516 @code{\dynamicDown},
2517 @cindex @code{\dynamicBoth}
2518 @code{\dynamicBoth}.
2520 @cindex direction, of dynamics
2524 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2525 @internalsref{AbsoluteDynamicEvent}.
2527 Dynamics are objects of @internalsref{DynamicText} and
2528 @internalsref{Hairpin}. Vertical positioning of these symbols is
2529 handled by the @internalsref{DynamicLineSpanner} object.
2531 If you want to adjust padding or vertical direction of the dynamics, you
2532 must set properties for the @internalsref{DynamicLineSpanner} object.
2540 @cindex @code{\repeat}
2543 Repetition is a central concept in music, and multiple notations exist
2544 for repetitions. In LilyPond, most of these notations can be captured
2545 in a uniform syntax. One of the advantages is that they can be
2546 rendered in MIDI accurately.
2548 The following types of repetition are supported:
2552 Repeated music is fully written (played) out. Useful for MIDI
2553 output, and entering repetitive music.
2556 This is the normal notation: Repeats are not written out, but
2557 alternative endings (voltas) are printed, left to right.
2561 Alternative endings are written stacked. This has limited use but may be
2562 used to typeset two lines of lyrics in songs with repeats, see
2563 @inputfileref{input,star-spangled-banner.ly}.
2571 Make beat or measure repeats. These look like percent signs.
2577 * Repeats and MIDI::
2578 * Manual repeat commands::
2580 * Tremolo subdivisions::
2585 @subsection Repeat syntax
2589 LilyPond has one syntactic construct for specifying different types of
2590 repeats. The syntax is
2593 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2596 If you have alternative endings, you may add
2597 @cindex @code{\alternative}
2599 \alternative @code{@{} @var{alternative1}
2601 @var{alternative3} @dots{} @code{@}}
2603 where each @var{alternative} is a music expression. If you do not
2604 give enough alternatives for all of the repeats, then the first
2605 alternative is assumed to be played more than once.
2607 Normal notation repeats are used like this:
2608 @lilypond[fragment,verbatim,relative 1]
2610 \repeat volta 2 { c4 d e f }
2611 \repeat volta 2 { f e d c }
2614 With alternative endings:
2615 @lilypond[fragment,verbatim,relative 1]
2617 \repeat volta 2 {c4 d e f}
2618 \alternative { {d2 d} {f f,} }
2622 @lilypond[fragment,verbatim,relative 1]
2625 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2626 \alternative { { g4 g g } { a | a a a a | b2. } }
2632 If you do a nested repeat like
2641 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2642 belongs. This ambiguity is resolved by always having the
2643 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2644 it is advisable to use braces in such situations.
2647 @node Repeats and MIDI
2648 @subsection Repeats and MIDI
2650 @cindex expanding repeats
2652 For instructions on how to unfold repeats for MIDI output, see the
2653 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2658 Timing information is not remembered at the start of an alternative,
2659 so after a repeat timing information must be reset by hand, for
2660 example by setting @code{Score.measurePosition} or entering
2661 @code{\partial}. Similarly, slurs or ties are also not repeated.
2664 @node Manual repeat commands
2665 @subsection Manual repeat commands
2667 @cindex @code{repeatCommands}
2669 The property @code{repeatCommands} can be used to control the layout of
2670 repeats. Its value is a Scheme list of repeat commands, where each repeat
2674 @item the symbol @code{start-repeat},
2675 which prints a @code{|:} bar line,
2676 @item the symbol @code{end-repeat},
2677 which prints a @code{:|} bar line,
2678 @item the list @code{(volta @var{text})},
2679 which prints a volta bracket saying @var{text}: The text can be specified as
2680 a text string or as a markup text, see @ref{Text markup}. Do not
2681 forget to change the font, as the default number font does not contain
2682 alphabetic characters. Or,
2683 @item the list @code{(volta #f)}, which
2684 stops a running volta bracket:
2687 @lilypond[verbatim, fragment,relative 2]
2689 \property Score.repeatCommands = #'((volta "93") end-repeat)
2691 \property Score.repeatCommands = #'((volta #f))
2698 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2699 @internalsref{VoltaRepeatedMusic},
2700 @internalsref{UnfoldedRepeatedMusic}, and
2701 @internalsref{FoldedRepeatedMusic}.
2703 @node Tremolo repeats
2704 @subsection Tremolo repeats
2705 @cindex tremolo beams
2707 To place tremolo marks between notes, use @code{\repeat} with tremolo
2709 @lilypond[verbatim,singleline]
2711 \context Voice \notes\relative c' {
2712 \repeat "tremolo" 8 { c16 d16 }
2713 \repeat "tremolo" 4 { c16 d16 }
2714 \repeat "tremolo" 2 { c16 d16 }
2719 Tremolo marks can also be put on a single note. In this case, the
2720 note should not be surrounded by braces.
2721 @lilypond[verbatim,singleline]
2722 \repeat "tremolo" 4 c16
2725 A similar mechanism is the tremolo subdivision, described in
2726 @ref{Tremolo subdivisions}.
2730 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2732 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2733 tremolos are @internalsref{StemTremolo}s. The music expression is
2734 @internalsref{TremoloEvent},
2736 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2737 @inputfileref{input/regression,stem-tremolo.ly}.
2739 @node Tremolo subdivisions
2740 @subsection Tremolo subdivisions
2741 @cindex tremolo marks
2742 @cindex @code{tremoloFlags}
2744 Tremolo marks can be printed on a single note by adding
2745 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2746 A @var{length} value of 8 gives one line across the note stem. If the
2747 length is omitted, then then the last value (stored in
2748 @code{Voice.tremoloFlags}) is used:
2750 @lilypond[verbatim,fragment,center]
2751 c'2:8 c':32 | c': c': |
2754 @c [TODO : stok is te kort bij 32en]
2758 Tremolos in this style do not carry over into the MIDI output.
2762 In this manual: @ref{Tremolo repeats}.
2764 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2766 @node Measure repeats
2767 @subsection Measure repeats
2769 @cindex percent repeats
2770 @cindex measure repeats
2772 In the @code{percent} style, a note pattern can be repeated. It is
2773 printed once, and then the pattern is replaced with a special sign.
2774 Patterns of a one and two measures are replaced by percent-like signs,
2775 patterns that divide the measure length are replaced by slashes:
2777 @lilypond[verbatim,singleline]
2778 \context Voice { \repeat "percent" 4 { c'4 }
2779 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2785 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2786 @internalsref{PercentRepeatedMusic}, and
2787 @internalsref{DoublePercentRepeat}.
2791 @node Rhythmic music
2792 @section Rhythmic music
2794 Sometimes you might want to show only the rhythm of a melody. This
2795 can be done with the rhythmic staff. All pitches of notes on such a
2796 staff are squashed, and the staff itself has a single line:
2798 @lilypond[fragment,relative,verbatim]
2799 \context RhythmicStaff {
2801 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2807 Internals: @internalsref{RhythmicStaff}.
2809 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2813 * Percussion staves::
2814 * Percussion MIDI output::
2817 @node Percussion staves
2818 @subsection Percussion staves
2822 A percussion part for more than one instrument typically uses a
2823 multiline staff where each position in the staff refers to one piece
2828 Percussion staves are typeset with help of a set of Scheme
2829 functions. The system is based on the general MIDI drum-pitches.
2830 Include @file{drumpitch-init.ly} to use drum pitches. This file
2831 defines the pitches from the Scheme variable @code{drum-pitch-names},
2832 the definition of which can be read in @file{scm/drums.scm}. Each
2833 piece of percussion has a full name and an abbreviated name, and either
2834 the full name or the abbreviation may be used in input files.
2836 To typeset the music on a staff apply the function @code{drums->paper}
2837 to the percussion music. This function takes a list of percussion
2838 instrument names, notehead scripts and staff positions (that is:
2839 pitches relative to the C-clef) and transforms the input
2840 music by moving the pitch, changing the notehead and (optionally)
2843 @lilypond[singleline,verbatim,quote]
2844 \include "drumpitch-init.ly"
2845 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2846 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2848 \apply #(drums->paper 'drums) \context Staff <<
2850 \new Voice { \voiceOne \up }
2851 \new Voice { \voiceTwo \down }
2856 In the above example the music was transformed using the list @code{'drums}.
2857 The following lists are defined in @file{scm/drums.scm}:
2860 to typeset a typical drum kit on a five-line staff:
2863 \include "drumpitch-init.ly"
2864 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2865 bd sn ss tomh tommh tomml toml tomfh tomfl }
2866 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2867 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2870 \apply #(drums->paper 'drums) \context Staff <<
2874 \context Lyrics \nam
2877 linewidth = 100.0\mm
2880 \remove Bar_engraver
2881 \remove Time_signature_engraver
2882 minimumVerticalExtent = #'(-4.0 . 5.0)
2886 \remove Stem_engraver
2892 The drum scheme supports six different toms. When there fewer toms, simply
2893 select the toms that produce the desired result, i.e. to get toms on
2894 the three middle lines you use @code{tommh}, @code{tomml} and
2897 Because general MIDI does not contain rimshots the sidestick is used
2898 for this purpose instead.
2900 to typeset timbales on a two line staff:
2902 @lilypond[singleline]
2903 \include "drumpitch-init.ly"
2904 nam = \lyrics { timh ssh timl ssl cb }
2905 mus = \notes { timh ssh timl ssl cb s16 }
2908 \apply #(drums->paper 'timbales) \context Staff <<
2912 \context Lyrics \nam
2917 \remove Bar_engraver
2918 \remove Time_signature_engraver
2919 StaffSymbol \override #'line-count = #2
2920 StaffSymbol \override #'staff-space = #2
2921 minimumVerticalExtent = #'(-3.0 . 4.0)
2925 \remove Stem_engraver
2932 to typeset congas on a two line staff:
2934 @lilypond[singleline]
2935 \include "drumpitch-init.ly"
2936 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2937 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2940 \apply #(drums->paper 'congas) \context Staff <<
2944 \context Lyrics \nam
2949 \remove Bar_engraver
2950 \remove Time_signature_engraver
2951 StaffSymbol \override #'line-count = #2
2952 StaffSymbol \override #'staff-space = #2
2953 minimumVerticalExtent = #'(-3.0 . 4.0)
2957 \remove Stem_engraver
2963 to typeset bongos on a two line staff:
2965 @lilypond[singleline]
2966 \include "drumpitch-init.ly"
2967 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2968 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2971 \apply #(drums->paper 'bongos) \context Staff <<
2975 \context Lyrics \nam
2980 \remove Bar_engraver
2981 \remove Time_signature_engraver
2982 StaffSymbol \override #'line-count = #2
2983 StaffSymbol \override #'staff-space = #2
2984 minimumVerticalExtent = #'(-3.0 . 4.0)
2988 \remove Stem_engraver
2994 to typeset all kinds of simple percussion on one line staves:
2995 @lilypond[singleline]
2996 \include "drumpitch-init.ly"
2997 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2998 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3001 \apply #(drums->paper 'percussion) \context Staff <<
3005 \context Lyrics \nam
3010 \remove Bar_engraver
3011 \remove Time_signature_engraver
3012 StaffSymbol \override #'line-count = #1
3013 minimumVerticalExtent = #'(-2.0 . 3.0)
3017 \remove Stem_engraver
3024 If you do not like any of the predefined lists you can define your own
3025 list at the top of your file:
3027 @lilypond[singleline, verbatim]
3028 #(set-drum-kit 'mydrums `(
3029 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3030 (snare default #f ,(ly:make-pitch 0 1 0))
3031 (hihat cross #f ,(ly:make-pitch 0 5 0))
3032 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
3033 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3035 \include "drumpitch-init.ly"
3036 up = \notes { hh8 hh hh hh hhp4 hhp }
3037 down = \notes { bd4 sn bd toml8 toml }
3039 \apply #(drums->paper 'mydrums) \context Staff <<
3041 \new Voice { \voiceOne \up }
3042 \new Voice { \voiceTwo \down }
3047 To use a modified existing list, one can prepend modifications to the
3051 #(set-drum-kit 'mydrums (append `(
3052 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3053 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3054 ) (get-drum-kit 'drums)))
3057 You can easily combine percussion notation with pitched notation.
3058 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3059 names, so you will have to reinclude @file{nederlands.ly} after the
3060 drum-pattern-definitions to enter normal notes:
3062 @lilypond[singleline,verbatim]
3063 \include "drumpitch-init.ly"
3064 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3065 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3066 \include "nederlands.ly"
3067 bass = \notes \transpose c c,, { a4. e8 r e g e }
3070 \apply #(drums->paper 'drums) \new Staff <<
3072 \new Voice { \voiceOne \up }
3073 \new Voice { \voiceTwo \down }
3075 \new Staff { \clef "F_8" \bass }
3080 @node Percussion MIDI output
3081 @subsection Percussion MIDI output
3083 In order to produce correct MIDI output you need to produce two score
3084 blocks---one for the paper and one for the MIDI output. To use the
3085 percussion channel you set the property @code{instrument} to
3086 @code{'drums}. Because the drum-pitches themselves are similar to the
3087 general MIDI pitches all you have to do is to insert the voices with
3088 none of the scheme functions to get the correct MIDI output:
3092 \apply #(drums->paper 'mydrums) \context Staff <<
3101 \property Staff.instrument = #'drums
3111 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3112 temporary implementation.
3116 @section Piano music
3118 Piano staves are two normal staves coupled with a brace. The staves
3119 are largely independent, but sometimes voices can cross between the
3120 two staves. The same notation is also used for harps and other key
3121 instruments. The @internalsref{PianoStaff} is especially built to
3122 handle this cross-staffing behavior. In this section we discuss the
3123 @internalsref{PianoStaff} and some other pianistic peculiarities.
3127 * Automatic staff changes::
3128 * Manual staff switches::
3131 * Staff switch lines::
3136 There is no support for putting chords across staves. You can get
3137 this result by increasing the length of the stem in the lower stave so
3138 it reaches the stem in the upper stave, or vice versa. An example is
3139 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3141 Dynamics are not centered, but kludges do exist. See
3142 @inputfileref{input/template,piano-dynamics.ly}.
3144 @cindex cross staff stem
3145 @cindex stem, cross staff
3148 @c fixme: should have hyperlinks as well.
3154 @node Automatic staff changes
3155 @subsection Automatic staff changes
3156 @cindex Automatic staff changes
3158 Voices can switch automatically between the top and the bottom
3159 staff. The syntax for this is
3161 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3163 The two staffs of the piano staff must be named @code{up} and
3166 The autochanger switches on basis of pitch (central C is the turning
3167 point), and it looks ahead skipping over rests to switch in
3168 advance. Here is a practical example:
3170 @lilypond[verbatim,singleline,quote]
3171 \score { \notes \context PianoStaff <<
3172 \context Staff = "up" {
3173 \autochange Staff \context Voice = VA << \relative c' {
3174 g4 a b c d r4 a g } >> }
3175 \context Staff = "down" {
3182 In this example, spacer rests are used to prevent the bottom staff from
3183 terminating too soon.
3188 In this manual: @ref{Manual staff switches}
3190 Internals: @internalsref{AutoChangeMusic}.
3196 The staff switches often do not end up in optimal places. For high
3197 quality output, staff switches should be specified manually.
3200 @node Manual staff switches
3201 @subsection Manual staff switches
3203 @cindex manual staff switches
3204 @cindex staff switch, manual
3206 Voices can be switched between staves manually, using the following command:
3208 \change Staff = @var{staffname} @var{music}
3212 The string @var{staffname} is the name of the staff. It switches the
3213 current voice from its current staff to the Staff called
3214 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3223 Pianos have pedals that alter the way sound are produced. Generally, a
3224 piano has three pedals, sustain, una corda, and sostenuto.
3228 Piano pedal instruction can be expressed by attaching
3229 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3230 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3233 @lilypond[fragment,verbatim]
3234 c'4\sustainDown c'4\sustainUp
3237 What is printed can be modified by setting @code{pedal@var{X}Strings},
3238 where @var{X} is one of the pedal types: @code{Sustain},
3239 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3240 documentation of @internalsref{SustainPedal} for more information.
3242 Pedals can also be indicated by a sequence of brackets, by setting the
3243 @code{pedalSustainStyle} property to @code{bracket} objects:
3245 @lilypond[fragment,verbatim]
3246 \property Staff.pedalSustainStyle = #'bracket
3247 c''4\sustainDown d''4 e''4
3248 a'4\sustainUp\sustainDown
3249 f'4 g'4 a'4\sustainUp
3252 A third style of pedal notation is a mixture of text and brackets,
3253 obtained by setting @code{pedal-type} to @code{mixed}:
3255 @lilypond[fragment,verbatim]
3256 \property Staff.pedalSustainStyle = #'mixed
3257 c''4\sustainDown d''4 e''4
3258 c'4\sustainUp\sustainDown
3259 f'4 g'4 a'4\sustainUp
3262 The default `*Ped' style for sustain and damper pedals corresponds to
3263 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3264 for a sostenuto pedal:
3266 @lilypond[fragment,verbatim]
3267 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3270 For fine-tuning of the appearance of a pedal bracket, the properties
3271 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3272 @code{PianoPedalBracket} objects (see
3273 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3274 bracket may be extended to the end of the note head:
3276 @lilypond[fragment,verbatim]
3277 \property Staff.PianoPedalBracket \override
3278 #'shorten-pair = #'(0 . -1.0)
3279 c''4\sostenutoDown d''4 e''4 c'4
3280 f'4 g'4 a'4\sostenutoUp
3284 @subsection Arpeggio
3287 @cindex broken arpeggio
3288 @cindex @code{\arpeggio}
3290 You can specify an arpeggio sign on a chord by attaching an
3291 @code{\arpeggio} to a chord:
3294 @lilypond[fragment,relative,verbatim]
3298 When an arpeggio crosses staves, you attach an arpeggio to the chords
3299 in both staves, and set
3300 @internalsref{PianoStaff}.@code{connectArpeggios}:
3302 @lilypond[fragment,relative,verbatim]
3303 \context PianoStaff <<
3304 \property PianoStaff.connectArpeggios = ##t
3305 \new Staff { <c' e g c>\arpeggio }
3306 \new Staff { \clef bass <c,, e g>\arpeggio }
3310 The direction of the arpeggio is sometimes denoted by adding an
3311 arrowhead to the wiggly line. This can be typeset by setting
3312 @code{arpeggio-direction}:
3314 @lilypond[fragment,relative,verbatim]
3316 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3318 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3323 A square bracket on the left indicates that the player should not
3324 arpeggiate the chord. To draw these brackets, set the
3325 @code{molecule-callback} property of @code{Arpeggio} or
3326 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3327 @code{\arpeggio} statements within the chords as before:
3329 @lilypond[fragment,relative,verbatim]
3330 \property PianoStaff.Arpeggio \override
3331 #'molecule-callback = \arpeggioBracket
3337 @cindex @code{\arpeggioBracket}
3338 @code{\arpeggioBracket},
3339 @cindex @code{\arpeggio}
3344 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3345 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3346 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3350 It is not possible to mix connected arpeggios and unconnected
3351 arpeggios in one @internalsref{PianoStaff} at the same time.
3353 @node Staff switch lines
3354 @subsection Staff switch lines
3357 @cindex follow voice
3358 @cindex staff switching
3361 @cindex @code{followVoice}
3363 Whenever a voice switches to another staff a line connecting the notes
3364 can be printed automatically. This is enabled if the property
3365 @code{PianoStaff.followVoice} is set to true:
3367 @lilypond[fragment,relative,verbatim]
3368 \context PianoStaff <<
3369 \property PianoStaff.followVoice = ##t
3370 \context Staff \context Voice {
3375 \context Staff=two { \clef bass \skip 1*2 }
3379 The associated object is @internalsref{VoiceFollower}.
3383 @cindex @code{\showStaffSwitch}
3384 @code{\showStaffSwitch},
3385 @cindex @code{\hideStaffSwitch}
3386 @code{\hideStaffSwitch}.
3390 @section Vocal music
3392 This section discusses how to enter and print lyrics.
3396 * The Lyrics context::
3401 @node Entering lyrics
3402 @subsection Entering lyrics
3406 @cindex @code{\lyrics}
3409 Lyrics are entered in a special input mode. This mode is is introduced
3410 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3411 punctuation and accents without any hassle. Syllables are entered like
3412 notes, but with pitches replaced by text. For example,
3414 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3417 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3418 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3419 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3420 any 8-bit character with ASCII code over 127, or a two-character
3421 combination of a backslash followed by one of @code{`}, @code{'},
3422 @code{"}, or @code{^}.
3424 Subsequent characters of a word can be any character that is not a digit
3425 and not white space. One important consequence of this is that a word
3426 can end with @code{@}}. The following example is usually a bug. The
3427 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3429 \lyrics @{ twinkle@}
3432 @cindex @code{\property}, in @code{\lyrics}
3433 Similarly, a period following a alphabetic sequence, is included in the
3434 resulting string. As a consequence, spaces must be inserted around
3435 @code{\property} commands:
3437 \property Lyrics . LyricText \set #'font-shape = #'italic
3441 @cindex spaces, in lyrics
3442 @cindex quotes, in lyrics
3444 Any @code{_} character which appears in an unquoted word is converted
3445 to a space. This provides a mechanism for introducing spaces into words
3446 without using quotes. Quoted words can also be used in Lyrics mode to
3447 specify words that cannot be written with the above rules:
3450 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3454 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3459 These will be attached to the end of the first syllable.
3461 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3462 as a separate word between syllables. The hyphen will have variable
3463 length depending on the space between the syllables and it will be
3464 centered between the syllables.
3469 When a lyric is sung over many notes (this is called a melisma), this is
3470 indicated with a horizontal line centered between a syllable and the
3471 next one. Such a line is called an extender line, and it is entered as
3476 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3477 @internalsref{ExtenderEvent}.
3481 The definition of lyrics mode is too complex.
3483 @node The Lyrics context
3484 @subsection The Lyrics context
3486 Lyrics are printed by interpreting them in @internalsref{LyricsVoice} context:
3488 \context LyricsVoice \lyrics @dots{}
3491 @cindex automatic syllable durations
3492 @cindex @code{\lyricsto}
3493 @cindex lyrics and melodies
3495 This will place the lyrics according to the durations that were
3496 entered. The lyrics can also be aligned under a given melody
3497 automatically. In this case, it is no longer necessary to enter the
3498 correct duration for each syllable. This is achieved by combining the
3499 melody and the lyrics with the @code{\lyricsto} expression:
3501 \lyricsto @var{name} \new LyricsVoice @dots{}
3504 This aligns the lyrics to the notes of the @internalsref{Voice}
3505 context called @var{name}, which has to exist. Therefore, normally
3506 the @code{Voice} is specified first, and then the lyrics are specified
3507 with @code{\lyricsto}.
3509 For different or more complex orderings, the best way is to setup the
3510 hierarchy of staves and lyrics first, e.g.
3512 \context ChoirStaff \notes <<
3513 \context LyricsVoice = sopranoLyrics @{ s1 @}
3514 \context Voice = soprano @{ @emph{music} @}
3515 \context LyricsVoice = tenor @{ s1 @}
3516 \context Voice = tenorLyrics @{ @emph{music} @}
3519 and then combine the appropriate melodies and lyric lines:
3521 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3524 An example is in @inputfileref{input/template,satb.ly}.
3526 When multiple stanzas are put on the same melody, it can happen that
3527 two stanzas have melismata in different locations. This can be
3528 remedied by switching off melismata for one
3529 @internalsref{LyricsVoice}. This is achieved by setting
3530 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3531 in @inputfileref{input/regression,lyric-combine-new.ly}.
3535 @cindex choral score
3537 A complete example of a SATB score setup is in the file
3538 @inputfileref{input/template,satb.ly}.
3542 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
3544 Examples: @inputfileref{input/template,satb.ly},
3545 @inputfileref{input/regression,lyric-combine-new.ly}.
3549 @code{\lyricsto} is not automatic enough: melismata are not detected
3550 automatically, and melismata are not stopped when they hit a rest.
3554 @subsection More stanzas
3556 @cindex phrasing, in lyrics
3559 The lyrics should be aligned with the note heads of the melody. To
3560 achieve this, each line of lyrics should be marked to correspond with
3563 To this end, give the @internalsref{Voice} context an identity:
3565 \context Voice = duet @{
3570 Then set the @internalsref{LyricsVoice} contexts to names starting with
3571 that identity followed by a dash. In the preceding example, the
3572 @internalsref{Voice} identity is @code{duet}, so the identities of the
3573 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3575 \context LyricsVoice = "duet-1" @{
3576 Hi, my name is bert. @}
3577 \context LyricsVoice = "duet-2" @{
3578 Ooooo, ch\'e -- ri, je t'aime. @}
3581 The complete example is shown here:
3582 @lilypond[singleline,verbatim]
3584 << \notes \relative c'' \context Voice = duet { \time 3/4
3586 \lyrics << \lyricsto "duet" \new LyricsVoice {
3587 \property LyricsVoice . stanza = "1"
3588 Hi, my name is bert. }
3589 \lyricsto "duet" \new LyricsVoice {
3590 \property LyricsVoice . stanza = "2"
3591 Ooooo, ch\'e -- ri, je t'aime. }
3596 @cindex stanza number
3597 @cindex singer's names
3598 @cindex name of singer
3600 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3603 \property LyricsVoice . stanza = "Bert"
3605 \property LyricsVoice . stanza = "Ernie"
3608 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3609 prevent @code{LyricsVoice.stanza} being interpreted as a single
3612 Names of the singers should be added using @code{LyricsVoice
3613 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3614 annotations for staves.
3616 To make empty spaces in lyrics, use @code{\skip}.
3624 Input for lyrics introduces a syntactical ambiguity:
3631 is interpreted as assigning a string identifier @code{\foo} such that
3632 it contains @code{"bar"}. However, it could also be interpreted as
3633 making or a music identifier @code{\foo} containing the syllable
3634 `bar'. The force the latter interpretation, use
3644 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3645 for a given voice in a part of music. It also may denote the pitch
3646 range that a musical instrument is capable of playing. Most musical
3647 instruments have their ambitus standardized (or at least there is
3648 agreement upon the minimal ambitus of a particular type of
3649 instrument), such that a composer or arranger of a piece of music can
3650 easily meet the ambitus constraints of the targeted instrument.
3651 However, the ambitus of the human voice depends on individual
3652 physiological state, including education and training of the voice.
3653 Therefore, a singer potentially has to check for each piece of music
3654 if the ambitus of that piece meets his individual capabilities. This
3655 is why the ambitus of a piece may be of particular value to vocal
3658 The ambitus is typically notated on a per-voice basis at the very
3659 beginning of a piece, e.g. nearby the initial clef or time signature of
3660 each staff. The range is graphically specified by two noteheads, that
3661 represent the minimum and maximum pitch. Some publishers use a textual
3662 notation: they put the range in words in front of the corresponding
3663 staff. LilyPond only supports the graphical ambitus notation.
3665 To apply, add the @internalsref{Ambitus_engraver} to the
3666 @internalsref{Voice} context, i.e.
3672 \consists Ambitus_engraver
3677 This results in the following output:
3678 @lilypond[singleline]
3679 upper = \notes \relative c {
3682 as'' c e2 bes f cis d4 e f2 g
3684 lower = \notes \relative c {
3687 e'4 b g a c es fis a cis b a g f e d2
3690 \context ChoirStaff {
3692 \new Staff { \upper }
3693 \new Staff { \lower }
3699 \consists Ambitus_engraver
3705 If you have multiple voices in a single staff, and you want a single
3706 ambitus per staff rather than per each voice, then add the
3707 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3708 rather than to the @internalsref{Voice} context.
3710 It is possible to tune individual ambituses for multiple voices on a
3711 single staff, for example by erasing or shifting them horizontally. An
3712 example is in @inputfileref{input/test,ambitus-mixed.ly}
3716 Internals: @internalsref{Ambitus}
3718 Examples: @inputfileref{input/regression,ambitus.ly},
3719 @inputfileref{input/test,ambitus-mixed.ly}.
3723 There is no collision handling in the case of multiple per-voice
3729 Tablature notation is used for notating music for plucked string
3730 instruments. It notates pitches not by using note heads, but by
3731 indicating on which string and fret a note must be played. LilyPond
3732 offers limited support for tablature.
3735 * Tablatures basic::
3736 * Non-guitar tablatures::
3739 @node Tablatures basic
3740 @subsection Tablatures basic
3741 @cindex Tablatures basic
3743 The string number associated to a note is given as a backslash
3744 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3745 string. By default, string 1 is the highest one, and the tuning
3746 defaults to the standard guitar tuning (with 6 strings). The notes
3747 are printed as tablature, by using @internalsref{TabStaff} and
3748 @internalsref{TabVoice} contexts:
3750 @lilypond[fragment,verbatim]
3751 \notes \context TabStaff {
3759 When no string is specified, the first string that does not give a
3760 fret number less than @code{minimumFret} is selected. The default
3761 value for @code{minimumFret} is 0:
3765 e8 fis gis a b cis' dis' e'
3766 \property TabStaff.minimumFret = #8
3767 e8 fis gis a b cis' dis' e'
3772 e8 fis gis a b cis' dis' e'
3773 \property TabStaff.minimumFret = #8
3774 e8 fis gis a b cis' dis' e'
3777 \context StaffGroup <<
3778 \context Staff { \clef "G_8" \frag }
3779 \context TabStaff { \frag }
3786 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3787 @internalsref{StringNumberEvent}.
3791 Chords are not handled in a special way, and hence the automatic
3792 string selector may easily select the same string to two notes in a
3796 @node Non-guitar tablatures
3797 @subsection Non-guitar tablatures
3798 @cindex Non-guitar tablatures
3800 You can change the number of strings, by setting the number of lines
3801 in the @internalsref{TabStaff}.
3803 You can change the tuning of the strings. A string tuning is given as
3804 a Scheme list with one integer number for each string, the number
3805 being the pitch (measured in semitones relative to central C) of an
3806 open string. The numbers specified for @code{stringTuning} are the
3807 numbers of semitones to subtract or add, starting the specified pitch
3808 by default middle C, in string order. Thus, the notes are e, a, d, and
3811 @lilypond[fragment,verbatim]
3812 \context TabStaff <<
3813 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3816 a,4 c' a e' e c' a e'
3821 It is possible to change the Scheme function to format the tablature
3822 note text. The default is @code{fret-number-tablature-format}, which
3823 uses the fret number. For instruments that do not use this notation,
3824 you can create a special tablature formatting function. This function
3825 takes three argument: string number, string tuning and note pitch.
3829 No guitar special effects have been implemented.
3834 @section Chord names
3837 LilyPond has support for both printing chord names. Chords may be
3838 entered in musical chord notation, i.e. @code{< .. >}, but they can
3839 also be entered by name. Internally, the chords are represented as a
3840 set of pitches, so they can be transposed:
3843 @lilypond[verbatim,singleline]
3844 twoWays = \notes \transpose c c' {
3854 << \context ChordNames \twoWays
3855 \context Voice \twoWays >> }
3858 This example also shows that the chord printing routines do not try to
3859 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3865 * Printing chord names::
3870 @subsection Chords mode
3873 Chord mode is a mode where you can input sets of pitches using common
3874 names. It is introduced by the keyword @code{\chords}.
3875 In chords mode, a chord is entered by the root, which is entered
3876 like a common pitch:
3877 @lilypond[fragment,verbatim,quote, relative=1]
3878 \chords { es4. d8 c2 }
3883 Other chords may be entered by suffixing a colon, and introducing a
3884 modifier, and optionally, a number:
3886 @lilypond[fragment,verbatim,quote]
3887 \chords { e1:m e1:7 e1:m7 }
3889 The first number following the root is taken to be the `type' of the
3890 chord, thirds are added to the root until it reaches the specified
3892 @lilypond[fragment,verbatim]
3893 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3896 @cindex root of chord
3897 @cindex additions, in chords
3898 @cindex removals, in chords
3900 More complex chords may also be constructed adding separate steps
3901 to a chord. Additions are added after the number following
3902 the colon, and are separated by dots:
3904 @lilypond[verbatim,fragment,quote]
3905 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3907 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3909 @lilypond[verbatim,fragment,quote]
3910 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3912 Removals are specified similarly, and are introduced by a caret. They
3913 must come after the additions:
3914 @lilypond[verbatim,fragment]
3915 \chords { c^3 c:7^5 c:9^3.5 }
3918 Modifiers can be used to change pitches. The following modifiers are
3922 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3924 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3927 is the augmented chord. This modifier raises the 5th step.
3929 is the major 7th chord. This modifier raises the 7th step if present.
3931 is the suspended 4th or 2nd. This modifier removes the 3rd
3932 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3935 Modifiers can be mixed with additions:
3936 @lilypond[verbatim,fragment]
3937 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3940 @cindex modifiers, in chords.
3947 Since an unaltered 11 does not sound good when combined with an
3948 unaltered 13, the 11 is removed in this case (unless it is added
3951 @lilypond[fragment,verbatim]
3952 \chords { c:13 c:13.11 c:m13 }
3957 An inversion (putting one pitch of the chord on the bottom), as well
3958 as bass notes, can be specified by appending
3959 @code{/}@var{pitch} to the chord:
3960 @lilypond[fragment,verbatim,center]
3961 \chords { c1 c/g c/f }
3965 A bass note can be added instead of transposed out of the chord,
3966 by using @code{/+}@var{pitch}.
3968 @lilypond[fragment,verbatim,center]
3969 \chords { c1 c/+g c/+f }
3972 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3973 of the commands continue to work, for example, @code{r} and
3974 @code{\skip} can be used to insert rests and spaces, and
3975 @code{\property} may be used to change various settings.
3981 Each step can only be present in a chord once. The following
3982 simply produces the augmented chord, since @code{5+} is interpreted
3985 @lilypond[verbatim,fragment]
3986 \chords { c:5.5-.5+ }
3990 @node Printing chord names
3991 @subsection Printing chord names
3993 @cindex printing chord names
3997 For displaying printed chord names, use the @internalsref{ChordNames} context.
3998 The chords may be entered either using the notation
3999 described above, or directly using @code{<} and @code{>}:
4001 @lilypond[verbatim,singleline]
4003 \chords {a1 b c} <d' f' a'> <e' g' b'>
4007 \context ChordNames \scheme
4008 \context Staff \scheme
4013 You can make the chord changes stand out by setting
4014 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4015 display chord names when there is a change in the chords scheme and at
4016 the start of a new line:
4018 @lilypond[verbatim, linewidth=9cm]
4020 c1:m c:m \break c:m c:m d
4024 \context ChordNames {
4025 \property ChordNames.chordChanges = ##t
4027 \context Staff \transpose c c' \scheme
4032 The default chord name layout is a system for Jazz music, proposed by
4033 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4034 following properties:
4037 @cindex chordNameExceptions
4038 @item chordNameExceptions
4039 This is a list that contains the chords that have special formatting.
4041 @inputfileref{input/regression,chord-name-exceptions.ly}.
4042 @cindex exceptions, chord names.
4045 @cindex majorSevenSymbol
4046 @item majorSevenSymbol
4047 This property contains the markup object used for the 7th step, when
4048 it is major. Predefined options are @code{whiteTriangleMarkup} and
4049 @code{blackTriangleMarkup}. See
4050 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4052 @cindex chordNameSeparator
4053 @item chordNameSeparator
4054 Different parts of a chord name are normally separated by a
4055 slash. By setting @code{chordNameSeparator}, you can specify other
4057 @lilypond[fragment,verbatim]
4058 \context ChordNames \chords {
4060 \property ChordNames.chordNameSeparator
4061 = \markup { \typewriter "|" }
4065 @cindex chordRootNamer
4066 @item chordRootNamer
4067 The root of a chord is usually printed as a letter with an optional
4068 alteration. The transformation from pitch to letter is done by this
4069 function. Special note names (for example, the German ``H'' for a
4070 B-chord) can be produced by storing a new function in this property.
4072 The pre-defined variables @code{\germanChords},
4073 @code{\semiGermanChords} set these variables.
4076 @cindex chordNoteNamer
4077 @item chordNoteNamer
4078 The default is to print single pitch, e.g. the bass note, using the
4079 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4080 to a specialized function to change this behavior. For example, the
4081 base can be printed in lower case.
4086 There are also two other chord name schemes implemented: an alternate
4087 Jazz chord notation, and a systematic scheme called Banter chords. The
4088 alternate jazz notation is also shown on the chart in @ref{Chord name
4089 chart}. Turning on these styles is described in the input file
4090 @inputfileref{input/test,chord-names-jazz.ly}.
4094 @cindex chords, jazz
4099 @cindex @code{\germanChords}
4100 @code{\germanChords},
4101 @cindex @code{\semiGermanChords}
4102 @code{\semiGermanChords}.
4109 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4110 @inputfileref{input/regression,chord-name-exceptions.ly},
4111 @inputfileref{input/test,chord-names-jazz.ly},
4112 @inputfileref{input/test,chord-names-german.ly}.
4114 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4119 Chord names are determined solely from the list of pitches. Chord
4120 inversions are not identified, and neither are added bass notes. This
4121 may result in strange chord names when chords are entered with the
4122 @code{< .. >} syntax.
4127 @node Orchestral music
4128 @section Orchestral music
4130 @cindex Writing parts
4132 Orchestral music involves some special notation, both in the full
4133 score and the individual parts. This section explains how to tackle
4134 some common problems in orchestral music.
4139 * Multiple staff contexts::
4142 * Instrument names::
4144 * Multi measure rests::
4145 * Automatic part combining::
4147 * Different editions from one source::
4148 * Sound output for transposing instruments::
4151 @node Multiple staff contexts
4152 @subsection Multiple staff contexts
4154 Polyphonic scores consist of many staves. These staves can be
4155 constructed in three different ways:
4157 @item The group is started with a brace at the left. This is done with the
4158 @internalsref{GrandStaff} context.
4159 @item The group is started with a bracket. This is done with the
4160 @internalsref{StaffGroup} context
4161 @item The group is started with a vertical line. This is the default
4165 @cindex Staff, multiple
4166 @cindex bracket, vertical
4167 @cindex brace, vertical
4174 @node Rehearsal marks
4175 @subsection Rehearsal marks
4176 @cindex Rehearsal marks
4178 @cindex @code{\mark}
4180 To print a rehearsal mark, use the @code{\mark} command:
4181 @lilypond[fragment,verbatim]
4191 The mark is incremented automatically if you use @code{\mark
4192 \default}. The value to use is stored in the property
4193 @code{rehearsalMark} is used and automatically incremented.
4195 @cindex coda on bar line
4196 @cindex segno on bar line
4197 @cindex fermata on bar line
4198 @cindex bar lines, symbols on
4200 The @code{\mark} command can also be used to put signs like coda,
4201 segno and fermatas on a barline. Use @code{\markup} to
4202 to access the appropriate symbol:
4204 @lilypond[fragment,verbatim,relative=1]
4205 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4209 In this case, during line breaks,
4210 marks must also be printed at the end of the line, and not at the
4211 beginning. Use the following to force that behavior:
4213 \property Score.RehearsalMark \override
4214 #'break-visibility = #begin-of-line-invisible
4217 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4223 @cindex barlines, putting symbols on
4227 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4229 Examples: @inputfileref{input/test,boxed-molecule.ly}.
4233 @subsection Bar numbers
4237 @cindex measure numbers
4238 @cindex currentBarNumber
4240 Bar numbers are printed by default at the start of the line. The
4241 number itself is stored in the
4242 @code{currentBarNumber} property,
4243 which is normally updated automatically for every measure.
4245 Bar numbers can be typeset at regular intervals instead of at the
4246 beginning of each line. This is illustrated in the following example,
4247 whose source is available as
4248 @inputfileref{input/test,bar-number-regular-interval.ly}:
4250 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4255 Internals: @internalsref{BarNumber}.
4257 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4258 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4262 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4263 there is one at the top. To solve this, the
4264 @code{padding} property of @internalsref{BarNumber} can be
4265 used to position the number correctly.
4267 @node Instrument names
4268 @subsection Instrument names
4270 In an orchestral score, instrument names are printed left side of the
4273 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4274 and @internalsref{Staff}.@code{instr}. This will print a string before
4275 the start of the staff. For the first start, @code{instrument} is
4276 used, for the next ones @code{instr} is used:
4279 @lilypond[verbatim,singleline]
4280 \property Staff.instrument = "ploink " { c''4 }
4284 You can also use markup texts to construct more complicated instrument
4288 @lilypond[fragment,verbatim,singleline]
4290 \property Staff.instrument = \markup {
4291 \column < "Clarinetti"
4293 \smaller \musicglyph #"accidentals--1"
4304 Internals: @internalsref{InstrumentName}.
4308 When you put a name on a grand staff or piano staff the width of the
4309 brace is not taken into account. You must add extra spaces to the end of
4310 the name to avoid a collision.
4313 @subsection Transpose
4315 @cindex transposition of pitches
4316 @cindex @code{\transpose}
4318 A music expression can be transposed with @code{\transpose}. The syntax
4321 \transpose @var{from} @var{to} @var{musicexpr}
4324 This means that @var{musicexpr} is transposed by the interval
4325 between the pitches @var{from} and @var{to}.
4326 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4327 inside a @code{\notes} section.
4329 @code{\transpose} distinguishes between enharmonic pitches: both
4330 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4331 half a tone. The first version will print sharps and the second
4332 version will print flats:
4334 @lilypond[singleline, verbatim]
4335 mus =\notes { \key d \major cis d fis g }
4336 \score { \notes \context Staff {
4339 \transpose c g' \mus
4340 \transpose c f' \mus
4347 Internals: @internalsref{TransposedMusic}, and
4348 @internalsref{UntransposableMusic}.
4352 If you want to use both @code{\transpose} and @code{\relative}, then
4353 you must put @code{\transpose} outside of @code{\relative}, since
4354 @code{\relative} will have no effect music that appears inside a
4360 @node Multi measure rests
4361 @subsection Multi measure rests
4362 @cindex multi measure rests
4363 @cindex Rests, multi measure
4367 Multi measure rests are entered using `@code{R}'. It is specifically
4368 meant for full bar rests and for entering parts: the rest can expand
4369 to fill a score with rests, or it can be printed as a single
4370 multimeasure rest. This expansion is controlled by the property
4371 @code{Score.skipBars}. If this is set to true, empty measures will not
4372 be expanded, and the appropriate number is added automatically:
4374 @lilypond[fragment,verbatim]
4375 \time 4/4 r1 | R1 | R1*2
4376 \property Score.skipBars = ##t R1*17 R1*4
4379 The @code{1} in @code{R1} is similar to the duration notation used for
4380 notes. Hence, for time signatures other than 4/4, you must enter other
4381 durations. This can be done with augmentation dots or fractions:
4383 @lilypond[fragment,verbatim]
4384 \property Score.skipBars = ##t
4392 An @code{R} spanning a single measure is printed as either a whole rest
4393 or a breve, centered in the measure regardless of the time signature.
4395 @cindex text on multi-measure rest
4396 @cindex script on multi-measure rest
4397 @cindex fermata on multi-measure rest
4399 Texts can be added to multi-measure rests by using the
4400 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4401 replaced. If you need both texts and the number, you must add the
4402 number by hand. A variable (@code{\fermataMarkup}) is provided for
4406 @lilypond[verbatim,fragment]
4408 R2._\markup { "Ad lib" }
4412 If you want to have a text on the left end of a multi-measure rest,
4413 attach the text to a zero-length skip note, i.e.
4421 @cindex whole rests for a full measure
4425 Internals: @internalsref{MultiMeasureRestEvent},
4426 @internalsref{MultiMeasureTextEvent},
4427 @internalsref{MultiMeasureRestMusicGroup}, and
4428 @internalsref{MultiMeasureRest}.
4430 The layout object @internalsref{MultiMeasureRestNumber} is for the
4431 default number, and @internalsref{MultiMeasureRestText} for user
4436 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4437 over multi-measure rests.
4439 @cindex condensing rests
4441 There is no way to automatically condense multiple rests into a single
4442 multimeasure rest. Multi measure rests do not take part in rest
4445 Be careful when entering multimeasure rests followed by whole
4446 notes. The following will enter two notes lasting four measures each:
4450 When @code{skipBars} is set, then the result will look OK, but the
4451 bar numbering will be off.
4453 @node Automatic part combining
4454 @subsection Automatic part combining
4455 @cindex automatic part combining
4456 @cindex part combiner
4459 Automatic part combining is used to merge two parts of music onto a
4460 staff. It is aimed at typesetting orchestral scores. When the two
4461 parts are identical for a period of time, only one is shown. In
4462 places where the two parts differ, they are typeset as separate
4463 voices, and stem directions are set automatically. Also, solo and
4464 @emph{a due} parts are identified and can be marked.
4468 The syntax for part combining is
4471 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4473 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4474 combined into one context of type @var{context}. The music expressions
4475 must be interpreted by contexts whose names should start with @code{one}
4478 The following example demonstrates the basic functionality of the part
4479 combiner: putting parts on one staff, and setting stem directions and
4482 @lilypond[verbatim,singleline,fragment]
4484 \context Voice=one \partcombine Voice
4485 \context Thread=one \relative c'' {
4488 \context Thread=two \relative c'' {
4494 The first @code{g} appears only once, although it was
4495 specified twice (once in each part). Stem, slur and tie directions are
4496 set automatically, depending whether there is a solo or unisono. The
4497 first part (with context called @code{one}) always gets up stems, and
4498 `solo', while the second (called @code{two}) always gets down stems and
4501 If you just want the merging parts, and not the textual markings, you
4502 may set the property @var{soloADue} to false:
4504 @lilypond[verbatim,singleline,fragment]
4506 \property Staff.soloADue = ##f
4507 \context Voice=one \partcombine Voice
4508 \context Thread=one \relative c'' {
4511 \context Thread=two \relative c'' {
4519 Internals: @internalsref{PartCombineMusic},
4520 @internalsref{Thread_devnull_engraver}, and
4521 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4525 The syntax for naming contexts in inconsistent with the syntax for
4528 In @code{soloADue} mode, when the two voices play the same notes on and
4529 off, the part combiner may typeset @code{a2} more than once in a
4532 @lilypond[fragment,singleline]
4534 \context Voice=one \partcombine Voice
4535 \context Thread=one \relative c'' {
4538 \context Thread=two \relative c'' {
4544 The part combiner is rather buggy, and it will be replaced by a better
4545 mechanism in the near future.
4547 @cindex @code{Thread_devnull_engraver}
4548 @cindex @code{Voice_engraver}
4549 @cindex @code{A2_engraver}
4552 @subsection Hiding staves
4554 @cindex Frenched scores
4555 @cindex Hiding staves
4557 In orchestral scores, staff lines that only have rests are usually
4558 removed. This saves some space. This style is called `French Score'.
4559 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4560 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4561 switched on by default. When these line of these contexts turn out
4562 empty after the line-breaking process, they are removed.
4564 For normal staves, a specialized @internalsref{Staff} context is
4565 available, which does the same: staves containing nothing (or only
4566 multi measure rests) are removed. The context definition is stored in
4567 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4568 in this example disappears in the second line:
4573 \notes \relative c' <<
4574 \new Staff { e4 f g a \break c1 }
4575 \new Staff { c4 d e f \break R1 }
4579 \translator { \RemoveEmptyStaffContext }
4584 The first page shows all staffs in full. If they should be removed
4585 from the first page too, set @code{remove-first} to false
4586 in @internalsref{RemoveEmptyVerticalGroup}.
4588 @node Different editions from one source
4589 @subsection Different editions from one source
4591 The @code{\tag} command marks music expressions with a name. These
4592 tagged expressions can be filtered out later. With this mechanism it
4593 is possible to make different versions of the same music source.
4595 In the following example, we see two versions of a piece of music, one
4596 for the full score, and one with cue notes for the instrumental part:
4604 \property Voice.fontSize = #-1
4612 The same can be applied to articulations, texts, etc.: they are
4615 -\tag #@var{your-tag}
4617 to an articulation, for example,
4622 This defines a note with a conditional fingering indication.
4624 By applying the @code{remove-tag} function, tagged expressions can be
4625 filtered. For example,
4629 \apply #(remove-tag 'score) @var{the music}
4630 \apply #(remove-tag 'part) @var{the music}
4635 @lilypondfile[notexidoc]{tag-filter.ly}
4637 The argument of the @code{\tag} command should be a symbol, or a list
4638 of symbols, for example,
4640 \tag #'(original-part transposed-part) @dots{}
4645 Examples: @inputfileref{input/regression,tag-filter.ly}
4648 @node Sound output for transposing instruments
4649 @subsection Sound output for transposing instruments
4651 When you want to make a MIDI file from a score containing transposed
4652 and untransposed instruments, you have to instruct LilyPond the pitch
4653 offset (in semitones) for the transposed instruments. This is done
4654 using the @code{transposing} property. It does not affect printed
4657 @cindex @code{transposing}
4660 \property Staff.instrument = #"Cl. in B-flat"
4661 \property Staff.transposing = #-2
4665 @node Ancient notation
4666 @section Ancient notation
4668 @cindex Vaticana, Editio
4669 @cindex Medicaea, Editio
4674 @c [TODO: write more comprehensive introduction on ancient notation]
4676 Support for ancient notation is still under heavy development.
4677 Regardless of all of the current limitations (see the bugs section
4678 below for details), it includes features for mensural
4679 notation and Gregorian Chant notation. There is also limited support
4680 for figured bass notation.
4682 Many graphical objects provide a @code{style} property, see
4683 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4684 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4685 signatures}. By manipulating such a grob property, the typographical
4686 appearance of the affected graphical objects can be accomodated for a
4687 specific notation flavour without need for introducing any new
4691 Other aspects of ancient notation can not that easily be expressed as
4692 in terms of just changing a style property of a graphical object.
4693 Therefore, some notational concepts are introduced specifically for
4694 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4695 @ref{Ligatures}, and @ref{Figured bass}.
4699 * Ancient note heads::
4700 * Ancient accidentals::
4704 * Ancient time signatures::
4709 * Vaticana style contexts::
4712 If this all is way too much of documentation for you, and you just
4713 want to dive into typesetting without worrying too much about the
4714 details on how to customize a context, then you may have a look at the
4715 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4716 set up predefined style-specific voice and staff contexts, and
4717 directly go ahead with the note entry.
4721 Ligatures need special spacing that has not yet been implemented. As
4722 a result, there is too much space between ligatures most of the time,
4723 and line breaking often is unsatisfactory. Also, lyrics do not
4724 correctly align with ligatures.
4726 Accidentals must not be printed within a ligature, but instead need to
4727 be collected and printed in front of it.
4729 Augmentum dots within ligatures are not handled correctly.
4732 @node Ancient note heads
4733 @subsection Ancient note heads
4739 For ancient notation, a note head style other than the @code{default}
4740 style may be chosen. This is accomplished by setting the @code{style}
4741 property of the NoteHead object to the desired value (@code{baroque},
4742 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4743 differs from the @code{default} style only in using a square shape for
4744 @code{\breve} note heads. The @code{neo_mensural} style differs from
4745 the @code{baroque} style in that it uses rhomboidal heads for whole
4746 notes and all smaller durations. Stems are centered on the note
4747 heads. This style is in particular useful when transcribing mensural
4748 music, e.g. for the incipit. The @code{mensural} style finally
4749 produces note heads that mimick the look of note heads in historic
4750 printings of the 16th century.
4752 The following example demonstrates the @code{neo_mensural} style:
4754 @lilypond[fragment,singleline,verbatim]
4755 \property Voice.NoteHead \set #'style = #'neo_mensural
4756 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4759 When typesetting a piece in Gregorian Chant notation, a Gregorian
4760 ligature engraver will automatically select the proper note heads,
4761 such there is no need to explicitly set the note head style. Still,
4762 the note head style can be set e.g. to @code{vaticana_punctum} to
4763 produce punctum neumes. Similarly, a mensural ligature engraver is
4764 used to automatically assemble mensural ligatures. See
4765 @ref{Ligatures} for how ligature engravers work.
4770 @ref{Percussion staves} use note head styles of their own that are
4771 frequently used in contemporary music notation.
4773 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4774 overview over all available note head styles.
4777 @node Ancient accidentals
4778 @subsection Ancient accidentals
4784 Use the @code{style} property of grob @internalsref{Accidental} to
4785 select ancient accidentals. Supported styles are
4786 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4788 @lilypond[singleline,26pt]
4796 { " " \musicglyph #"accidentals-vaticana-1"
4797 " " \musicglyph #"accidentals-vaticana0" }
4801 { " " \musicglyph #"accidentals-medicaea-1" }
4805 { " " \musicglyph #"accidentals-hufnagel-1" }
4809 { " " \musicglyph #"accidentals-mensural-1"
4810 " " \musicglyph #"accidentals-mensural1" }
4819 \remove "Bar_number_engraver"
4823 \remove "Clef_engraver"
4824 \remove "Key_engraver"
4825 \remove "Time_signature_engraver"
4826 \remove "Staff_symbol_engraver"
4827 minimumVerticalExtent = ##f
4833 As shown, not all accidentals are supported by each style. When
4834 trying to access an unsupported accidental, LilyPond will switch to a
4835 different style, as demonstrated in
4836 @inputfileref{input/test,ancient-accidentals.ly}.
4838 Similarly to local accidentals, the style of the key signature can be
4839 controlled by the @code{style} property of the
4840 @internalsref{KeySignature} grob.
4844 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4845 @ref{Accidentals} give a general introduction into the use of
4846 accidentals. @ref{Key signature} gives a general introduction into
4847 the use of key signatures.
4849 Internals: @internalsref{KeySignature}
4851 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4854 @subsection Ancient rests
4860 Use the @code{style} property of grob @internalsref{Rest} to select
4861 ancient accidentals. Supported styles are @code{classical},
4862 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4863 from the @code{default} style only in that the quarter rest looks like
4864 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4865 well for e.g. the incipit of a transcribed mensural piece of music.
4866 The @code{mensural} style finally mimicks the appearance of rests as
4867 in historic prints of the 16th century.
4869 The following example demonstrates the @code{neo_mensural} style:
4871 @lilypond[fragment,singleline,verbatim]
4872 \property Voice.Rest \set #'style = #'neo_mensural
4873 r\longa r\breve r1 r2 r4 r8 r16
4876 There are no 32th and 64th rests specifically for the mensural or
4877 neo-mensural style. Instead, the rests from the default style will be
4878 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4881 There are no rests in Gregorian Chant notation; instead, it uses
4886 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4890 @subsection Ancient clefs
4896 LilyPond supports a variety of clefs, many of them ancient.
4898 The following table shows all ancient clefs that are supported via the
4899 @code{\clef} command. Some of the clefs use the same glyph, but
4900 differ only with respect to the line they are printed on. In such
4901 cases, a trailing number in the name is used to enumerate these clefs.
4902 Still, you can manually force a clef glyph to be typeset on an
4903 arbitrary line, as described in @ref{Clef}. The note printed to the
4904 right side of each clef in the example column denotes the @code{c'}
4905 with respect to that clef.
4907 @multitable @columnfractions .3 .3 .3 .1
4911 @b{Description} @tab
4912 @b{Supported Clefs} @tab
4916 @code{clefs-neo_mensural_c} @tab
4917 modern style mensural C clef @tab
4918 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4919 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4920 @lilypond[relative 0, notime]
4921 \property Staff.TimeSignature \set #'transparent = ##t
4922 \clef "neo_mensural_c2" c
4926 @code{clefs-petrucci_c1}
4927 @code{clefs-petrucci_c2}
4928 @code{clefs-petrucci_c3}
4929 @code{clefs-petrucci_c4}
4930 @code{clefs-petrucci_c5}
4933 petrucci style mensural C clefs, for use on different stafflines
4934 (the examples shows the 2nd staffline C clef).
4944 @lilypond[relative 0, notime]
4945 \property Staff.TimeSignature \set #'transparent = ##t
4946 \clef "petrucci_c2" c
4950 @code{clefs-petrucci_f} @tab
4951 petrucci style mensural F clef @tab
4952 @code{petrucci_f} @tab
4953 @lilypond[relative 0, notime]
4954 \property Staff.TimeSignature \set #'transparent = ##t
4955 \clef "petrucci_f" c
4959 @code{clefs-petrucci_g} @tab
4960 petrucci style mensural G clef @tab
4961 @code{petrucci_g} @tab
4962 @lilypond[relative 0, notime]
4963 \property Staff.TimeSignature \set #'transparent = ##t
4964 \clef "petrucci_g" c
4968 @code{clefs-mensural_c} @tab
4969 historic style mensural C clef @tab
4970 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4971 @code{mensural_c4} @tab
4972 @lilypond[relative 0, notime]
4973 \property Staff.TimeSignature \set #'transparent = ##t
4974 \clef "mensural_c2" c
4978 @code{clefs-mensural_f} @tab
4979 historic style mensural F clef @tab
4980 @code{mensural_f} @tab
4981 @lilypond[relative 0, notime]
4982 \property Staff.TimeSignature \set #'transparent = ##t
4983 \clef "mensural_f" c
4987 @code{clefs-mensural_g} @tab
4988 historic style mensural G clef @tab
4989 @code{mensural_g} @tab
4990 @lilypond[relative 0, notime]
4991 \property Staff.TimeSignature \set #'transparent = ##t
4992 \clef "mensural_g" c
4996 @code{clefs-vaticana_do} @tab
4997 Editio Vaticana style do clef @tab
4998 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4999 @lilypond[relative 0, notime]
5000 \property Staff.StaffSymbol \set #'line-count = #4
5001 \property Staff.TimeSignature \set #'transparent = ##t
5002 \clef "vaticana_do2" c
5006 @code{clefs-vaticana_fa} @tab
5007 Editio Vaticana style fa clef @tab
5008 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5009 @lilypond[relative 0, notime]
5010 \property Staff.StaffSymbol \set #'line-count = #4
5011 \property Staff.TimeSignature \set #'transparent = ##t
5012 \clef "vaticana_fa2" c
5016 @code{clefs-medicaea_do} @tab
5017 Editio Medicaea style do clef @tab
5018 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5019 @lilypond[relative 0, notime]
5020 \property Staff.StaffSymbol \set #'line-count = #4
5021 \property Staff.TimeSignature \set #'transparent = ##t
5022 \clef "medicaea_do2" c
5026 @code{clefs-medicaea_fa} @tab
5027 Editio Medicaea style fa clef @tab
5028 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5029 @lilypond[relative 0, notime]
5030 \property Staff.StaffSymbol \set #'line-count = #4
5031 \property Staff.TimeSignature \set #'transparent = ##t
5032 \clef "medicaea_fa2" c
5036 @code{clefs-hufnagel_do} @tab
5037 historic style hufnagel do clef @tab
5038 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5039 @lilypond[relative 0, notime]
5040 \property Staff.StaffSymbol \set #'line-count = #4
5041 \property Staff.TimeSignature \set #'transparent = ##t
5042 \clef "hufnagel_do2" c
5046 @code{clefs-hufnagel_fa} @tab
5047 historic style hufnagel fa clef @tab
5048 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5049 @lilypond[relative 0, notime]
5050 \property Staff.StaffSymbol \set #'line-count = #4
5051 \property Staff.TimeSignature \set #'transparent = ##t
5052 \clef "hufnagel_fa2" c
5056 @code{clefs-hufnagel_do_fa} @tab
5057 historic style hufnagel combined do/fa clef @tab
5058 @code{hufnagel_do_fa} @tab
5059 @lilypond[relative 0, notime]
5060 \property Staff.TimeSignature \set #'transparent = ##t
5061 \clef "hufnagel_do_fa" c
5066 @c --- This should go somewhere else: ---
5067 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5070 @c @code{percussion}
5072 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5074 @c @item modern style tab clef (glyph: @code{clefs-tab})
5079 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5081 @emph{Modern style} means ``as is typeset in contemporary editions of
5082 transcribed mensural music''.
5084 @emph{Petrucci style} means ``inspired by printings published by the
5085 famous engraver Petrucci (1466-1539)''.
5087 @emph{Historic style} means ``as was typeset or written in historic
5088 editions (other than those of Petrucci)''.
5090 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5092 Petrucci used C clefs with differently balanced left-side vertical
5093 beams, depending on which staffline it is printed.
5097 In this manual: for the percussion clef, see @ref{Percussion staves}.
5098 For the @code{TAB} clef, see @ref{Tablatures}.
5100 Internals: for modern clefs, see @ref{Clef}.
5105 @subsection Ancient flags
5111 Use the @code{flag-style} property of grob @internalsref{Stem} to
5112 select ancient flags. Besides the @code{default} flag style,
5113 only @code{mensural} style is supported:
5115 @lilypond[fragment,singleline,verbatim]
5116 \property Voice.Stem \set #'flag-style = #'mensural
5117 \property Voice.Stem \set #'thickness = #1.0
5118 \property Voice.NoteHead \set #'style = #'mensural
5120 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5121 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5124 Note that the innermost flare of each mensural flag always is
5125 vertically aligned with a staff line. If you do not like this
5126 behaviour, you can set the @code{adjust-if-on-staffline} property of
5127 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5128 of the end of each flare is different between notes on staff lines and
5129 notes between staff lines:
5131 @lilypond[fragment,singleline]
5132 \property Voice.Stem \set #'flag-style = #'mensural
5133 \property Voice.Stem \set #'thickness = #1.0
5134 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5135 \property Voice.NoteHead \set #'style = #'mensural
5137 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5138 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5141 There is no particular flag style for neo-mensural notation. Hence,
5142 when typesetting e.g. the incipit of a transcibed piece of mensural
5143 music, the default flag style should be used. There are no flags in
5144 Gregorian Chant notation.
5147 @node Ancient time signatures
5148 @subsection Ancient time signatures
5150 @cindex time signatures
5154 There is limited support for mensural time signatures. The
5155 glyphs are hard-wired to particular time fractions. In other words,
5156 to get a particular mensural signature glyph with the @code{\time n/m}
5157 command, @code{n} and @code{m} have to be chosen according to the
5163 \property Score.timing = ##f
5164 \property Score.barAlways = ##t
5165 s_\markup { "$\\backslash$time 4/4" }
5166 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5168 s_\markup { "$\\backslash$time 2/2" }
5169 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5171 s_\markup { "$\\backslash$time 6/4" }
5172 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5174 s_\markup { "$\\backslash$time 6/8" }
5175 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5177 s_\markup { "$\\backslash$time 3/2" }
5178 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5180 s_\markup { "$\\backslash$time 3/4" }
5181 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5183 s_\markup { "$\\backslash$time 9/4" }
5184 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5186 s_\markup { "$\\backslash$time 9/8" }
5187 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5189 s_\markup { "$\\backslash$time 4/8" }
5190 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5192 s_\markup { "$\\backslash$time 2/4" }
5193 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5201 \remove Staff_symbol_engraver
5202 \remove Clef_engraver
5203 \remove Time_signature_engraver
5209 Use the @code{style} property of grob @internalsref{TimeSignature} to
5210 select ancient time signatures. Supported styles are
5211 @code{neo_mensural} and @code{mensural}. The above table uses the
5212 @code{neo_mensural} style. This style is appropriate e.g. for the
5213 incipit of transcriptions of mensural pieces. The @code{mensural}
5214 style mimicks the look of historical printings of the 16th century.
5216 @inputfileref{input/test,time.ly} gives an overview over all available
5217 ancient and modern styles.
5221 Internals: @ref{Time signature} gives a general introduction into the use of time
5226 Mensural signature glyphs are mapped to time fractions in a
5227 hard-wired way. This mapping is sensible, but still arbitrary: given
5228 a mensural time signature, the time fraction represents a modern meter
5229 that usually will be a good choice when transcribing a mensural piece
5230 of music. For a particular piece of mensural music, however, the
5231 mapping may be unsatisfactory. In particular, the mapping assumes a
5232 fixed transcription of durations (e.g. brevis = half note in 2/2,
5233 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5234 are not at all accessible through the @code{\time} command.
5236 Mensural time signatures are supported typographically, but not yet
5237 musically. The internal representation of durations is
5238 based on a purely binary system; a ternary division such as 1 brevis =
5239 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5240 prolatione maiori) is not correctly handled: event times in ternary
5241 modes will be badly computed, resulting e.g. in horizontally
5242 misaligned note heads, and bar checks are likely to erroneously fail.
5244 The syntax and semantics of the @code{\time} command for mensural
5245 music is subject to change.
5248 @subsection Custodes
5253 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5254 symbol that appears at the end of a staff. It anticipates the pitch
5255 of the first note(s) of the following line and thus helps the player
5256 or singer to manage line breaks during performance, thus enhancing
5257 readability of a score.
5259 Custodes were frequently used in music notation until the 17th
5260 century. Nowadays, they have survived only in a few particular forms
5261 of musical notation such as contemporary editions of Gregorian chant
5262 like the @emph{editio vaticana}. There are different custos glyphs
5263 used in different flavours of notational style.
5267 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5268 @internalsref{Staff} context when declaring the @code{\paper} block,
5269 as shown in the following example:
5275 \consists Custos_engraver
5276 Custos \override #'style = #'mensural
5281 The result looks like this:
5287 \property Staff.Custos \set #'style = #'mensural
5294 \consists Custos_engraver
5301 The custos glyph is selected by the @code{style} property. The styles
5302 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5303 @code{mensural}. They are demonstrated in the following fragment:
5313 { " " \musicglyph #"custodes-vaticana-u0" }
5317 { " " \musicglyph #"custodes-medicaea-u0" }
5321 { " " \musicglyph #"custodes-hufnagel-u0" }
5325 { " " \musicglyph #"custodes-mensural-u0" }
5334 \remove "Bar_number_engraver"
5338 \remove "Clef_engraver"
5339 \remove "Key_engraver"
5340 \remove "Time_signature_engraver"
5341 \remove "Staff_symbol_engraver"
5342 minimumVerticalExtent = ##f
5348 If the boolean property @code{adjust-if-on-staffline} is set to
5349 @code{#t} (which it is by default), lily typesets slightly different
5350 variants of the custos glyph, depending on whether the custos, is
5351 typeset on or between stafflines. The glyph will
5352 optically fit well into the staff, with the appendage on the right of
5353 the custos always ending at the same vertical position between two
5354 stafflines regardless of the pitch. If you set
5355 @code{adjust-if-on-staffline} to @code{#f}, then
5356 a compromise between both forms is used.
5358 Just like stems can be attached to noteheads in two directions
5359 @emph{up} and @emph{down}, each custos glyph is available with its
5360 appendage pointing either up or down. If the pitch of a custos is
5361 above a selectable position, the appendage will point downwards; if
5362 the pitch is below this position, the appendage will point upwards.
5363 Use property @code{neutral-position} to select this position. By
5364 default, it is set to @code{0}, such that the neutral position is the
5365 center of the staff. Use property @code{neutral-direction} to control
5366 what happens if a custos is typeset on the neutral position itself.
5367 By default, this property is set to @code{-1}, such that the appendage
5368 will point downwards. If set to @code{1}, the appendage will point
5369 upwards. Other values such as @code{0} are reserved for future
5370 extensions and should not be used.
5374 Internals: @internalsref{Custos}
5376 Examples: @inputfileref{input/regression,custos.ly}.
5380 @subsection Divisiones
5386 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5387 `division') is a staff context symbol that is used to structure
5388 Gregorian music into phrases and sections. The musical meaning of
5389 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5390 can be characterized as short, medium and long pause, somewhat like
5391 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5392 a chant, but is also frequently used within a single
5393 antiphonal/responsorial chant to mark the end of each section.
5397 To use divisiones, include the file @code{gregorian-init.ly}. It
5398 contains definitions that you can apply by just inserting
5399 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5400 and @code{\finalis} at proper places in the input. Some editions use
5401 @emph{virgula} or @emph{caesura} instead of divisio minima.
5402 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5405 @lilypondfile[notexidoc]{divisiones.ly}
5409 @cindex @code{\virgula}
5411 @cindex @code{\caesura}
5413 @cindex @code{\divisioMinima}
5414 @code{\divisioMinima},
5415 @cindex @code{\divisioMaior}
5416 @code{\divisioMaior},
5417 @cindex @code{\divisioMaxima}
5418 @code{\divisioMaxima},
5419 @cindex @code{\finalis}
5424 In this manual: @ref{Breath marks}.
5426 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5428 Examples: @inputfileref{input/test,divisiones.ly}
5431 @subsection Ligatures
5435 @c TODO: Should double check if I recalled things correctly when I wrote
5436 @c down the following paragraph by heart.
5438 In musical terminology, a ligature is a coherent graphical symbol that
5439 represents at least two distinct notes. Ligatures originally appeared
5440 in the manuscripts of Gregorian chant notation roughly since the 9th
5441 century as an allusion to the accent symbols of greek lyric poetry to
5442 denote ascending or descending sequences of notes. Both, the shape
5443 and the exact meaning of ligatures changed tremendously during the
5444 following centuries: In early notation, ligatures were used for
5445 monophonic tunes (Gregorian chant) and very soon denoted also the way
5446 of performance in the sense of articulation. With upcoming
5447 multiphony, the need for a metric system arised, since multiple voices
5448 of a piece have to be synchronized some way. New notation systems
5449 were invented that used the manifold shapes of ligatures to now denote
5450 rhythmical patterns (e.g. black mensural notation, mannered notation,
5451 ars nova). With the invention of the metric system of the white
5452 mensural notation, the need for ligatures to denote such patterns
5453 disappeared. Nevertheless, ligatures were still in use in the
5454 mensural system for a couple of decades until they finally disappeared
5455 during the late 16th / early 17th century. Still, ligatures have
5456 survived in contemporary editions of Gregorian chant such as the
5457 Editio Vaticana from 1905/08.
5461 Syntactically, ligatures are simply enclosed by @code{\[} and
5462 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5463 additional input syntax specific for this particular type of ligature.
5464 By default, the @internalsref{LigatureBracket} engraver just puts a
5465 square bracket above the ligature:
5467 @lilypond[singleline,verbatim]
5469 \notes \transpose c c' {
5477 To select a specific style of ligatures, a proper ligature engraver
5478 has to be added to the @internalsref{Voice} context, as explained in
5479 the following subsections. Only white mensural ligatures
5480 are supported with certain limitations. Support for Editio Vaticana
5481 will be added in the future.
5484 * White mensural ligatures::
5485 * Gregorian square neumes ligatures::
5488 @node White mensural ligatures
5489 @subsubsection White mensural ligatures
5491 @cindex Mensural ligatures
5492 @cindex White mensural ligatures
5494 There is limited support for white mensural ligatures. The
5495 implementation is still experimental; it may output strange
5496 warnings or even crash in some cases or produce weird results on more
5501 To engrave white mensural ligatures, in the paper block the
5502 @internalsref{Mensural_ligature_engraver} has to be put into the
5503 @internalsref{Voice} context, and remove the
5504 @internalsref{Ligature_bracket_engraver}:
5510 \remove Ligature_bracket_engraver
5511 \consists Mensural_ligature_engraver
5516 There is no additional input language to describe the shape of a
5517 white mensural ligature. The shape is rather determined solely from
5518 the pitch and duration of the enclosed notes. While this approach may
5519 take a new user a while to get accustomed, it has the great advantage
5520 that the full musical information of the ligature is known internally.
5521 This is not only required for correct MIDI output, but also allows for
5522 automatic transcription of the ligatures.
5527 \property Score.timing = ##f
5528 \property Score.defaultBarType = "empty"
5529 \property Voice.NoteHead \set #'style = #'neo_mensural
5530 \property Staff.TimeSignature \set #'style = #'neo_mensural
5532 \[ g\longa c\breve a\breve f\breve d'\longa \]
5534 \[ e1 f1 a\breve g\longa \]
5536 @lilypond[singleline]
5538 \notes \transpose c c' {
5539 \property Score.timing = ##f
5540 \property Score.defaultBarType = "empty"
5541 \property Voice.NoteHead \set #'style = #'neo_mensural
5542 \property Staff.TimeSignature \set #'style = #'neo_mensural
5544 \[ g\longa c\breve a\breve f\breve d'\longa \]
5546 \[ e1 f1 a\breve g\longa \]
5551 \remove Ligature_bracket_engraver
5552 \consists Mensural_ligature_engraver
5558 Without replacing @internalsref{Ligature_bracket_engraver} with
5559 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5562 @lilypond[singleline]
5564 \notes \transpose c c' {
5565 \property Score.timing = ##f
5566 \property Score.defaultBarType = "empty"
5567 \property Voice.NoteHead \set #'style = #'neo_mensural
5568 \property Staff.TimeSignature \set #'style = #'neo_mensural
5570 \[ g\longa c\breve a\breve f\breve d'\longa \]
5572 \[ e1 f1 a\breve g\longa \]
5578 @node Gregorian square neumes ligatures
5579 @subsubsection Gregorian square neumes ligatures
5581 @cindex Square neumes ligatures
5582 @cindex Gregorian square neumes ligatures
5584 Gregorian square neumes notation (following the style of the Editio
5585 Vaticana) is under heavy development, but not yet really usable for
5586 production purposes. Core ligatures can already be typeset, but
5587 essential issues for serious typesetting are still under development,
5588 such as (among others) horizontal alignment of multiple ligatures,
5589 lyrics alignment and proper accidentals handling. Still, this section
5590 gives a sneak preview of what Gregorian chant may look like once it
5593 The following table contains the extended neumes table of the 2nd
5594 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5595 1983 by the monks of Solesmes.
5597 @multitable @columnfractions .4 .2 .2 .2
5600 @b{Neuma aut@*Neumarum Elementa} @tab
5601 @b{Figurae@*Rectae} @tab
5602 @b{Figurae@*Liquescentes Auctae} @tab
5603 @b{Figurae@*Liquescentes Deminutae}
5605 @c TODO: \paper block is identical in all of the below examples.
5606 @c Therefore, it should somehow be included rather than duplicated all
5609 @c why not make identifiers in ly/engraver-init.ly? --hwn
5611 @c Because it's just used to typeset plain notes without
5612 @c a staff for demonstration purposes rather than something
5613 @c special of Gregorian chant notation. --jr
5618 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5619 \include "gregorian-init.ly"
5621 \notes \transpose c c' {
5624 \noBreak s^\markup {"a"} \noBreak
5626 % Punctum Inclinatum
5628 \noBreak s^\markup {"b"}
5634 \remove "Bar_number_engraver"
5638 \remove "Clef_engraver"
5639 \remove "Key_engraver"
5640 StaffSymbol \set #'transparent = ##t
5641 \remove "Time_signature_engraver"
5642 \remove "Bar_engraver"
5643 minimumVerticalExtent = ##f
5647 \remove Ligature_bracket_engraver
5648 \consists Vaticana_ligature_engraver
5649 NoteHead \set #'style = #'vaticana_punctum
5650 Stem \set #'transparent = ##t
5656 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5657 \include "gregorian-init.ly"
5659 \notes \transpose c c' {
5660 % Punctum Auctum Ascendens
5661 \[ \auctum \ascendens b \]
5662 \noBreak s^\markup {"c"} \noBreak
5664 % Punctum Auctum Descendens
5665 \[ \auctum \descendens b \]
5666 \noBreak s^\markup {"d"} \noBreak
5668 % Punctum Inclinatum Auctum
5669 \[ \inclinatum \auctum b \]
5670 \noBreak s^\markup {"e"}
5676 \remove "Bar_number_engraver"
5680 \remove "Clef_engraver"
5681 \remove "Key_engraver"
5682 StaffSymbol \set #'transparent = ##t
5683 \remove "Time_signature_engraver"
5684 \remove "Bar_engraver"
5685 minimumVerticalExtent = ##f
5689 \remove Ligature_bracket_engraver
5690 \consists Vaticana_ligature_engraver
5691 NoteHead \set #'style = #'vaticana_punctum
5692 Stem \set #'transparent = ##t
5698 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5699 \include "gregorian-init.ly"
5701 \notes \transpose c c' {
5702 % Punctum Inclinatum Parvum
5703 \[ \inclinatum \deminutum b \]
5704 \noBreak s^\markup {"f"}
5710 \remove "Bar_number_engraver"
5714 \remove "Clef_engraver"
5715 \remove "Key_engraver"
5716 StaffSymbol \set #'transparent = ##t
5717 \remove "Time_signature_engraver"
5718 \remove "Bar_engraver"
5719 minimumVerticalExtent = ##f
5723 \remove Ligature_bracket_engraver
5724 \consists Vaticana_ligature_engraver
5725 NoteHead \set #'style = #'vaticana_punctum
5726 Stem \set #'transparent = ##t
5735 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5736 \include "gregorian-init.ly"
5738 \notes \transpose c c' {
5741 \noBreak s^\markup {"g"}
5747 \remove "Bar_number_engraver"
5751 \remove "Clef_engraver"
5752 \remove "Key_engraver"
5753 StaffSymbol \set #'transparent = ##t
5754 \remove "Time_signature_engraver"
5755 \remove "Bar_engraver"
5756 minimumVerticalExtent = ##f
5760 \remove Ligature_bracket_engraver
5761 \consists Vaticana_ligature_engraver
5762 NoteHead \set #'style = #'vaticana_punctum
5763 Stem \set #'transparent = ##t
5772 @code{3. Apostropha vel Stropha}
5774 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5775 \include "gregorian-init.ly"
5777 \notes \transpose c c' {
5780 \noBreak s^\markup {"h"}
5786 \remove "Bar_number_engraver"
5790 \remove "Clef_engraver"
5791 \remove "Key_engraver"
5792 StaffSymbol \set #'transparent = ##t
5793 \remove "Time_signature_engraver"
5794 \remove "Bar_engraver"
5795 minimumVerticalExtent = ##f
5799 \remove Ligature_bracket_engraver
5800 \consists Vaticana_ligature_engraver
5801 NoteHead \set #'style = #'vaticana_punctum
5802 Stem \set #'transparent = ##t
5808 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5809 \include "gregorian-init.ly"
5811 \notes \transpose c c' {
5813 \[ \stropha \auctum b \]
5814 \noBreak s^\markup {"i"}
5820 \remove "Bar_number_engraver"
5824 \remove "Clef_engraver"
5825 \remove "Key_engraver"
5826 StaffSymbol \set #'transparent = ##t
5827 \remove "Time_signature_engraver"
5828 \remove "Bar_engraver"
5829 minimumVerticalExtent = ##f
5833 \remove Ligature_bracket_engraver
5834 \consists Vaticana_ligature_engraver
5835 NoteHead \set #'style = #'vaticana_punctum
5836 Stem \set #'transparent = ##t
5846 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5847 \include "gregorian-init.ly"
5849 \notes \transpose c c' {
5852 \noBreak s^\markup {"j"}
5858 \remove "Bar_number_engraver"
5862 \remove "Clef_engraver"
5863 \remove "Key_engraver"
5864 StaffSymbol \set #'transparent = ##t
5865 \remove "Time_signature_engraver"
5866 \remove "Bar_engraver"
5867 minimumVerticalExtent = ##f
5871 \remove Ligature_bracket_engraver
5872 \consists Vaticana_ligature_engraver
5873 NoteHead \set #'style = #'vaticana_punctum
5874 Stem \set #'transparent = ##t
5883 @code{5. Clivis vel Flexa}
5885 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5886 \include "gregorian-init.ly"
5888 \notes \transpose c c' {
5897 \remove "Bar_number_engraver"
5901 \remove "Clef_engraver"
5902 \remove "Key_engraver"
5903 StaffSymbol \set #'transparent = ##t
5904 \remove "Time_signature_engraver"
5905 \remove "Bar_engraver"
5906 minimumVerticalExtent = ##f
5910 \remove Ligature_bracket_engraver
5911 \consists Vaticana_ligature_engraver
5912 NoteHead \set #'style = #'vaticana_punctum
5913 Stem \set #'transparent = ##t
5919 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5920 \include "gregorian-init.ly"
5922 \notes \transpose c c' {
5923 % Clivis Aucta Descendens
5924 \[ b \flexa \auctum \descendens g \]
5925 \noBreak s^\markup {"l"} \noBreak
5927 % Clivis Aucta Ascendens
5928 \[ b \flexa \auctum \ascendens g \]
5929 \noBreak s^\markup {"m"}
5935 \remove "Bar_number_engraver"
5939 \remove "Clef_engraver"
5940 \remove "Key_engraver"
5941 StaffSymbol \set #'transparent = ##t
5942 \remove "Time_signature_engraver"
5943 \remove "Bar_engraver"
5944 minimumVerticalExtent = ##f
5948 \remove Ligature_bracket_engraver
5949 \consists Vaticana_ligature_engraver
5950 NoteHead \set #'style = #'vaticana_punctum
5951 Stem \set #'transparent = ##t
5957 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5958 \include "gregorian-init.ly"
5960 \notes \transpose c c' {
5962 \[ b \flexa \deminutum g \]
5969 \remove "Bar_number_engraver"
5973 \remove "Clef_engraver"
5974 \remove "Key_engraver"
5975 StaffSymbol \set #'transparent = ##t
5976 \remove "Time_signature_engraver"
5977 \remove "Bar_engraver"
5978 minimumVerticalExtent = ##f
5982 \remove Ligature_bracket_engraver
5983 \consists Vaticana_ligature_engraver
5984 NoteHead \set #'style = #'vaticana_punctum
5985 Stem \set #'transparent = ##t
5992 @code{6. Podatus vel Pes}
5994 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5995 \include "gregorian-init.ly"
5997 \notes \transpose c c' {
6006 \remove "Bar_number_engraver"
6010 \remove "Clef_engraver"
6011 \remove "Key_engraver"
6012 StaffSymbol \set #'transparent = ##t
6013 \remove "Time_signature_engraver"
6014 \remove "Bar_engraver"
6015 minimumVerticalExtent = ##f
6019 \remove Ligature_bracket_engraver
6020 \consists Vaticana_ligature_engraver
6021 NoteHead \set #'style = #'vaticana_punctum
6022 Stem \set #'transparent = ##t
6028 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
6029 \include "gregorian-init.ly"
6031 \notes \transpose c c' {
6032 % Pes Auctus Descendens
6033 \[ g \pes \auctum \descendens b \]
6034 \noBreak s^\markup {"p"} \noBreak
6036 % Pes Auctus Ascendens
6037 \[ g \pes \auctum \ascendens b \]
6038 \noBreak s^\markup {"q"}
6044 \remove "Bar_number_engraver"
6048 \remove "Clef_engraver"
6049 \remove "Key_engraver"
6050 StaffSymbol \set #'transparent = ##t
6051 \remove "Time_signature_engraver"
6052 \remove "Bar_engraver"
6053 minimumVerticalExtent = ##f
6057 \remove Ligature_bracket_engraver
6058 \consists Vaticana_ligature_engraver
6059 NoteHead \set #'style = #'vaticana_punctum
6060 Stem \set #'transparent = ##t
6066 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6067 \include "gregorian-init.ly"
6069 \notes \transpose c c' {
6071 \[ g \pes \deminutum b \]
6078 \remove "Bar_number_engraver"
6082 \remove "Clef_engraver"
6083 \remove "Key_engraver"
6084 StaffSymbol \set #'transparent = ##t
6085 \remove "Time_signature_engraver"
6086 \remove "Bar_engraver"
6087 minimumVerticalExtent = ##f
6091 \remove Ligature_bracket_engraver
6092 \consists Vaticana_ligature_engraver
6093 NoteHead \set #'style = #'vaticana_punctum
6094 Stem \set #'transparent = ##t
6101 @code{7. Pes Quassus}
6103 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6104 \include "gregorian-init.ly"
6106 \notes \transpose c c' {
6108 \[ \oriscus g \pes \virga b \]
6115 \remove "Bar_number_engraver"
6119 \remove "Clef_engraver"
6120 \remove "Key_engraver"
6121 StaffSymbol \set #'transparent = ##t
6122 \remove "Time_signature_engraver"
6123 \remove "Bar_engraver"
6124 minimumVerticalExtent = ##f
6128 \remove Ligature_bracket_engraver
6129 \consists Vaticana_ligature_engraver
6130 NoteHead \set #'style = #'vaticana_punctum
6131 Stem \set #'transparent = ##t
6137 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6138 \include "gregorian-init.ly"
6140 \notes \transpose c c' {
6141 % Pes Quassus Auctus Descendens
6142 \[ \oriscus g \pes \auctum \descendens b \]
6149 \remove "Bar_number_engraver"
6153 \remove "Clef_engraver"
6154 \remove "Key_engraver"
6155 StaffSymbol \set #'transparent = ##t
6156 \remove "Time_signature_engraver"
6157 \remove "Bar_engraver"
6158 minimumVerticalExtent = ##f
6162 \remove Ligature_bracket_engraver
6163 \consists Vaticana_ligature_engraver
6164 NoteHead \set #'style = #'vaticana_punctum
6165 Stem \set #'transparent = ##t
6173 @code{8. Quilisma Pes}
6175 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6176 \include "gregorian-init.ly"
6178 \notes \transpose c c' {
6180 \[ \quilisma g \pes b \]
6187 \remove "Bar_number_engraver"
6191 \remove "Clef_engraver"
6192 \remove "Key_engraver"
6193 StaffSymbol \set #'transparent = ##t
6194 \remove "Time_signature_engraver"
6195 \remove "Bar_engraver"
6196 minimumVerticalExtent = ##f
6200 \remove Ligature_bracket_engraver
6201 \consists Vaticana_ligature_engraver
6202 NoteHead \set #'style = #'vaticana_punctum
6203 Stem \set #'transparent = ##t
6209 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6210 \include "gregorian-init.ly"
6212 \notes \transpose c c' {
6213 % Quilisma Pes Auctus Descendens
6214 \[ \quilisma g \pes \auctum \descendens b \]
6221 \remove "Bar_number_engraver"
6225 \remove "Clef_engraver"
6226 \remove "Key_engraver"
6227 StaffSymbol \set #'transparent = ##t
6228 \remove "Time_signature_engraver"
6229 \remove "Bar_engraver"
6230 minimumVerticalExtent = ##f
6234 \remove Ligature_bracket_engraver
6235 \consists Vaticana_ligature_engraver
6236 NoteHead \set #'style = #'vaticana_punctum
6237 Stem \set #'transparent = ##t
6245 @code{9. Podatus Initio Debilis}
6247 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6248 \include "gregorian-init.ly"
6250 \notes \transpose c c' {
6251 % Pes Initio Debilis
6252 \[ \deminutum g \pes b \]
6259 \remove "Bar_number_engraver"
6263 \remove "Clef_engraver"
6264 \remove "Key_engraver"
6265 StaffSymbol \set #'transparent = ##t
6266 \remove "Time_signature_engraver"
6267 \remove "Bar_engraver"
6268 minimumVerticalExtent = ##f
6272 \remove Ligature_bracket_engraver
6273 \consists Vaticana_ligature_engraver
6274 NoteHead \set #'style = #'vaticana_punctum
6275 Stem \set #'transparent = ##t
6281 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6282 \include "gregorian-init.ly"
6284 \notes \transpose c c' {
6285 % Pes Auctus Descendens Initio Debilis
6286 \[ \deminutum g \pes \auctum \descendens b \]
6293 \remove "Bar_number_engraver"
6297 \remove "Clef_engraver"
6298 \remove "Key_engraver"
6299 StaffSymbol \set #'transparent = ##t
6300 \remove "Time_signature_engraver"
6301 \remove "Bar_engraver"
6302 minimumVerticalExtent = ##f
6306 \remove Ligature_bracket_engraver
6307 \consists Vaticana_ligature_engraver
6308 NoteHead \set #'style = #'vaticana_punctum
6309 Stem \set #'transparent = ##t
6319 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6320 \include "gregorian-init.ly"
6322 \notes \transpose c c' {
6324 \[ a \pes b \flexa g \]
6331 \remove "Bar_number_engraver"
6335 \remove "Clef_engraver"
6336 \remove "Key_engraver"
6337 StaffSymbol \set #'transparent = ##t
6338 \remove "Time_signature_engraver"
6339 \remove "Bar_engraver"
6340 minimumVerticalExtent = ##f
6344 \remove Ligature_bracket_engraver
6345 \consists Vaticana_ligature_engraver
6346 NoteHead \set #'style = #'vaticana_punctum
6347 Stem \set #'transparent = ##t
6353 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6354 \include "gregorian-init.ly"
6356 \notes \transpose c c' {
6357 % Torculus Auctus Descendens
6358 \[ a \pes b \flexa \auctum \descendens g \]
6365 \remove "Bar_number_engraver"
6369 \remove "Clef_engraver"
6370 \remove "Key_engraver"
6371 StaffSymbol \set #'transparent = ##t
6372 \remove "Time_signature_engraver"
6373 \remove "Bar_engraver"
6374 minimumVerticalExtent = ##f
6378 \remove Ligature_bracket_engraver
6379 \consists Vaticana_ligature_engraver
6380 NoteHead \set #'style = #'vaticana_punctum
6381 Stem \set #'transparent = ##t
6387 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6388 \include "gregorian-init.ly"
6390 \notes \transpose c c' {
6391 % Torculus Deminutus
6392 \[ a \pes b \flexa \deminutum g \]
6399 \remove "Bar_number_engraver"
6403 \remove "Clef_engraver"
6404 \remove "Key_engraver"
6405 StaffSymbol \set #'transparent = ##t
6406 \remove "Time_signature_engraver"
6407 \remove "Bar_engraver"
6408 minimumVerticalExtent = ##f
6412 \remove Ligature_bracket_engraver
6413 \consists Vaticana_ligature_engraver
6414 NoteHead \set #'style = #'vaticana_punctum
6415 Stem \set #'transparent = ##t
6422 @code{11. Torculus Initio Debilis}
6424 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6425 \include "gregorian-init.ly"
6427 \notes \transpose c c' {
6428 % Torculus Initio Debilis
6429 \[ \deminutum a \pes b \flexa g \]
6436 \remove "Bar_number_engraver"
6440 \remove "Clef_engraver"
6441 \remove "Key_engraver"
6442 StaffSymbol \set #'transparent = ##t
6443 \remove "Time_signature_engraver"
6444 \remove "Bar_engraver"
6445 minimumVerticalExtent = ##f
6449 \remove Ligature_bracket_engraver
6450 \consists Vaticana_ligature_engraver
6451 NoteHead \set #'style = #'vaticana_punctum
6452 Stem \set #'transparent = ##t
6458 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6459 \include "gregorian-init.ly"
6461 \notes \transpose c c' {
6462 % Torculus Auctus Descendens Initio Debilis
6463 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6470 \remove "Bar_number_engraver"
6474 \remove "Clef_engraver"
6475 \remove "Key_engraver"
6476 StaffSymbol \set #'transparent = ##t
6477 \remove "Time_signature_engraver"
6478 \remove "Bar_engraver"
6479 minimumVerticalExtent = ##f
6483 \remove Ligature_bracket_engraver
6484 \consists Vaticana_ligature_engraver
6485 NoteHead \set #'style = #'vaticana_punctum
6486 Stem \set #'transparent = ##t
6492 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6493 \include "gregorian-init.ly"
6495 \notes \transpose c c' {
6496 % Torculus Deminutus Initio Debilis
6497 \[ \deminutum a \pes b \flexa \deminutum g \]
6504 \remove "Bar_number_engraver"
6508 \remove "Clef_engraver"
6509 \remove "Key_engraver"
6510 StaffSymbol \set #'transparent = ##t
6511 \remove "Time_signature_engraver"
6512 \remove "Bar_engraver"
6513 minimumVerticalExtent = ##f
6517 \remove Ligature_bracket_engraver
6518 \consists Vaticana_ligature_engraver
6519 NoteHead \set #'style = #'vaticana_punctum
6520 Stem \set #'transparent = ##t
6527 @code{12. Porrectus}
6529 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6530 \include "gregorian-init.ly"
6532 \notes \transpose c c' {
6534 \[ a \flexa g \pes b \]
6541 \remove "Bar_number_engraver"
6545 \remove "Clef_engraver"
6546 \remove "Key_engraver"
6547 StaffSymbol \set #'transparent = ##t
6548 \remove "Time_signature_engraver"
6549 \remove "Bar_engraver"
6550 minimumVerticalExtent = ##f
6554 \remove Ligature_bracket_engraver
6555 \consists Vaticana_ligature_engraver
6556 NoteHead \set #'style = #'vaticana_punctum
6557 Stem \set #'transparent = ##t
6563 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6564 \include "gregorian-init.ly"
6566 \notes \transpose c c' {
6567 % Porrectus Auctus Descendens
6568 \[ a \flexa g \pes \auctum \descendens b \]
6575 \remove "Bar_number_engraver"
6579 \remove "Clef_engraver"
6580 \remove "Key_engraver"
6581 StaffSymbol \set #'transparent = ##t
6582 \remove "Time_signature_engraver"
6583 \remove "Bar_engraver"
6584 minimumVerticalExtent = ##f
6588 \remove Ligature_bracket_engraver
6589 \consists Vaticana_ligature_engraver
6590 NoteHead \set #'style = #'vaticana_punctum
6591 Stem \set #'transparent = ##t
6597 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6598 \include "gregorian-init.ly"
6600 \notes \transpose c c' {
6601 % Porrectus Deminutus
6602 \[ a \flexa g \pes \deminutum b \]
6609 \remove "Bar_number_engraver"
6613 \remove "Clef_engraver"
6614 \remove "Key_engraver"
6615 StaffSymbol \set #'transparent = ##t
6616 \remove "Time_signature_engraver"
6617 \remove "Bar_engraver"
6618 minimumVerticalExtent = ##f
6622 \remove Ligature_bracket_engraver
6623 \consists Vaticana_ligature_engraver
6624 NoteHead \set #'style = #'vaticana_punctum
6625 Stem \set #'transparent = ##t
6634 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6635 \include "gregorian-init.ly"
6637 \notes \transpose c c' {
6639 \[ \virga b \inclinatum a \inclinatum g \]
6646 \remove "Bar_number_engraver"
6650 \remove "Clef_engraver"
6651 \remove "Key_engraver"
6652 StaffSymbol \set #'transparent = ##t
6653 \remove "Time_signature_engraver"
6654 \remove "Bar_engraver"
6655 minimumVerticalExtent = ##f
6659 \remove Ligature_bracket_engraver
6660 \consists Vaticana_ligature_engraver
6661 NoteHead \set #'style = #'vaticana_punctum
6662 Stem \set #'transparent = ##t
6668 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6669 \include "gregorian-init.ly"
6671 \notes \transpose c c' {
6673 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6680 \remove "Bar_number_engraver"
6684 \remove "Clef_engraver"
6685 \remove "Key_engraver"
6686 StaffSymbol \set #'transparent = ##t
6687 \remove "Time_signature_engraver"
6688 \remove "Bar_engraver"
6689 minimumVerticalExtent = ##f
6693 \remove Ligature_bracket_engraver
6694 \consists Vaticana_ligature_engraver
6695 NoteHead \set #'style = #'vaticana_punctum
6696 Stem \set #'transparent = ##t
6702 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6703 \include "gregorian-init.ly"
6705 \notes \transpose c c' {
6706 % Climacus Deminutus
6707 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6714 \remove "Bar_number_engraver"
6718 \remove "Clef_engraver"
6719 \remove "Key_engraver"
6720 StaffSymbol \set #'transparent = ##t
6721 \remove "Time_signature_engraver"
6722 \remove "Bar_engraver"
6723 minimumVerticalExtent = ##f
6727 \remove Ligature_bracket_engraver
6728 \consists Vaticana_ligature_engraver
6729 NoteHead \set #'style = #'vaticana_punctum
6730 Stem \set #'transparent = ##t
6737 @code{14. Scandicus}
6739 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6740 \include "gregorian-init.ly"
6742 \notes \transpose c c' {
6744 \[ g \pes a \virga b \]
6751 \remove "Bar_number_engraver"
6755 \remove "Clef_engraver"
6756 \remove "Key_engraver"
6757 StaffSymbol \set #'transparent = ##t
6758 \remove "Time_signature_engraver"
6759 \remove "Bar_engraver"
6760 minimumVerticalExtent = ##f
6764 \remove Ligature_bracket_engraver
6765 \consists Vaticana_ligature_engraver
6766 NoteHead \set #'style = #'vaticana_punctum
6767 Stem \set #'transparent = ##t
6773 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6774 \include "gregorian-init.ly"
6776 \notes \transpose c c' {
6777 % Scandicus Auctus Descendens
6778 \[ g \pes a \pes \auctum \descendens b \]
6785 \remove "Bar_number_engraver"
6789 \remove "Clef_engraver"
6790 \remove "Key_engraver"
6791 StaffSymbol \set #'transparent = ##t
6792 \remove "Time_signature_engraver"
6793 \remove "Bar_engraver"
6794 minimumVerticalExtent = ##f
6798 \remove Ligature_bracket_engraver
6799 \consists Vaticana_ligature_engraver
6800 NoteHead \set #'style = #'vaticana_punctum
6801 Stem \set #'transparent = ##t
6807 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6808 \include "gregorian-init.ly"
6810 \notes \transpose c c' {
6811 % Scandicus Deminutus
6812 \[ g \pes a \pes \deminutum b \]
6819 \remove "Bar_number_engraver"
6823 \remove "Clef_engraver"
6824 \remove "Key_engraver"
6825 StaffSymbol \set #'transparent = ##t
6826 \remove "Time_signature_engraver"
6827 \remove "Bar_engraver"
6828 minimumVerticalExtent = ##f
6832 \remove Ligature_bracket_engraver
6833 \consists Vaticana_ligature_engraver
6834 NoteHead \set #'style = #'vaticana_punctum
6835 Stem \set #'transparent = ##t
6844 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6845 \include "gregorian-init.ly"
6847 \notes \transpose c c' {
6849 \[ g \oriscus a \pes \virga b \]
6856 \remove "Bar_number_engraver"
6860 \remove "Clef_engraver"
6861 \remove "Key_engraver"
6862 StaffSymbol \set #'transparent = ##t
6863 \remove "Time_signature_engraver"
6864 \remove "Bar_engraver"
6865 minimumVerticalExtent = ##f
6869 \remove Ligature_bracket_engraver
6870 \consists Vaticana_ligature_engraver
6871 NoteHead \set #'style = #'vaticana_punctum
6872 Stem \set #'transparent = ##t
6878 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6879 \include "gregorian-init.ly"
6881 \notes \transpose c c' {
6882 % Salicus Auctus Descendens
6883 \[ g \oriscus a \pes \auctum \descendens b \]
6890 \remove "Bar_number_engraver"
6894 \remove "Clef_engraver"
6895 \remove "Key_engraver"
6896 StaffSymbol \set #'transparent = ##t
6897 \remove "Time_signature_engraver"
6898 \remove "Bar_engraver"
6899 minimumVerticalExtent = ##f
6903 \remove Ligature_bracket_engraver
6904 \consists Vaticana_ligature_engraver
6905 NoteHead \set #'style = #'vaticana_punctum
6906 Stem \set #'transparent = ##t
6916 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6917 \include "gregorian-init.ly"
6919 \notes \transpose c c' {
6921 \[ \stropha b \stropha b \stropha a \]
6928 \remove "Bar_number_engraver"
6932 \remove "Clef_engraver"
6933 \remove "Key_engraver"
6934 StaffSymbol \set #'transparent = ##t
6935 \remove "Time_signature_engraver"
6936 \remove "Bar_engraver"
6937 minimumVerticalExtent = ##f
6941 \remove Ligature_bracket_engraver
6942 \consists Vaticana_ligature_engraver
6943 NoteHead \set #'style = #'vaticana_punctum
6944 Stem \set #'transparent = ##t
6956 Unlike most other neumes notation systems, the input language for
6957 neumes does not necessarily reflect directly the typographical
6958 appearance, but is designed to solely focuse on musical meaning. For
6959 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6960 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6961 a Porrectus with a curved flexa shape and only a single Punctum head.
6962 There is no command to explicitly typeset the curved flexa shape; the
6963 decision of when to typeset a curved flexa shape is purely taken from
6964 the musical input. The idea of this approach is to separate the
6965 musical aspects of the input from the notation style of the output.
6966 This way, the same input can be reused to typeset the same music in a
6967 different style of Gregorian chant notation such as Hufnagel (also
6968 known as German gothic neumes) or Medicaea (kind of a very simple
6969 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6970 engraver and Medicaea ligature engraver will have been implemented, it
6971 will be as simple as replacing the ligature engraver in the
6972 @internalsref{Voice} context to get the desired notation style from
6975 The following table shows the code fragments that produce the
6976 ligatures in the above neumes table. The letter in the first column
6977 in each line of the below table indicates to which ligature in the
6978 above table it refers. The second column gives the name of the
6979 ligature. The third column shows the code fragment that produces this
6980 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6982 @multitable @columnfractions .1 .4 .5
6996 Punctum Inclinatum @tab
6997 @code{\[ \inclinatum b \]}
7001 Punctum Auctum Ascendens @tab
7002 @code{\[ \auctum \ascendens b \]}
7006 Punctum Auctum Descendens @tab
7007 @code{\[ \auctum \descendens b \]}
7011 Punctum Inclinatum Auctum @tab
7012 @code{\[ \inclinatum \auctum b \]}
7016 Punctum Inclinatum Parvum @tab
7017 @code{\[ \inclinatum \deminutum b \]}
7022 @code{\[ \virga b \]}
7027 @code{\[ \stropha b \]}
7032 @code{\[ \stropha \auctum b \]}
7037 @code{\[ \oriscus b \]}
7041 Clivis vel Flexa @tab
7042 @code{\[ b \flexa g \]}
7046 Clivis Aucta Descendens @tab
7047 @code{\[ b \flexa \auctum \descendens g \]}
7051 Clivis Aucta Ascendens @tab
7052 @code{\[ b \flexa \auctum \ascendens g \]}
7057 @code{\[ b \flexa \deminutum g \]}
7061 Podatus vel Pes @tab
7062 @code{\[ g \pes b \]}
7066 Pes Auctus Descendens @tab
7067 @code{\[ g \pes \auctum \descendens b \]}
7071 Pes Auctus Ascendens @tab
7072 @code{\[ g \pes \auctum \ascendens b \]}
7077 @code{\[ g \pes \deminutum b \]}
7082 @code{\[ \oriscus g \pes \virga b \]}
7086 Pes Quassus Auctus Descendens @tab
7087 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7092 @code{\[ \quilisma g \pes b \]}
7096 Quilisma Pes Auctus Descendens @tab
7097 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7101 Pes Initio Debilis @tab
7102 @code{\[ \deminutum g \pes b \]}
7106 Pes Auctus Descendens Initio Debilis @tab
7107 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7112 @code{\[ a \pes b \flexa g \]}
7116 Torculus Auctus Descendens @tab
7117 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7121 Torculus Deminutus @tab
7122 @code{\[ a \pes b \flexa \deminutum g \]}
7126 Torculus Initio Debilis @tab
7127 @code{\[ \deminutum a \pes b \flexa g \]}
7131 Torculus Auctus Descendens Initio Debilis @tab
7132 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7136 Torculus Deminutus Initio Debilis @tab
7137 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7142 @code{\[ a \flexa g \pes b \]}
7146 Porrectus Auctus Descendens @tab
7147 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7151 Porrectus Deminutus @tab
7152 @code{\[ a \flexa g \pes \deminutum b \]}
7157 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7161 Climacus Auctus @tab
7162 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7166 Climacus Deminutus @tab
7167 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7172 @code{\[ g \pes a \virga b \]}
7176 Scandicus Auctus Descendens @tab
7177 @code{\[ g \pes a \pes \auctum \descendens b \]}
7181 Scandicus Deminutus @tab
7182 @code{\[ g \pes a \pes \deminutum b \]}
7187 @code{\[ g \oriscus a \pes \virga b \]}
7191 Salicus Auctus Descendens @tab
7192 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7197 @code{\[ \stropha b \stropha b \stropha a \]}
7203 The following head prefixes are supported:
7205 @cindex @code{\virga}
7207 @cindex @code{\stropha}
7209 @cindex @code{\inclinatum}
7211 @cindex @code{\auctum}
7213 @cindex @code{\descendens}
7215 @cindex @code{\ascendens}
7217 @cindex @code{\oriscus}
7219 @cindex @code{\quilisma}
7221 @cindex @code{\deminutum}
7224 Head prefixes can be accumulated, though restrictions apply. For
7225 example, either @code{\descendens} or @code{\ascendens} can be applied
7226 to a head, but not both to the same head.
7229 @cindex @code{\flexa}
7230 Two adjacent heads can be tied together with the @code{\pes} and
7231 @code{\flexa} infix commands for a rising and falling line of melody,
7236 Trigonus: apply equal spacing, regardless of pitch.
7239 @subsection Figured bass
7241 @cindex Basso continuo
7243 @c TODO: musicological blurb about FB
7247 LilyPond has limited support for figured bass:
7249 @lilypond[verbatim,fragment]
7251 \context Voice \notes { \clef bass dis4 c d ais}
7252 \context FiguredBass
7254 < 6 >4 < 7 >8 < 6+ [_!] >
7260 The support for figured bass consists of two parts: there is an input
7261 mode, introduced by @code{\figures}, where you can enter bass figures
7262 as numbers, and there is a context called @internalsref{FiguredBass} that
7263 takes care of making @internalsref{BassFigure} objects.
7265 In figures input mode, a group of bass figures is delimited by
7266 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7271 \context FiguredBass
7275 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7282 \context FiguredBass
7283 \figures { <4- 6+ 7!> }
7286 Spaces or dashes may be inserted by using @code{_}. Brackets are
7287 introduced with @code{[} and @code{]}:
7293 \context FiguredBass
7294 \figures { < [4 6] 8 [_! 12]> }
7297 Although the support for figured bass may superficially resemble chord
7298 support, it works much simpler. The @code{\figures} mode simply
7299 stores the numbers , and @internalsref{FiguredBass} context prints
7300 them as entered. There is no conversion to pitches, and no
7301 realizations of the bass are played in the MIDI file.
7303 Internally, the code produces markup texts. You can use any of the
7304 markup text properties to override formatting. For example, the
7305 vertical spacing of the figures may be set with @code{baseline-skip}.
7309 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7310 and @internalsref{FiguredBass} context.
7314 Slash notation for alterations is not supported.
7317 @node Vaticana style contexts
7318 @subsection Vaticana style contexts
7320 @cindex VaticanaVoiceContext
7321 @cindex VaticanaStaffContext
7323 The predefined @code{VaticanaVoiceContext} and
7324 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7325 Gregorian Chant in the style of the Editio Vaticana. These contexts
7326 initialize all relevant context properties and grob properties to
7327 proper values. With these contexts, you can immediately go ahead
7328 entering the chant, as the following short excerpt demonstrates:
7330 @lilypond[raggedright,verbatim,noindent]
7331 \include "gregorian-init.ly"
7334 \context VaticanaVoice {
7335 \property Score.BarNumber \set #'transparent = ##t
7337 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7338 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7339 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7342 \lyricsto "" \new LyricsVoice \lyrics {
7343 San- ctus, San- ctus, San- ctus
7349 @node Contemporary notation
7350 @section Contemporary notation
7352 In the 20th century, composers have greatly expanded the musical
7353 vocabulary. With this expansion, many innovations in musical notation
7354 have been tried. The book by Stone (1980) gives a comprehensive
7355 overview (see @ref{Literature list}). In general, the use of new,
7356 innovative notation makes a piece harder to understand and perform and
7357 its use should therefore be avoided if possible. For this reason,
7358 support for contemporary notation in LilyPond is limited.
7367 @subsection Clusters
7371 In musical terminology, a @emph{cluster} denotes a range of
7372 simultaneously sounding pitches that may change over time. The set of
7373 available pitches to apply usually depends on the accoustic source.
7374 Thus, in piano music, a cluster typically consists of a continous range
7375 of the semitones as provided by the piano's fixed set of a chromatic
7376 scale. In choral music, each singer of the choir typically may sing an
7377 arbitrary pitch within the cluster's range that is not bound to any
7378 diatonic, chromatic or other scale. In electronic music, a cluster
7379 (theoretically) may even cover a continuous range of pitches, thus
7380 resulting in coloured noise, such as pink noise.
7382 Clusters can be denoted in the context of ordinary staff notation by
7383 engraving simple geometrical shapes that replace ordinary notation of
7384 notes. Ordinary notes as musical events specify starting time and
7385 duration of pitches; however, the duration of a note is expressed by the
7386 shape of the note head rather than by the horizontal graphical extent of
7387 the note symbol. In contrast, the shape of a cluster geometrically
7388 describes the development of a range of pitches (vertical extent) over
7389 time (horizontal extent). Still, the geometrical shape of a cluster
7390 covers the area in wich any single pitch contained in the cluster would
7391 be notated as an ordinary note. From this point of view, it is
7392 reasonable to specify a cluster as the envelope of a set of notes.
7396 A cluster is engraved as the envelope of a set of
7397 cluster-notes. Cluster notes are created by applying the function
7398 @code{notes-to-clusters} to a sequence of chords, e.g.
7400 @lilypond[relative 1,verbatim]
7401 \apply #notes-to-clusters { <c e > <b f'> }
7404 The following example (from
7405 @inputfileref{input/regression,cluster.ly}) shows what the result
7408 @lilypondfile[notexidoc]{cluster.ly}
7410 By default, @internalsref{Cluster_spanner_engraver} is in the
7411 @internalsref{Voice} context. This allows putting ordinary notes and
7412 clusters together in the same staff, even simultaneously. In such a
7413 case no attempt is made to automatically avoid collisions between
7414 ordinary notes and clusters.
7418 Internals: @internalsref{ClusterSpanner},
7419 @internalsref{ClusterSpannerBeacon},
7420 @internalsref{Cluster_spanner_engraver}, and
7421 @internalsref{ClusterNoteEvent}.
7423 Examples: @inputfileref{input/regression,cluster.ly}.
7427 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7428 accurately. Use @code{<g a>8 <e a>8} instead.
7433 @subsection Fermatas
7439 Contemporary music notation frequently uses special fermata symbols to
7440 indicate fermatas of differing lengths.
7444 The following are supported
7446 @lilypond[singleline]
7448 << \addlyrics \notes {
7468 \context Lyrics \lyrics {
7469 "shortfermata" "fermata" "longfermata" "verylongfermata"
7474 See @ref{Articulations} for general instructions how to apply scripts
7475 such as fermatas to a @code{\notes@{@}} block.
7478 @section Tuning output
7480 There are situations where default layout decisions are not
7481 sufficient. In this section we discuss ways to override these
7484 Formatting is internally done by manipulating so called objects
7485 (graphic objects). Each object carries with it a set of properties
7486 (object or layout properties) specific to that object. For example, a
7487 stem object has properties that specify its direction, length and
7490 The most direct way of tuning the output is by altering the values of
7491 these properties. There are two ways of doing that: first, you can
7492 temporarily change the definition of one type of object, thus
7493 affecting a whole set of objects. Second, you can select one specific
7494 object, and set a layout property in that object.
7496 Do not confuse layout properties with translation
7497 properties. Translation properties always use a mixed caps style
7498 naming, and are manipulated using @code{\property}:
7500 \property Context.propertyName = @var{value}
7503 Layout properties are use Scheme style variable naming, i.e. lower
7504 case words separated with dashes. They are symbols, and should always
7505 be quoted using @code{#'}. For example, this could be an imaginary
7506 layout property name:
7508 #'layout-property-name
7513 The introduction of the @ref{Technical manual} gives a more in-depth
7514 treatment of the difference between translation and layout.
7518 * Constructing a tweak::
7526 @node Tuning objects
7527 @subsection Tuning objects
7529 @cindex object description
7531 The definition of an object is a list of default object
7532 properties. For example, the definition of the Stem object (available
7533 in @file{scm/define-grobs.scm}), includes the following definitions
7534 for @internalsref{Stem}:
7538 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7539 (Y-extent-callback . ,Stem::height)
7544 Adding variables on top of this existing definition overrides the
7545 system default, and alters the resulting appearance of the layout
7551 Changing a variable for only one object is commonly achieved with
7555 \once \property @var{context}.@var{objectname}
7556 \override @var{symbol} = @var{value}
7558 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7559 and @var{objectname} is a string and @var{value} is a Scheme expression.
7560 This command applies a setting only during one moment in the score.
7562 In the following example, only one @internalsref{Stem} object is
7563 changed from its original setting:
7565 @lilypond[verbatim, fragment, relative=1]
7567 \once \property Voice.Stem \set #'thickness = #4
7571 @cindex @code{\once}
7573 For changing more objects, the same command, without @code{\once} can
7576 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7578 This command adds @code{@var{symbol} = @var{value}} to the definition
7579 of @var{objectname} in the context @var{context}, and this definition
7580 stays in place until it is removed.
7582 An existing definition may be removed by the following command:
7585 \property @var{context}.@var{objectname} \revert @var{symbol}
7588 All @code{\override} and @code{\revert} commands should be balanced.
7589 The @code{\set} shorthand performs a revert followed by an override,
7590 and is often more convenient to use
7593 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7597 @lilypond[verbatim,quote]
7598 c'4 \property Voice.Stem \override #'thickness = #4.0
7600 c'4 \property Voice.Stem \revert #'thickness
7604 The following example gives exactly the same result as the previous
7605 one (assuming the system default for stem thickness is 1.3):
7607 @lilypond[verbatim,quote]
7608 c'4 \property Voice.Stem \set #'thickness = #4.0
7610 c'4 \property Voice.Stem \set #'thickness = #1.3
7614 Reverting a setting which was not set in the first place has no
7615 effect. However, if the setting was set as a system default, this may
7616 remove the default value, and this may give surprising results,
7617 including crashes. In other words, @code{\override} and
7618 @code{\revert} must be carefully balanced. The following are examples
7619 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7623 a clumsy but correct form:
7625 \override \revert \override \revert \override \revert
7629 shorter version of the same:
7631 \override \set \set \revert
7635 a short form, using only @code{\set}. This requires you to know the
7638 \set \set \set \set @var{to default value}
7642 if there is no default (i.e. by default, the object property is unset),
7645 \set \set \set \revert
7649 The object description is an Scheme association list. Since a Scheme
7650 list is a singly linked list, we can treat it as a stack, and
7651 @code{\override} and @code{\revert} are push and pop operations. The
7652 association list is stored in a normal context property, hence
7654 \property Voice.NoteHead = #'()
7656 will effectively erase @internalsref{NoteHead}s from the current
7657 @internalsref{Voice}. Typically, this will blank the object. However,
7658 this mechanism should not be used: it may cause crashes or other
7663 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7664 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7665 @internalsref{All-layout-objects}.
7670 The backend is not very strict in type-checking object properties.
7671 Cyclic references in Scheme values for properties cause hangs and/or
7672 crashes. Reverting properties that are system defaults may also lead
7675 A property tweak of modifies a local copy of the object definition.
7676 After such a tweak, the definition is independent of the objects in
7677 enclosing contexts. For example
7680 \property Voice.Stem \set #'neutral-direction = #1
7682 \property Staff.Stem \set #'thickness = #4.0
7687 In this fragment, @code{neutral-direction} is tweaked. As a result,
7688 the current @internalsref{Voice} gets a private version of the
7689 @internalsref{Stem} object. The following tweak modifies the
7690 definition at @internalsref{Staff} level. Since it a different
7691 definition, the thickness of the @code{b'16} is unaffected. For the
7692 third note, a new Voice is created, which inherits the new definition,
7693 including the changed thickness, but excluding the new neutral
7699 * Constructing a tweak::
7705 @node Constructing a tweak
7706 @subsection Constructing a tweak
7709 @cindex internal documentation
7710 @cindex finding graphical objects
7711 @cindex graphical object descriptions
7713 @cindex @code{\override}
7715 @cindex internal documentation
7719 Three pieces of information are required to use @code{\override} and
7720 @code{\set}: the name of the layout object, the context and the name
7721 of the property. We demonstrate how to glean this information from
7722 the notation manual and the generated documentation.
7724 The generated documentation is a set of HTML pages which should be
7725 included if you installed a binary distribution, typically in
7726 @file{/usr/share/doc/lilypond}. They are also available on the web:
7727 go to the @uref{http://lilypond.org,LilyPond website}, click
7728 ``Documentation'', select the correct version, and click then
7729 ``Program reference.'' It is advisable to bookmark the local HTML
7730 files. They will load faster than the ones on the web. If you use the
7731 version from the web, you must check whether the documentation matches
7732 the program version: it is generated from the definitions that the
7733 program uses, and therefore it is strongly tied to the LilyPond
7737 @c [TODO: revise for new site.]
7739 Suppose we want to move the fingering indication in the fragment below:
7741 @lilypond[relative=2,verbatim]
7747 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7748 instructions}), you will notice that there is written:
7753 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7760 In other words, the fingerings once entered, are internally stored as
7761 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7762 layout object is created for every @code{FingerEvent}.
7764 The Fingering object has a number of different functions, and each of
7765 those is captured in an interface. The interfaces are listed under
7766 @internalsref{Fingering} in the program reference.
7770 The @code{Fingering} object has a fixed size
7771 (@internalsref{item-interface}), the symbol is a piece of text
7772 (@internalsref{text-interface}), whose font can be set
7773 (@internalsref{font-interface}). It is centered horizontally
7774 (@internalsref{self-alignment-interface}), it is placed next to other
7775 objects (@internalsref{side-position-interface}) vertically, and its
7776 placement is coordinated with other scripts
7777 (@internalsref{text-script-interface}). It also has the standard
7778 @internalsref{grob-interface} (grob stands for Graphical object)
7780 @cindex graphical object
7781 @cindex layout object
7782 @cindex object, layout
7783 with all the variables that come with
7784 it. Finally, it denotes a fingering instruction, so it has
7785 @internalsref{finger-interface}.
7787 For the vertical placement, we have to look under
7788 @code{side-position-interface}:
7790 @code{side-position-interface}
7792 Position a victim object (this one) next to other objects (the
7793 support). In this case, the property @code{direction} signifies where to put the
7794 victim object relative to the support (left or right, up or down?)
7799 below this description, the variable @code{padding} is described as
7803 (dimension, in staff space)
7805 add this much extra space between objects that are next to each
7806 other. Default value: @code{0.6}
7810 By increasing the value of @code{padding}, we can move away the
7811 fingering. The following command inserts 3 staff spaces of white
7812 between the note and the fingering:
7814 \once \property Voice.Fingering \set #'padding = #3
7817 Inserting this command before the Fingering object is created,
7818 i.e. before @code{c2}, yields the following result:
7820 @lilypond[relative=2,fragment,verbatim]
7821 \once \property Voice.Fingering
7828 The context name @code{Voice} in the example above can be determined
7829 as follows. In the documentation for @internalsref{Fingering}, it says
7831 Fingering grobs are created by: @internalsref{Fingering_engraver}
7834 Clicking @code{Fingering_engraver} shows the documentation of
7835 the module responsible for interpreting the fingering instructions and
7836 translating them to a @code{Fingering} object. Such a module is called
7837 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7840 Fingering_engraver is part of contexts: Voice
7842 so tuning the settings for Fingering should be done with
7844 \property Voice.Fingering \set @dots{}
7847 Of course, the tweak may also done in a larger context than
7848 @code{Voice}, for example, @internalsref{Staff} or
7849 @internalsref{Score}.
7853 Internals: the program reference also contains alphabetical lists of
7854 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7855 @internalsref{Music-expressions}, so you can also find which objects
7856 to tweak by browsing the internals document.
7860 @subsection Applyoutput
7862 The most versatile way of tuning an object is @code{\applyoutput}. Its
7865 \applyoutput @var{proc}
7869 where @var{proc} is a Scheme function, taking three arguments.
7871 When interpreted, the function @var{proc} is called for every layout
7872 object found in the context, with the following arguments:
7874 @item the layout object itself,
7875 @item the context where the layout object was created, and
7876 @item the context where @code{\applyoutput} is processed.
7880 In addition, the cause of the layout object, i.e. the music
7881 expression or object that was responsible for creating it, is in the
7882 object property @code{cause}. For example, for a note head, this is a
7883 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7884 this is a @internalsref{NoteHead} object.
7886 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7889 (define (blanker grob grob-origin context)
7890 (if (and (memq (ly:get-grob-property grob 'interfaces)
7891 note-head-interface)
7892 (eq? (ly:get-grob-property grob 'staff-position) 0))
7894 (ly:set-grob-property! grob 'transparent #t)))
7899 @node Font selection
7900 @subsection Font selection
7902 The most common thing to change about the appearance of fonts is their
7903 size. The font size of any context can be easily changed by setting
7904 the @code{fontSize} property for that context. Its value is a number:
7905 negative numbers make the font smaller, positive numbers larger. An
7906 example is given below:
7908 @lilypond[fragment,relative=1,verbatim,quote]
7909 c4 c4 \property Voice.fontSize = #-1
7912 This command will set @code{font-size} (see below), and does
7913 not change the size of variable symbols, such as beams or slurs.
7915 One of the uses of @code{fontSize} is to get smaller symbols for cue
7916 notes. An elaborate example of those is in
7917 @inputfileref{input/test,cue-notes.ly}.
7919 @cindex magnification
7922 The font used for printing a object can be selected by setting
7923 @code{font-name}, e.g.
7925 \property Staff.TimeSignature
7926 \set #'font-name = #"cmr17"
7930 Any font can be used, as long as it is available to @TeX{}. Possible
7931 fonts include foreign fonts or fonts that do not belong to the
7932 Computer Modern font family. The size of fonts selected in this way
7933 can be changed with the @code{font-magnification} property. For
7934 example, @code{2.0} blows up all letters by a factor 2 in both
7938 @cindex font magnification
7940 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7941 can also be adjusted with a more fine-grained mechanism. By setting
7942 the object properties described below, you can select a different font;
7943 all three mechanisms work for every object that supports
7944 @code{font-interface}:
7949 is a symbol indicating the general class of the typeface. Supported are
7950 @code{roman} (Computer Modern), @code{braces} (for piano staff
7951 braces), @code{music} (the standard music font, including ancient
7952 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7955 is a symbol indicating the shape of the font, there are typically several
7956 font shapes available for each font family. Choices are @code{italic},
7957 @code{caps} and @code{upright}.
7960 is a symbol indicating the series of the font. There are typically several
7961 font series for each font family and shape. Choices are @code{medium}
7966 For any of these properties, the value @code{*} (i.e. the symbol
7967 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7968 to override default setting, which are always present. For example:
7970 \property Lyrics . LyricText \override #'font-series = #'bold
7971 \property Lyrics . LyricText \override #'font-family = #'typewriter
7972 \property Lyrics . LyricText \override #'font-shape = #'*
7975 @cindex @code{font-style}
7977 The font size is set by modifying the @code{font-size} property. Its
7978 value is a number indicating the size relative to the standard size.
7979 Each step up is an increase of approximately 12% of the font size. Six
7980 steps is exactly a factor two. The Scheme function @code{magstep}
7981 converts a @code{font-size} number to a scaling factor.
7983 LilyPond has fonts in different design sizes: the music fonts for
7984 smaller sizes are chubbier, while the text fonts are relatively wider.
7985 Font size changes are achieved by scaling the design size that is
7986 closest to the desired size.
7988 The @code{font-size} mechanism does not work for fonts selected
7989 through @code{font-name}. These may be scaled with
7990 @code{font-magnification}.
7994 The following commands set @code{fontSize} for the current voice.
7996 @cindex @code{\tiny}
7998 @cindex @code{\small}
8000 @cindex @code{\normalsize}
8005 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
8010 There is no style sheet provided for other fonts besides the @TeX{}
8013 @cindex font selection
8014 @cindex font magnification
8015 @cindex @code{font-interface}
8019 @subsection Text markup
8024 @cindex typeset text
8026 LilyPond has an internal mechanism to typeset texts. You can access it
8027 with the keyword @code{\markup}. Within markup mode, you can enter texts
8028 similar to lyrics: simply enter them, surrounded by spaces:
8031 @lilypond[verbatim,fragment,relative=1]
8032 c1^\markup { hello }
8033 c1_\markup { hi there }
8034 c1^\markup { hi \bold there, is \italic anyone home? }
8037 @cindex font switching
8039 The markup in the example demonstrates font switching commands. The
8040 command @code{\bold} and @code{\italic} only apply to the first
8041 following word; enclose a set of texts with braces to apply a command
8044 \markup @{ \bold @{ hi there @} @}
8048 For clarity, you can also do this for single arguments, e.g.
8050 \markup @{ is \italic @{ anyone @} home @}
8053 @cindex font size, texts
8055 The following size commands set absolute sizes:
8057 @cindex @code{\teeny}
8058 @cindex @code{\tiny}
8059 @cindex @code{\small}
8060 @cindex @code{\large}
8061 @cindex @code{\huge}
8071 You can also make letter larger or smaller relative to their neighbors,
8072 with the commands @code{\larger} and @code{\smaller}.
8076 @cindex font style, for texts
8077 @cindex @code{\bold}
8078 @cindex @code{\dynamic}
8079 @cindex @code{\number}
8080 @cindex @code{\italic}
8082 The following font change commands are defined:
8085 changes to the font used in dynamic signs. This font does not
8086 contain all characters of the alphabet, so when producing ``piu f'',
8087 the ``piu'' should be done in a different font.
8091 changes to the font used in time signatures. It only contains
8092 numbers and a few punctuation marks.
8094 changes @code{font-shape} to @code{italic}.
8096 changes @code{font-series} to @code{bold}.
8099 @cindex raising text
8100 @cindex lowering text
8102 @cindex translating text
8105 @cindex @code{\super}
8107 Raising and lowering texts can be done with @code{\super} and
8110 @lilypond[verbatim,fragment,relative=1]
8111 c1^\markup { E "=" mc \super "2" }
8114 @cindex @code{\raise}
8116 If you want to give an explicit amount for lowering or raising, use
8117 @code{\raise}. This command takes a Scheme valued first argument, and
8118 a markup object as second argument:
8120 @lilypond[verbatim,fragment,relative=1,quote]
8121 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8123 The argument to @code{\raise} is the vertical displacement amount,
8124 measured in (global) staff spaces. @code{\raise} and @code{\super}
8125 raise objects in relation to their surrounding markups. They cannot be
8126 used to move a single text up or down, when it is above or below a
8127 note, since the mechanism that positions it next to the note cancels
8128 any vertical shift. For vertical positioning, use the @code{padding}
8129 and/or @code{extra-offset} properties.
8131 Other commands taking single arguments include
8134 @item \bracket, \hbracket
8135 Bracket the argument markup with normal and horizontal brackets
8139 @cindex @code{\musicglyph}
8140 This is converted to a musical symbol, e.g. @code{\musicglyph
8141 #"accidentals-0"} will select the natural sign from the music font.
8142 See @ref{The Feta font} for a complete listing of the possible glyphs.
8145 This produces a single character, e.g. @code{\char #65} produces the
8148 @item \note @var{duration} @var{dir}
8149 @cindex @code{\note}
8151 This produces a note with a stem pointing in @var{dir} direction, with
8152 the @var{duration} for the note head type and augmentation dots. For
8153 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8154 a shortened down stem.
8156 @item \hspace #@var{amount}
8157 @cindex @code{\hspace}
8158 This produces a invisible object taking horizontal space.
8160 \markup @{ A \hspace #2.0 B @}
8162 will put extra space between A and B, on top of the space that is
8163 normally inserted before elements on a line.
8165 @item \fontsize #@var{size}
8166 @cindex @code{\fontsize}
8167 This sets the relative font size, eg.
8169 A \fontsize #2 @{ B C @} D
8173 This will enlarge the B and the C by two steps.
8174 @item \translate #(cons @var{x} @var{y})
8176 This translates an object. Its first argument is a cons of numbers
8178 A \translate #(cons 2 -3) @{ B C @} D
8180 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8181 surroundings. This command cannot be used to move isolated scripts
8182 vertically, for the same reason that @code{\raise} cannot be used for
8185 @item \magnify #@var{mag}
8186 @cindex @code{\magnify}
8187 This sets the font magnification for the its argument. In the following
8188 example, the middle A will be 10% larger:
8190 A \magnify #1.1 @{ A @} A
8194 @item \override #(@var{key} . @var{value})
8195 @cindex @code{\override}
8196 This overrides a formatting property for its argument. The argument
8197 should be a key/value pair, e.g.
8199 m \override #'(font-family . math) m m
8203 In markup mode you can compose expressions, similar to mathematical
8204 expressions, XML documents and music expressions. The braces group
8205 notes into horizontal lines. Other types of lists also exist: you can
8206 stack expressions grouped with @code{<}, and @code{>} vertically with
8207 the command @code{\column}. Similarly, @code{\center} aligns texts by
8210 @lilypond[verbatim,fragment,relative=1]
8211 c1^\markup { \column < a bbbb c > }
8212 c1^\markup { \center < a bbbb c > }
8213 c1^\markup { \line < a b c > }
8217 Markups can be stored in variables, and these variables
8218 may be attached to notes, like
8220 allegro = \markup { \bold \large { Allegro } }
8221 \notes { a^\allegro b c d }
8224 The markup mechanism is extensible. Refer to
8225 @file{scm/new-markup.scm} for more information.
8228 Some objects have alignment procedures of their own, which cancel out
8229 any effects of alignments applied to their markup arguments as a
8230 whole. For example, the @internalsref{RehearsalMark} is horizontally
8231 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8232 effect. Similarly, whole texts over notes cannot be moved vertically
8233 with @code{\raise}. For moving and aligning complete objects, grob
8234 properties should be used.
8238 Internals: @internalsref{Markup-functions} contains a complete list of
8239 all markup commands.
8241 Init files: @file{scm/new-markup.scm}.
8248 Text layout is ultimately done by @TeX{}, which does kerning of
8249 letters. LilyPond does not account for kerning, so texts will be
8250 spaced slightly too wide.
8252 Syntax errors for markup mode are confusing.
8254 Markup texts cannot be used in the titling of the @code{\header}
8255 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8264 @section Global layout
8266 The global layout determined by three factors: the page layout, the
8267 line breaks and the spacing. These all influence each other. The
8268 choice of spacing determines how densely each system of music is set,
8269 which influences where line breaks breaks are chosen, and thus
8270 ultimately how many pages a piece of music takes. This section
8271 explains how to tune the algorithm for spacing.
8273 Globally spoken, this procedure happens in three steps: first,
8274 flexible distances (``springs'') are chosen, based on durations. All
8275 possible line breaking combination are tried, and the one with the
8276 best results---a layout that has uniform density and requires as
8277 little stretching or cramping as possible---is chosen. When the score
8278 is processed by @TeX{}, each page is filled with systems, and page breaks
8279 are chosen whenever the page gets full.
8284 * Vertical spacing::
8285 * Horizontal spacing::
8292 @node Vertical spacing
8293 @subsection Vertical spacing
8295 @cindex vertical spacing
8296 @cindex distance between staves
8297 @cindex staff distance
8298 @cindex between staves, distance
8299 @cindex staffs per page
8300 @cindex space between staves
8302 The height of each system is determined automatically by LilyPond, to
8303 keep systems from bumping into each other, some minimum distances are
8304 set. By changing these, you can put staves closer together, and thus
8305 put more systems onto one page.
8307 Normally staves are stacked vertically. To make
8308 staves maintain a distance, their vertical size is padded. This is
8309 done with the property @code{minimumVerticalExtent}. It takes a pair
8310 of numbers, so if you want to make it smaller from its, then you could
8313 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8315 This sets the vertical size of the current staff to 4 staff spaces on
8316 either side of the center staff line. The argument of
8317 @code{minimumVerticalExtent} is interpreted as an interval, where the
8318 center line is the 0, so the first number is generally negative. The
8319 staff can be made larger at the bottom by setting it to @code{(-6
8322 The piano staves are handled a little differently: to make cross-staff
8323 beaming work correctly, it is necessary that the distance between staves
8324 is fixed beforehand. This is also done with a
8325 @internalsref{VerticalAlignment} object, created in
8326 @internalsref{PianoStaff}. In this object the distance between the
8327 staves is fixed by setting @code{forced-distance}. If you want to
8328 override this, use a @code{\translator} block as follows:
8332 VerticalAlignment \override #'forced-distance = #9
8335 This would bring the staves together at a distance of 9 staff spaces,
8336 measured from the center line of each staff.
8340 Internals: Vertical alignment of staves is handled by the
8341 @internalsref{VerticalAlignment} object.
8345 @node Horizontal spacing
8346 @subsection Horizontal Spacing
8348 The spacing engine translates differences in durations into
8349 stretchable distances (``springs'') of differing lengths. Longer
8350 durations get more space, shorter durations get less. The shortest
8351 durations get a fixed amount of space (which is controlled by
8352 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8353 /The longer the duration, the more space it gets: doubling a
8354 duration adds a fixed amount (this amount is controlled by
8355 @code{spacing-increment}) of space to the note.
8357 For example, the following piece contains lots of half, quarter and
8358 8th notes, the eighth note is followed by 1 note head width (NHW).
8359 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8360 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8364 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8365 width of a note head, and @code{shortest-duration-space} is set to
8366 2.0, meaning that the shortest note gets 2 NHW (2 times
8367 @code{shortest-duration-space}) of space. For normal notes, this space
8368 is always counted from the left edge of the symbol, so the shortest
8369 notes are generally followed by one NHW of space.
8371 If one would follow the above procedure exactly, then adding a single
8372 32th note to a score that uses 8th and 16th notes, would widen up the
8373 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8374 thus adding 1 NHW to every note. To prevent this, the
8375 shortest duration for spacing is not the shortest note in the score,
8376 but the most commonly found shortest note. Notes that are even
8377 shorter this are followed by a space that is proportional to their
8378 duration relative to the common shortest note. So if we were to add
8379 only a few 16th notes to the example above, they would be followed by
8382 @lilypond[fragment, verbatim, relative=2]
8383 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8386 The most common shortest duration is determined as follows: in every
8387 measure, the shortest duration is determined. The most common short
8388 duration, is taken as the basis for the spacing, with the stipulation
8389 that this shortest duration should always be equal to or shorter than
8390 1/8th note. The shortest duration is printed when you run lilypond
8391 with @code{--verbose}. These durations may also be customized. If you
8392 set the @code{common-shortest-duration} in
8393 @internalsref{SpacingSpanner}, then this sets the base duration for
8394 spacing. The maximum duration for this base (normally 1/8th), is set
8395 through @code{base-shortest-duration}.
8397 @cindex @code{common-shortest-duration}
8398 @cindex @code{base-shortest-duration}
8399 @cindex @code{stem-spacing-correction}
8400 @cindex @code{spacing}
8402 In the introduction it was explained that stem directions influence
8403 spacing. This is controlled with @code{stem-spacing-correction}
8404 property in @internalsref{NoteSpacing}, which are generated for every
8405 @internalsref{Voice} context. The @code{StaffSpacing} object
8406 (generated at @internalsref{Staff} context) contains the same property
8407 for controlling the stem/barline spacing. The following example
8408 shows these corrections, once with default settings, and once with
8409 exaggerated corrections:
8415 \property Staff.NoteSpacing \override #'stem-spacing-correction
8417 \property Staff.StaffSpacing \override #'stem-spacing-correction
8422 \paper { raggedright = ##t } }
8425 @cindex SpacingSpanner, overriding properties
8427 Properties of the @internalsref{SpacingSpanner} must be overridden
8428 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8429 created before any @code{\property} statements are interpreted.
8431 \paper @{ \translator @{
8433 SpacingSpanner \override #'spacing-increment = #3.0
8440 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8441 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8442 @internalsref{SeparatingGroupSpanner}.
8446 Spacing is determined on a score wide basis. If you have a score that
8447 changes its character (measured in durations) halfway during the
8448 score, the part containing the longer durations will be spaced too
8451 There is no convenient mechanism to manually override spacing.
8456 @subsection Font size
8457 @cindex font size, setting
8458 @cindex staff size, setting
8459 @cindex @code{paper} file
8461 The Feta font provides musical symbols at eight seven different
8462 sizes. Each font is tuned for a different staff size: at smaller sizes
8463 the font gets heavier, to match the relatively heavier staff lines.
8464 The recommended font sizes are listed in the following table:
8466 @multitable @columnfractions .25 .25 .25 .25
8469 @tab @b{staff height (pt)}
8470 @tab @b{staff height (mm)}
8512 @c modern rental material ?
8516 These fonts are available in any sizes. The context property
8517 @code{fontSize} and the layout property @code{staff-space} (in
8518 @internalsref{StaffSymbol}) can be used to tune size for individual
8519 staffs. The size of individual staffs are relative to the global size,
8520 which can be set in the following manner:
8523 #(set-staff-size 14)
8526 This sets the global default size to 14pt staff height, and scales all
8532 @subsection Line breaking
8535 @cindex breaking lines
8537 Line breaks are normally computed automatically. They are chosen such
8538 that lines look neither cramped nor loose, and that consecutive lines
8539 have similar density.
8541 Occasionally you might want to override the automatic breaks; you can
8542 do this by specifying @code{\break}. This will force a line break at
8543 this point. Line breaks can only occur at places where there are bar
8544 lines. If you want to have a line break where there is no bar line,
8545 you can force an invisible bar line by entering @code{\bar
8546 ""}. Similarly, @code{\noBreak} forbids a line break at a
8550 @cindex regular line breaks
8551 @cindex four bar music.
8553 For linebreaks at regular intervals use @code{\break} separated by
8554 skips and repeated with @code{\repeat}:
8556 << \repeat unfold 7 @{
8557 s1 \noBreak s1 \noBreak
8558 s1 \noBreak s1 \break @}
8559 @emph{the real music}
8564 This makes the following 28 measures (assuming 4/4 time) be broken every
8565 4 measures, and only there.
8569 @code{\break}, @code{\noBreak}
8570 @cindex @code{\break}
8571 @cindex @code{\noBreak}
8575 Internals: @internalsref{BreakEvent}.
8579 @subsection Page layout
8582 @cindex breaking pages
8584 @cindex @code{indent}
8585 @cindex @code{linewidth}
8587 The most basic settings influencing the spacing are @code{indent} and
8588 @code{linewidth}. They are set in the @code{\paper} block. They
8589 control the indentation of the first line of music, and the lengths of
8592 If @code{raggedright} is set to true in the @code{\paper}
8593 block, then the lines are justified at their natural length. This
8594 useful for short fragments, and for checking how tight the natural
8598 @cindex vertical spacing
8600 The page layout process happens outside the LilyPond formatting
8601 engine: variables controlling page layout are passed to the output,
8602 and are further interpreted by @code{lilypond} wrapper program. It
8603 responds to the following variables in the @code{\paper} block. The
8604 variable @code{textheight} sets the total height of the music on each
8605 page. The spacing between systems is controlled with
8606 @code{interscoreline}, its default is 16pt. The distance between the
8607 score lines will stretch in order to fill the full page
8608 @code{interscorelinefill} is set to a positive number. In that case
8609 @code{interscoreline} specifies the minimum spacing.
8611 @cindex @code{textheight}
8612 @cindex @code{interscoreline}
8613 @cindex @code{interscorelinefill}
8615 If the variable @code{lastpagefill} is defined,
8616 @c fixme: this should only be done if lastpagefill == #t
8617 systems are evenly distributed vertically on the last page. This
8618 might produce ugly results in case there are not enough systems on the
8619 last page. The @command{lilypond-book} command ignores
8620 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8623 @cindex @code{lastpagefill}
8625 Page breaks are normally computed by @TeX{}, so they are not under
8626 direct control of LilyPond. However, you can insert a commands into
8627 the @file{.tex} output to instruct @TeX{} where to break pages. This
8628 is done by setting the @code{between-systems-strings} on the
8629 @internalsref{NonMusicalPaperColumn} where the system is broken.
8630 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8631 The predefined command @code{\newpage} also does this.
8635 @cindex @code{papersize}
8637 To change the paper size, use the following Scheme code:
8640 #(set-paper-size "a4")
8647 @cindex @code{\newpage}
8653 In this manual @ref{Invoking lilypond}
8655 Examples: @inputfileref{input/regression,between-systems.ly}
8657 Internals: @internalsref{NonMusicalPaperColumn}.
8661 LilyPond has no concept of page layout, which makes it difficult to
8662 reliably choose page breaks in longer pieces.
8671 Entered music can also be converted to MIDI output. The performance
8672 is good enough for proof-hearing the music for errors.
8674 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8675 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8676 marks translate to a fixed fraction of the available MIDI volume
8677 range, crescendi and decrescendi make the volume vary linearly between
8678 their two extremities. The fractions can be adjusted by
8679 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8680 For each type of MIDI instrument, a volume range can be defined. This
8681 gives a basic equalizer control, which can enhance the quality of
8682 the MIDI output remarkably. The equalizer can be controlled by
8683 setting @code{instrumentEqualizer}.
8687 Many musically interesting effects, such as swing, articulation,
8688 slurring, etc., are not translated to MIDI.
8693 * MIDI instrument names::
8698 @subsection MIDI block
8702 The MIDI block is analogous to the paper block, but it is somewhat
8703 simpler. The @code{\midi} block can contain:
8707 @item a @code{\tempo} definition, and
8708 @item context definitions.
8711 Assignments in the @code{\midi} block are not allowed.
8713 A number followed by a period is interpreted as a real number, so
8714 for setting the tempo for dotted notes, an extra space should be
8715 inserted, for example:
8718 \midi @{ \tempo 4 . = 120 @}
8722 @cindex context definition
8724 Context definitions follow precisely the same syntax as within the
8725 \paper block. Translation modules for sound are called performers.
8726 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8729 @node MIDI instrument names
8730 @subsection MIDI instrument names
8732 @cindex instrument names
8733 @cindex @code{Staff.midiInstrument}
8735 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8736 property. The instrument name should be chosen from the list in
8737 @ref{MIDI instruments}.
8741 If the selected string does not exactly match, then the default is
8742 used, which is the Grand Piano.