3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
14 <!--- @@WEB-TITLE@@=Notation manual --->
20 * Easier music entry::
27 * Fingering instructions::
36 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
53 * Chromatic alterations::
60 * Easy Notation note heads ::
68 A note is printed by specifying its pitch and then its duration.
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C.
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch
103 name and a flat is formed by adding @code{-es}. Double sharps and
104 double flats are obtained by adding @code{-isis} or @code{-eses}.
106 These default names are the Dutch note names. In Dutch, @code{aes} is
107 contracted to @code{as} in Dutch, but both forms are
108 accepted. Similarly, both @code{es} and @code{ees} are accepted.
110 There are predefined sets of note names for various other languages.
111 To use them, include the language specific init file. For
112 example: @code{\include "english.ly"}. The available language files
113 and the note names they define are:
118 Note Names sharp flat
119 nederlands.ly c d e f g a bes b -is -es
120 english.ly c d e f g a bf b -s/-sharp -f/-flat
121 deutsch.ly c d e f g a b h -is -es
122 norsk.ly c d e f g a b h -iss/-is -ess/-es
123 svenska.ly c d e f g a b h -iss -ess
124 italiano.ly do re mi fa sol la sib si -d -b
125 catalan.ly do re mi fa sol la sib si -d/-s -b
126 espanol.ly do re mi fa sol la sib si -s -b
135 The optional octave specification takes the form of a series of
136 single quote (`@code{'}') characters or a series of comma
137 (`@code{,}') characters. Each @code{'} raises the pitch by one
138 octave; each @code{,} lowers the pitch by an octave.
140 @lilypond[fragment,verbatim,center]
141 c' c'' es' g' as' gisis' ais'
145 The verbose syntax for pitch specification is
147 @cindex @code{\pitch}
149 \pitch @var{scmpitch}
152 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
157 @internalsref{NoteEvent}, @internalsref{NoteHead}
159 @node Chromatic alterations
160 @subsection Chromatic alterations
162 Normally accidentals are printed automatically, but you may also
163 print them manually. A reminder accidental
164 @cindex reminder accidental
166 can be forced by adding an exclamation mark @code{!}
167 after the pitch. A cautionary accidental
168 @cindex cautionary accidental
169 @cindex parenthesized accidental
170 (an accidental within parentheses) can be obtained by adding the
171 question mark `@code{?}' after the pitch.
173 @lilypond[fragment,verbatim]
174 cis' cis' cis'! cis'?
178 The automatic production of accidentals can be tuned in many
179 ways. For more information, refer to @ref{Accidentals}.
184 A chord is formed by a enclosing a set of pitches in @code{<<} and
185 @code{>>}. A chord may be followed by a duration, and a set of
186 articulations, just like simple notes.
188 Additionally, fingerings and articulations may be attached to
189 individual pitches of the chord:
191 @lilypond[singleline,verbatim,relative 1]
204 Rests are entered like notes, with the note name @code{r}.
206 @lilypond[singleline,verbatim]
210 Whole bar rests, centered in middle of the bar, are specified using
211 @code{R} (capital R); see @ref{Multi measure rests}. See also
214 For some music, you may wish to explicitly specify the rest's vertical
215 position. This can be achieved by entering a note with the @code{\rest}
216 keyword appended. Rest collision testing will leave these rests alone.
218 @lilypond[singleline,verbatim]
224 @internalsref{RestEvent}, @internalsref{Rest}
231 @cindex Invisible rest
234 An invisible rest (also called a `skip') can be entered like a note
235 with note name `@code{s}' or with @code{\skip @var{duration}}:
237 @lilypond[singleline,verbatim]
241 The @code{s} syntax is only available in Note mode and Chord
242 mode. In other situations, you should use the @code{\skip} command,
243 which will work outside of those two modes:
245 @lilypond[singleline,verbatim]
248 { \time 4/8 \skip 2 \time 4/4 }
249 \notes\relative c'' { a2 a1 }
254 The skip command is merely an empty musical placeholder. It does not
255 produce any output, not even transparent output.
259 @internalsref{SkipEvent}
264 @subsection Durations
268 @cindex @code{\duration}
271 In Note, Chord, and Lyrics mode, durations are designated by numbers
272 and dots: durations are entered as their reciprocal values. For example,
273 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
274 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
275 longer than a whole you must use variables.
277 @c FIXME: what is an identifier? I do not think it's been introduced yet.
278 @c and if it has, I obviously skipped that part. - Graham
282 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
284 r1 r2 r4 r8 r16 r32 r64 r64
289 \notes \relative c'' {
291 a1 a2 a4 a8 a16 a32 a64 a64
293 r1 r2 r4 r8 r16 r32 r64 r64
298 \remove "Clef_engraver"
299 \remove "Staff_symbol_engraver"
300 \remove "Time_signature_engraver"
301 \consists "Pitch_squash_engraver"
308 If the duration is omitted then it is set to the previously entered
309 duration. Default for the first note is a quarter note. The duration
310 can be followed by dots (`@code{.}') in order to obtain dotted note
314 @lilypond[fragment,verbatim,center]
315 a' b' c''8 b' a'4 a'4. b'4.. c'8.
320 You can alter the length of duration by a fraction @var{N/M}
321 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
322 will not affect the appearance of the notes or rests produced.
324 @lilypond[fragment,verbatim]
325 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
328 Durations can also be produced through GUILE extension mechanism.
329 @lilypond[verbatim,fragment]
330 c'\duration #(ly:make-duration 2 1)
336 Dot placement for chords is not perfect. In some cases, dots overlap:
349 A tie connects two adjacent note heads of the same pitch. The tie in
350 effect extends the length of a note. Ties should not be confused with
351 slurs, which indicate articulation, or phrasing slurs, which indicate
352 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
354 @lilypond[fragment,verbatim,center]
355 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
358 When a tie is applied to a chord, all note heads whose pitches match
359 are connected. When no note heads match, no ties will be created.
361 In its meaning a tie is just a way of extending a note duration, similar
362 to the augmentation dot: the following example are two ways of notating
363 exactly the same concept.
365 @lilypond[fragment, singleline,quote]
366 \time 3/4 c'2. c'2 ~ c'4
368 If you need to tie notes over bars, it may be easier to use automatic
369 note splitting (See @ref{Automatic note splitting}).
374 @internalsref{TieEvent}, @internalsref{NewTieEvent},
375 @internalsref{Tie}, @ref{Automatic note splitting}.
378 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
382 Tieing only a subset of the note heads of a pair of chords is not
383 supported in a simple way. It can be achieved by moving the
384 tie-engraver into the @internalsref{Thread} context and turning on and
385 off ties per @internalsref{Thread}.
387 Switching staves when a tie is active, will produce a horizontal tie
390 Formatting of ties is a difficult subject. The results are often not
400 @cindex @code{\times}
402 Tuplets are made out of a music expression by multiplying all durations
405 @cindex @code{\times}
407 \times @var{fraction} @var{musicexpr}
410 The duration of @var{musicexpr} will be multiplied by the fraction.
411 In the sheet music, the fraction's denominator will be printed over
412 the notes, optionally with a bracket. The most common tuplet is the
413 triplet in which 3 notes have the length of 2, so the notes are 2/3
414 of their written length:
416 @lilypond[fragment,verbatim,center]
417 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
420 The property @code{tupletSpannerDuration} specifies how long each bracket
421 should last. With this, you can make lots of tuplets while typing
422 @code{\times} only once, saving lots of typing.
424 @lilypond[fragment, relative, singleline, verbatim]
425 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
426 \times 2/3 { c'8 c c c c c }
429 The format of the number is determined by the property
430 @code{tupletNumberFormatFunction}. The default prints only the
431 denominator, but if it is set to the Scheme function
432 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
436 @cindex @code{tupletNumberFormatFunction}
437 @cindex tuplet formatting
441 @seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
445 Nested tuplets are not formatted automatically. In this case, outer
446 tuplet brackets should be moved manually.
448 @node Easy Notation note heads
449 @subsection Easy Notation note heads
451 @cindex easy notation
454 The `easyplay' note head includes a note name inside the head. It is
455 used in music aimed at beginners.
457 @lilypond[singleline,verbatim,26pt]
459 \notes { c'2 e'4 f' | g'1 }
460 \paper { \translator { \EasyNotation } }
464 The @code{EasyNotation} variable overrides a @internalsref{Score}
465 context. You probably will want to print it with magnification or a
466 large font size to make it more readable. To print with
467 magnification, you must create a DVI file (with @file{ly2dvi}) and
468 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
469 See @file{man dvips} for details. To print with a larger font, see
476 If you view the result with Xdvi, then staff lines will show through
477 the letters. Printing the PostScript file obtained with ly2dvi does
478 produce the correct result.
481 @node Easier music entry
482 @section Easier music entry
485 When entering music it is easy to introduce errors. This section deals
486 with tricks and features of the input language that help when entering
487 music, and find and correct mistakes.
489 Some features of the input language ease entering music, for example
490 the use of variables (for splitting up large pieces of music), and
491 unfolded repeats for writing repetitive parts. They are described in
492 other sections (see @ref{Repeats} and @ref{Assignments}), since they
493 are not especially aimed at easing entry
495 It is also possible to use external programs, for example GUI
496 interfaces, or MIDI transcription programs, to enter or edit
497 music. Refer to the website for more information. Finally, there are
498 tools make debugging easier, by linking the input file and the output
499 shown on screen. See @ref{Point and click} for more information.
505 * Skipping corrected music::
506 * Automatic note splitting ::
512 @node Relative octaves
513 @subsection Relative octaves
515 @cindex relative octave specification
517 Octaves are specified by adding @code{'} and @code{,} to pitch names.
518 When you copy existing music, it is easy to accidentally put a pitch
519 in the wrong octave and hard to find such an error. The relative
520 octave mode prevents these errors
522 @cindex @code{\relative}
524 \relative @var{startpitch} @var{musicexpr}
527 The octave of notes that appear in @var{musicexpr} are calculated as
528 follows: If no octave changing marks are used, the basic interval
529 between this and the last note is always taken to be a fourth or less
530 (This distance is determined without regarding alterations; a
531 @code{fisis} following a @code{ceses} will be put above the
534 The octave changing marks @code{'} and @code{,} can be added to raise or
535 lower the pitch by an extra octave. Upon entering relative mode, an
536 absolute starting pitch must be specified that will act as the
537 predecessor of the first note of @var{musicexpr}.
539 Entering music that changes octave frequently is easy in relative mode.
540 @lilypond[fragment,singleline,verbatim,center]
546 And octave changing marks are used for intervals greater than a fourth.
547 @lilypond[fragment,verbatim,center]
552 If the preceding item is a chord, the first note of the chord is used
553 to determine the first note of the next chord. However, other notes
554 within the second chord are determined by looking at the immediately
557 @lilypond[fragment,verbatim,center]
564 @cindex @code{\notes}
566 The pitch after the @code{\relative} contains a note name. To parse
567 the pitch as a note name, you have to be in note mode, so there must
568 be a surrounding @code{\notes} keyword (which is not
571 The relative conversion will not affect @code{\transpose},
572 @code{\chords} or @code{\relative} sections in its argument. If you
573 want to use relative within transposed music, you must place an
574 additional @code{\relative} inside the @code{\transpose}.
578 @subsection Bar check
582 @cindex @code{barCheckSynchronize}
586 Whenever a bar check is encountered during interpretation, a warning
587 message is issued if it does not fall at a measure boundary. This can
588 help find errors in the input. Depending on the value of
589 @code{barCheckSynchronize}, the beginning of the measure will be
590 relocated. A bar check is entered using the bar symbol, `@code{|}'.
593 \time 3/4 c2 e4 | g2.
598 @cindex skipTypesetting
600 Failed bar checks are caused by entering incorrect
601 durations. Incorrect durations often completely garble up the score,
602 especially if it is polyphonic, so you should start correcting the
603 score by scanning for failed bar checks and incorrect durations. To
604 speed up this process, you can use @code{skipTypesetting}, described
607 @node Skipping corrected music
608 @subsection Skipping corrected music
610 The property @code{Score.skipTypesetting} can be used to switch on and
611 off typesetting completely during the interpretation phase. When
612 typesetting is switched off, the music is processed much more quickly.
613 This can be used to skip over the parts of a score that have already
614 been checked for errors.
616 @lilypond[fragment,singleline,verbatim]
618 \property Score.skipTypesetting = ##t
620 \property Score.skipTypesetting = ##f
624 @node Automatic note splitting
625 @subsection Automatic note splitting
627 Long notes can be converted automatically to tied notes. This is done
628 by replacing the @internalsref{Note_heads_engraver} by the
629 @internalsref{Completion_heads_engraver}.
632 \paper @{ \translator @{
634 \remove "Note_heads_engraver"
635 \consists "Completion_heads_engraver"
642 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
649 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
651 \paper { \translator {
653 \remove "Note_heads_engraver"
654 \consists "Completion_heads_engraver"
659 This engraver splits all running notes at the bar line, and inserts
660 ties. One of its uses is to debug complex scores: if the measures are
661 not entirely filled, then the ties exactly show how much each measure
666 Not all durations (especially those containing tuplets) can be
667 represented exactly; the engraver will not insert tuplets.
673 @section Staff notation
675 This section describes with music notation that occurs on staff level,
676 such as keys, clefs and time signatures.
678 @cindex Staff notation
691 @subsection Staff symbol
693 @cindex adjusting staff symbol
694 @cindex StaffSymbol, using \property
695 @cindex staff lines, setting number of
697 Notes, dynamic signs, etc. are grouped
698 with a set of horizontal lines, into a staff (plural `staves'). In our
699 system, these lines are drawn using a separate graphical object called
702 This object is created whenever a @internalsref{Staff} context is
703 created. The appearance of the staff symbol cannot be changed by
704 using @code{\override} or @code{\set}. At the moment that
705 @code{\property Staff} is interpreted, a @internalsref{Staff} context
706 is made, and the @internalsref{StaffSymbol} is created before any
707 @code{\override} is effective. Properties can be changed in a
708 @code{\translator} definition, or by using @code{\outputproperty}.
712 If a staff is ended halfway a piece, the staff symbol may not end
713 exactly on the barline.
717 @subsection Key signature
722 The key signature indicates the scale in which a piece is played. It
723 is denoted by a set of alterations (flats or sharps) at the start of
728 Setting or changing the key signature is done with the @code{\key}
731 @code{\key} @var{pitch} @var{type}
734 @cindex @code{\minor}
735 @cindex @code{\major}
736 @cindex @code{\minor}
737 @cindex @code{\ionian}
738 @cindex @code{\locrian}
739 @cindex @code{\aeolian}
740 @cindex @code{\mixolydian}
741 @cindex @code{\lydian}
742 @cindex @code{\phrygian}
743 @cindex @code{\dorian}
745 Here, @var{type} should be @code{\major} or @code{\minor} to get
746 @var{pitch}-major or @var{pitch}-minor, respectively.
747 The standard mode names @code{\ionian},
748 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
749 @code{\phrygian}, and @code{\dorian} are also defined.
751 This command sets the context property
752 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
753 can be specified by setting this property directly.
757 The ordering of a key restoration (alterations that change back to
758 natural) is wrong when combined with a repeat barline.
762 @internalsref{KeyChangeEvent}, @internalsref{KeySignature}.
764 @cindex @code{keySignature}
771 The clef indicates which lines of the staff correspond to which
776 The clef can be set or changed with the @code{\clef} command:
777 @lilypond[fragment,verbatim]
778 \key f\major c''2 \clef alto g'2
781 Supported clef-names include
782 @c Moved standard clefs to the top /MB
784 @item treble, violin, G, G2
793 G clef on 1st line, so-called French violin clef
808 By adding @code{_8} or @code{^8} to the clef name, the clef is
809 transposed one octave down or up, respectively. @var{clefname} must
810 be enclosed in quotes when it contains underscores or digits. For
816 This command is equivalent to setting @code{clefGlyph},
817 @code{clefPosition} (which controls the Y position of the clef),
818 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
819 when any of these properties are changed.
823 The object for this symbol is @internalsref{Clef}.
827 @node Ottava brackets
828 @subsection Ottava brackets
830 ``Ottava'' brackets introduce an extra transposition of an octave for
831 the staff. They are created by invoking the function
832 @code{set-octavation}
838 @lilypond[verbatim,fragment]
847 Internally the @code{set-octavation} sets @code{ottavation} (eg. to
848 @code{"8va"}) and @code{centralCPosition} properties.
852 @internalsref{OttavaBracket}
856 @code{set-octavation} will get confused when clef changes happen
857 during an octavation bracket.
860 @subsection Time signature
861 @cindex Time signature
865 Time signature indicates the metrum of a piece: a regular pattern of
866 strong and weak beats. It is denoted by a fraction at the start of the
871 The time signature is set or changed by the @code{\time}
873 @lilypond[fragment,verbatim]
874 \time 2/4 c'2 \time 3/4 c'2.
877 The actual symbol that is printed can be customized with the
878 @code{style} property. Setting it to @code{#'()} uses fraction style
879 for 4/4 and 2/2 time. There are many more options for its layout.
880 See @inputfileref{input/test,time.ly} for more examples.
883 This command sets the property @code{timeSignatureFraction},
884 @code{beatLength} and @code{measureLength} in the @code{Timing}
885 context, which is normally aliased to @internalsref{Score}. The
886 property @code{timeSignatureFraction} determines where bar lines
887 should be inserted, and how automatic beams should be generated.
888 Changing the value of @code{timeSignatureFraction} also causes the
889 symbol to be printed.
891 More options are available through the Scheme function
892 @code{set-time-signature}. In combination with the
893 @internalsref{Measure_grouping_engraver}, it will create
894 @internalsref{MeasureGrouping} signs. Such signs ease reading
895 rhythmically complex modern music. In the following example, the 9/8
896 measure is subdivided in 2, 2, 2 and 3. This is passed to
897 @code{set-time-signature} as the third argument @code{(2 2 2 3)}.
900 \score { \notes \relative c'' {
901 #(set-time-signature 9 8 '(2 2 2 3))
902 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
903 #(set-time-signature 5 8 '(3 2))
908 \translator { \StaffContext
909 \consists "Measure_grouping_engraver"
915 @internalsref{TimeSignature}, @internalsref{Timing_engraver}.
920 Automatic beaming does not use measure grouping specified with
921 @code{set-time-signature}.
928 @cindex partial measure
929 @cindex measure, partial
930 @cindex shorten measures
931 @cindex @code{\partial}
933 Partial measures, for example in upbeats, are entered using the
934 @code{\partial} command:
935 @lilypond[fragment,verbatim]
936 \partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
939 The syntax for this command is
941 \partial @var{duration}
943 This is internally translated into
945 \property Timing.measurePosition = -@var{length of duration}
948 The property @code{measurePosition} contains a rational number
949 indicating how much of the measure has passed at this point.
951 @node Unmetered music
952 @subsection Unmetered music
954 Bar lines and bar numbers are calculated automatically. For unmetered
955 music (e.g. cadenzas), this is not desirable. By setting
956 @code{Score.timing} to false, this automatic timing can be switched
960 @subsection Bar lines
964 @cindex measure lines
968 Bar lines delimit measures, but are also used to indicate
969 repeats. Line breaks may only happen on barlines.
973 Bar lines are inserted automatically. Special types
974 of barlines can be forced with the @code{\bar} command:
975 @lilypond[relative=1,fragment,verbatim]
979 The following bar types are available
980 @lilypond[fragment, relative, singleline, verbatim]
992 In scores with many staves, the barlines are automatically placed at
993 top level, and they are connected between different staves of a
994 @internalsref{StaffGroup}:
995 @lilypond[fragment, verbatim]
996 < \context StaffGroup <
997 \context Staff = up { e'4 d'
1000 \context Staff = down { \clef bass c4 g e g } >
1001 \context Staff = pedal { \clef bass c2 c2 } >
1005 The command @code{\bar @var{bartype}} is a short cut for
1006 doing @code{\property Score.whichBar = @var{bartype}}
1007 Whenever @code{whichBar} is set to a string, a bar line of that type is
1008 created. @code{whichBar} is usually set automatically: at the start of
1009 a measure it is set to @code{defaultBarType}. The contents of
1010 @code{repeatCommands} is used to override default measure bars.
1012 @code{whichBar} can also be set directly, using @code{\property} or
1013 @code{\bar }. These settings take precedence over the automatic
1014 @code{whichBar} settings.
1017 @cindex repeatCommands
1018 @cindex defaultBarType
1020 You are encouraged to use @code{\repeat} for repetitions. See
1030 The bar line objects that are created at @internalsref{Staff} level
1031 are called @internalsref{BarLine}, the bar lines that span staffs are
1032 @internalsref{SpanBar}s.
1039 The easiest way to enter fragments with more than one voice on a staff
1040 is to split chords using the separator @code{\\}. You can use it for
1041 small, short-lived voices or for single chords:
1043 @lilypond[verbatim,fragment]
1044 \context Voice = VA \relative c'' {
1045 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
1049 The separator causes @internalsref{Voice} contexts to be instantiated,
1050 bearing the names @code{"1"}, @code{"2"}, etc. In each of these
1051 contexts, vertical direction of slurs, stems, etc. are set
1054 This can also be done by instantiating @internalsref{Voice} contexts
1055 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1056 a stem directions and horizontal shift for each part.
1059 @lilypond[singleline, verbatim]
1061 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1062 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1063 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1066 Normally, note heads with a different number of dots are not merged, but
1067 when the object property @code{merge-differently-dotted} is set in
1068 the @internalsref{NoteCollision} object, they are:
1069 @lilypond[verbatim,fragment,singleline]
1070 \relative c' \context Voice < {
1072 \property Staff.NoteCollision \override
1073 #'merge-differently-dotted = ##t
1075 } \\ { g8.-[ f16-] g8.-[ f16-] }
1079 Similarly, you can merge half note heads with eighth notes, by setting
1080 @code{merge-differently-headed}:
1081 @lilypond[fragment, relative=2,verbatim]
1084 \property Staff.NoteCollision
1085 \override #'merge-differently-headed = ##t
1086 c8 c4. } \\ { c2 c2 } >
1089 LilyPond also vertically shifts rests that are opposite of a stem.
1091 @lilypond[singleline,fragment,verbatim]
1092 \context Voice < c''4 \\ r4 >
1097 The objects responsible for resolving collisions are
1098 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1099 also example files @inputfileref{input/regression,collision-dots.ly},
1100 @inputfileref{input/regression,collision-head-chords.ly},
1101 @inputfileref{input/regression,collision-heads.ly},
1102 @inputfileref{input/regression,collision-mesh.ly}, and
1103 @inputfileref{input/regression,collisions.ly}.
1108 Resolving collisions is a intricate subject, and only a few situations
1109 are handled. When LilyPond cannot cope, the @code{force-hshift}
1110 property of the @internalsref{NoteColumn} object and pitched rests can
1111 be used to override typesetting decisions.
1116 Beams are used to group short notes into chunks that are aligned with
1117 the metrum. They are inserted automatically in most cases.
1119 @lilypond[fragment,verbatim, relative=2]
1120 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1123 When these automatic decisions are not good enough, beaming can be
1124 entered explicitly. It is also possible to define beaming patterns
1125 that differ from the defaults.
1129 @internalsref{Beam}.
1132 @cindex Automatic beams
1133 @subsection Manual beams
1134 @cindex beams, manual
1138 In some cases it may be necessary to override the automatic beaming
1139 algorithm. For example, the auto beamer will not beam over rests or
1140 bar lines, If you want that, specify the begin and end point manually
1141 using @code{[} and @code{]}.
1143 @lilypond[fragment,relative,verbatim]
1145 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1149 @cindex @code{stemLeftBeamCount}
1151 Normally, beaming patterns within a beam are determined automatically.
1152 When this mechanism fouls up, the properties
1153 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1154 be used to control the beam subdivision on a stem. If either property
1155 is set, its value will be used only once, and then it is erased.
1157 @lilypond[fragment,relative,verbatim]
1160 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1163 @cindex @code{stemRightBeamCount}
1166 The property @code{subdivideBeams} can be set in order to subdivide
1167 all 16th or shorter beams at beat positions. This accomplishes the
1168 same effect as twiddling with @code{stemLeftBeamCount} and
1169 @code{stemRightBeamCount}, but it take less typing.
1172 @lilypond[relative=1,verbatim,noindent]
1173 c16-[ c c c c c c c-]
1174 \property Voice.subdivideBeams = ##t
1175 c16-[ c c c c c c c-]
1176 c32-[ c c c c c c c c c c c c c c c-]
1177 \property Score.beatLength = #(ly:make-moment 1 8)
1178 c32-[ c c c c c c c c c c c c c c c-]
1180 @cindex subdivideBeams
1182 Kneed beams are inserted automatically, when a large gap is detected
1183 between the note heads. This behavior can be tuned through the object
1184 property @code{auto-knee-gap}.
1186 @cindex beams, kneed
1188 @cindex auto-knee-gap
1196 Automatically kneed beams cannot be used together with Hara Kiri
1201 * Setting automatic beam behavior ::
1205 @no de Beam typography
1206 @sub section Beam typography
1208 One of the strong points of LilyPond is how beams are formatted. Beams
1209 are quantized, meaning that the left and right endpoints beams start
1210 exactly on staff lines. Without quantization, small wedges of white
1211 space appear between the beam and staff line, and this looks untidy.
1213 Beams are also slope-damped: melodies that go up or down should also
1214 have beams that go up or down, but the slope of the beams should be
1215 less than the slope of the notes themselves.
1217 Some beams should be horizontal. These are so-called concave beams.
1219 [TODO: some pictures.]
1223 @node Setting automatic beam behavior
1224 @subsection Setting automatic beam behavior
1226 @cindex @code{autoBeamSettings}
1227 @cindex @code{(end * * * *)}
1228 @cindex @code{(begin * * * *)}
1229 @cindex automatic beams, tuning
1230 @cindex tuning automatic beaming
1232 [TODO: use \applycontext]
1234 In normal time signatures, automatic beams can start on any note but can
1235 only end in a few positions within the measure: beams can end on a beat,
1236 or at durations specified by the properties in
1237 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1238 are defined in @file{scm/auto-beam.scm}.
1240 The value of @code{autoBeamSettings} is changed using
1241 @code{\override} and unset using @code{\revert}:
1243 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1244 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1246 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1247 whether the rule applies to begin or end-points. The quantity
1248 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1249 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1250 signature (wildcards, `@code{* *}' may be entered to designate all time
1253 For example, if automatic beams should end on every quarter note, use
1256 \property Voice.autoBeamSettings \override
1257 #'(end * * * *) = #(ly:make-moment 1 4)
1259 Since the duration of a quarter note is 1/4 of a whole note, it is
1260 entered as @code{(ly:make-moment 1 4)}.
1262 The same syntax can be used to specify beam starting points. In this
1263 example, automatic beams can only end on a dotted quarter note.
1265 \property Voice.autoBeamSettings \override
1266 #'(end * * * *) = #(ly:make-moment 3 8)
1268 In 4/4 time signature, this means that automatic beams could end only on
1269 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1270 3/8 has passed within the measure).
1272 Rules can also be restricted to specific time signatures. A rule that
1273 should only be applied in @var{N}/@var{M} time signature is formed by
1274 replacing the second asterisks by @var{N} and @var{M}. For example, a
1275 rule for 6/8 time exclusively looks like
1277 \property Voice.autoBeamSettings \override
1278 #'(begin * * 6 8) = ...
1281 If a rule should be to applied only to certain types of beams, use the
1282 first pair of asterisks. Beams are classified according to the
1283 shortest note they contain. For a beam ending rule that only applies
1284 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1287 If a score ends while an automatic beam has not been ended and is still
1288 accepting notes, this last beam will not be typeset at all.
1290 @cindex automatic beam generation
1292 @cindex @code{Voice.autoBeaming}
1295 For melodies that have lyrics, you may want to switch off
1296 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1302 It is not possible to specify beaming parameters for beams with mixed
1303 durations, that differ from the beaming parameters of all separate
1304 durations, i.e., you will have to specify manual beams to get:
1306 @lilypond[singleline,fragment,relative,noverbatim,quote]
1307 \property Voice.autoBeamSettings
1308 \override #'(end * * * *) = #(ly:make-moment 3 8)
1309 \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
1311 It is not possible to specify beaming parameters that act differently in
1312 different parts of a measure. This means that it is not possible to use
1313 automatic beaming in irregular meters such as @code{5/8}.
1316 @section Accidentals
1319 This section describes how to change the way that LilyPond automatically
1320 inserts accidentals before the running notes.
1324 * Using the predefined accidental variables::
1325 * Customized accidental rules::
1328 @node Using the predefined accidental variables
1329 @subsection Using the predefined accidental variables
1331 The constructs for describing the accidental typesetting rules are
1332 quite hairy, so non-experts should stick to the variables
1333 defined in @file{ly/property-init.ly}.
1334 @cindex @file{property-init.ly}
1336 The variables set properties in the ``Current'' context (see
1337 @ref{Context properties}). This means that the variables should
1338 normally be added right after the creation of the context in which the
1339 accidental typesetting described by the variable is to take
1340 effect. For example, if you want to use piano-accidentals in a piano
1341 staff then issue @code{\pianoAccidentals} first thing after the
1342 creation of the piano staff:
1345 \notes \relative c'' <
1346 \context Staff = sa @{ cis4 d e2 @}
1347 \context GrandStaff <
1349 \context Staff = sb @{ cis4 d e2 @}
1350 \context Staff = sc @{ es2 c @}
1352 \context Staff = sd @{ es2 c @}
1356 @lilypond[singleline]
1358 \notes \relative c'' <
1359 \context Staff = sa { cis4 d e2 }
1360 \context GrandStaff <
1362 \context Staff = sb { cis4 d e2 }
1363 \context Staff = sc { es2 c }
1365 \context Staff = sd { es2 c }
1370 minimumVerticalExtent = #'(-4.0 . 4.0)
1378 @item \defaultAccidentals
1379 @cindex @code{\defaultAccidentals}
1380 This is the default typesetting behaviour. It should correspond
1381 to 18th century common practice: Accidentals are
1382 remembered to the end of the measure in which they occur and
1383 only on their own octave.
1385 @item \voiceAccidentals
1386 @cindex @code{\voiceAccidentals}
1388 The normal behaviour is to
1389 remember the accidentals on Staff-level. This variable, however,
1390 typesets accidentals individually for each voice. Apart from that the
1391 rule is similar to @code{\defaultAccidentals}.
1393 This leads to some weird and often unwanted results
1394 because accidentals from one voice do not get cancelled in other
1396 @lilypond[singleline,relative,fragment,verbatim,quote]
1404 Hence you should only use @code{\voiceAccidentals} if the voices
1405 are to be read solely by individual musicians. If the staff is to be
1406 used by one musician (e.g., a conductor) then you use
1407 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1410 @item \modernAccidentals
1411 @cindex @code{\modernAccidentals}
1412 This rule corresponds to the common practice in the 20th
1414 The rule is more complex than @code{\defaultAccidentals}.
1415 You get all the same accidentals, but temporary
1416 accidentals also get cancelled in other octaves. Further more,
1417 in the same octave, they also get cancelled in the following measure:
1418 @lilypond[singleline,fragment,verbatim]
1420 cis' c'' cis'2 | c'' c'
1423 @item \modernCautionaries
1424 @cindex @code{\modernCautionaries}
1425 This rule is similar to @code{\modernAccidentals}, but the
1426 ``extra'' accidentals (the ones not typeset by
1427 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1428 (i.e. in reduced size):
1429 @lilypond[singleline,fragment,verbatim]
1431 cis' c'' cis'2 | c'' c'
1434 @cindex @code{\modernVoiceAccidentals}
1435 @item \modernVoiceAccidentals
1436 is used for multivoice accidentals to be read both by musicians
1437 playing one voice and musicians playing all voices. Accidentals are
1438 typeset for each voice, but they @emph{are} cancelled across voices in
1439 the same @internalsref{Staff}.
1441 @cindex @code{\modernVoiceCautionaries}
1442 @item \modernVoiceCautionaries
1443 is the same as @code{\modernVoiceAccidentals}, but with the extra
1444 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1445 as cautionaries. Even though all accidentals typeset by
1446 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1447 some of them are typeset as cautionaries.
1449 @item \pianoAccidentals
1450 @cindex @code{\pianoAccidentals}
1451 20th century practice for piano notation. Very similar to
1452 @code{\modernAccidentals} but accidentals also get cancelled
1453 across the staves in the same @internalsref{GrandStaff} or
1454 @internalsref{PianoStaff}.
1456 @item \pianoCautionaries
1457 @cindex @code{\pianoCautionaries}
1458 As @code{\pianoAccidentals} but with the extra accidentals
1459 typeset as cautionaries.
1462 @cindex @code{\noResetKey}
1463 Same as @code{\defaultAccidentals} but with accidentals lasting
1464 ``forever'' and not only until the next measure:
1465 @lilypond[singleline,fragment,verbatim,relative]
1470 @item \forgetAccidentals
1471 @cindex @code{\forgetAccidentals}
1472 This is sort of the opposite of @code{\noResetKey}: Accidentals
1473 are not remembered at all - and hence all accidentals are
1474 typeset relative to the key signature, regardless of what was
1475 before in the music:
1476 @lilypond[singleline,fragment,verbatim,relative]
1478 \key d\major c4 c cis cis d d dis dis
1482 @node Customized accidental rules
1483 @subsection Customized accidental rules
1485 This section must be considered gurus-only, and hence it must be
1486 sufficient with a short description of the system and a reference to
1487 the internal documentation.
1489 The algorithm tries several different rules, and uses the rule
1490 that gives the highest number of accidentals. Each rule consists of
1493 In which context is the rule applied. For example, if
1494 @var{context} is @internalsref{Score} then all staves share
1495 accidentals, and if @var{context} is @internalsref{Staff} then all
1496 voices in the same staff share accidentals, but staves do not.
1498 Whether the accidental changes all octaves or only the current
1501 Over how many barlines the accidental lasts.
1502 If @var{lazyness} is @code{-1} then the accidental is forget
1503 immediately, and if @var{lazyness} is @code{#t} then the accidental
1506 [TODO: should use +infinity for this case?]
1512 @internalsref{Accidental_engraver}, @internalsref{Accidental},
1513 @internalsref{AccidentalPlacement}.
1518 Currently the simultaneous notes are considered to be entered in
1519 sequential mode. This means that in a chord the accidentals are
1520 typeset as if the notes in the chord happened one at a time - in the
1521 order in which they appear in the input file.
1523 This is only a problem when there are simultaneous notes whose
1524 accidentals depend on each other. The problem only occurs when using
1525 non-default accidentals. In the default scheme, accidentals only
1526 depend on other accidentals with the same pitch on the same staff, so
1527 no conflicts possible.
1529 This example shows two examples of the same music giving different
1530 accidentals depending on the order in which the notes occur in the
1533 @lilypond[singleline,fragment,verbatim]
1534 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1535 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1536 | <<cis' c''>> r | <<c'' cis'>> r |
1539 This problem can be solved by manually inserting @code{!} and @code{?}
1540 for the problematic notes.
1542 @node Expressive marks
1543 @section Expressive marks
1551 * Analysis brackets::
1558 A slur indicates that notes are to be played bound or @emph{legato}.
1562 They are entered using parentheses:
1563 @lilypond[fragment,verbatim,center]
1564 f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
1565 <<c' e'>>2-( <<b d'>>2-)
1569 @c TODO: should explain that ^( and _( set directions
1570 @c should set attachments with ^ and _ ?
1572 Slurs avoid crossing stems, and are generally attached to note heads.
1573 However, in some situations with beams, slurs may be attached to stem
1574 ends. If you want to override this layout you can do this through the
1575 object property @code{attachment} of @internalsref{Slur} in
1576 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1577 the attachment type of the left and right end points.
1579 @lilypond[fragment,relative,verbatim]
1581 \property Voice.Stem \set #'length = #5.5
1583 \property Voice.Slur \set #'attachment = #'(stem . stem)
1587 If a slur would strike through a stem or beam, the slur will be moved
1588 away upward or downward. If this happens, attaching the slur to the
1589 stems might look better:
1591 @lilypond[fragment,relative,verbatim]
1594 \property Voice.Slur \set #'attachment = #'(stem . stem)
1600 @seeinternals{Slur}, @internalsref{SlurEvent}.
1605 Producing nice slurs is a difficult problem, and LilyPond currently
1606 uses a simple, empiric method to produce slurs. In some cases, the
1607 results of this method are ugly.
1610 @cindex Adjusting slurs
1612 @node Phrasing slurs
1613 @subsection Phrasing slurs
1615 @cindex phrasing slurs
1616 @cindex phrasing marks
1618 A phrasing slur (or phrasing mark) connects chords and is used to
1619 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1622 @lilypond[fragment,verbatim,center,relative]
1623 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1626 Typographically, the phrasing slur behaves almost exactly like a
1627 normal slur. However, they are treated as different objects. A
1628 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1629 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1630 @code{\phrasingSlurBoth}.
1632 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1633 will only affect normal slurs and not phrasing slurs.
1637 See also @internalsref{PhrasingSlur},
1638 @internalsref{PhrasingSlurEvent}.
1642 Phrasing slurs have the same limitations in their formatting as normal
1643 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1646 @subsection Breath marks
1648 Breath marks are entered using @code{\breathe}.
1651 @lilypond[fragment,relative]
1655 The glyph of the breath mark can be tweaked by overriding the
1656 @code{text} property of the @code{BreathingSign} grob with the name of
1657 any glyph of @ref{The Feta font}. For example,
1658 @lilypond[fragment,verbatim,relative]
1660 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1667 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
1668 @inputfileref{input/regression,breathing-sign.ly}.
1671 @node Metronome marks
1672 @subsection Metronome marks
1675 @cindex beats per minute
1676 @cindex metronome marking
1678 Metronome settings can be entered as follows:
1680 \tempo @var{duration} = @var{perminute}
1683 In the MIDI output, they are interpreted as a tempo change, and in the
1684 paper output, a metronome marking is printed
1685 @cindex @code{\tempo}
1686 @lilypond[fragment,verbatim]
1692 @internalsref{TempoEvent}
1697 @subsection Text spanners
1698 @cindex Text spanners
1700 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1701 are written as texts, and extended over many measures with dotted
1702 lines. You can create such texts using text spanners: attach
1703 @code{\startTextSpan} and @code{\stopTextSpan} to the
1704 start and ending note of the spanner.
1706 The string to be printed, as well as the style, is set through object
1709 @lilypond[fragment,relative,verbatim]
1711 \property Voice.TextSpanner \set #'direction = #-1
1712 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1713 c2-\startTextSpan b c-\stopTextSpan a }
1719 @internalsref{TextSpanEvent},
1720 @internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
1723 @node Analysis brackets
1724 @subsection Analysis brackets
1726 @cindex phrasing brackets
1727 @cindex musicological analysis
1728 @cindex note grouping bracket
1730 Brackets are used in musical analysis to indicate structure in musical
1731 pieces. LilyPond supports a simple form of nested horizontal brackets.
1732 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1733 @internalsref{Staff} context. A bracket is started with
1734 @code{\startGroup} and closed with @code{\stopGroup}.
1736 @lilypond[singleline,verbatim]
1737 \score { \notes \relative c'' {
1738 c4-\startGroup-\startGroup
1741 c4-\stopGroup-\stopGroup
1743 \paper { \translator {
1744 \StaffContext \consists "Horizontal_bracket_engraver"
1750 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
1751 @inputfileref{input/regression,note-group-bracket.ly}.
1755 Bracket endings should be angled/slanted. (TODO)
1762 @section Articulations
1763 @cindex Articulations
1765 @cindex articulations
1769 A variety of symbols can appear above and below notes to indicate
1770 different characteristics of the performance. They are added to a note
1771 by adding a dash and the character signifying the
1772 articulation. They are demonstrated here.
1774 @lilypondfile[notexidoc]{script-abbreviations.ly}
1776 The script is automatically placed, but if you need to force
1777 directions, you can use @code{_} to force them down, or @code{^} to
1779 @lilypond[fragment, verbatim]
1786 Other symbols can be added using the syntax
1787 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1788 using @code{^} and @code{_}.
1792 @cindex staccatissimo
1801 @cindex organ pedal marks
1810 @cindex prallmordent
1814 @cindex thumb marking
1819 @lilypondfile[notexidoc]{script-chart.ly}
1823 @internalsref{ScriptEvent}, @internalsref{Script}.
1827 All of these note ornaments appear in the printed output but have no
1828 effect on the MIDI rendering of the music.
1831 @node Fingering instructions
1832 @section Fingering instructions
1836 Fingering instructions can be entered using
1838 @var{note}-@var{digit}
1840 For finger changes, use markup texts:
1842 @lilypond[verbatim, singleline, fragment]
1843 c'4-1 c'4-2 c'4-3 c'4-4
1844 c'^\markup { \fontsize #-3 \number "2-3" }
1847 @cindex finger change
1852 You can use the thumb-script to indicate that a note should be
1853 played with your thumb (used in cello music):
1855 @lilypond[verbatim, singleline, fragmnt]
1856 <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
1857 <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
1860 Fingering for chords can be notated like this:
1862 @lilypond[verbatim,singleline,fragment,relative=1]
1863 << c-1 e-2 g-3 b-5 >> 4
1864 \property Voice.fingerHorizontalDirection = #LEFT
1865 << c-1 es-3 g-5 >> 4
1866 \property Voice.fingerHorizontalDirection = #RIGHT
1867 << c-1 e-2 g-3 b-5 >>4
1868 \property Voice.fingerHorizontalDirection = #LEFT
1869 << c_1 e-2 g-3 b^5 >>4
1874 @internalsref{FingerEvent} and @internalsref{Fingering}.
1885 @subsection Text scripts
1886 @cindex Text scripts
1888 It is possible to place arbitrary strings of text or markup text (see
1889 @ref{Text markup}) above or below notes by using a string:
1890 @code{c^"text"}. By default, these indications do not influence the
1891 note spacing, but by using the command @code{\fatText}, the widths
1892 will be taken into account.
1894 @lilypond[fragment,singleline,verbatim] \relative c' {
1895 c4^"longtext" \fatText c4_"longlongtext" c4 }
1898 It is possible to use @TeX{} commands in the strings, but this should be
1899 avoided because it makes it impossible for LilyPond to compute the
1900 exact length of the string, which may lead to collisions. Also, @TeX{}
1901 commands will not work with direct PostScript output.
1906 @internalsref{TextScriptEvent}, @internalsref{TextScript},
1912 @subsection Grace notes
1916 @cindex @code{\grace}
1920 Grace notes are ornaments that are written out
1922 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
1926 In normal notation, grace notes take up no logical
1927 time in a measure. Such an idea is practical for normal notation, but
1928 is not strict enough to put it into a program. The model that LilyPond
1929 uses for grace notes internally is that all timing is done in two
1932 Every point in musical time consists of two rational numbers: one
1933 denotes the logical time, one denotes the grace timing. The above
1934 example is shown here with timing tuples.
1937 \score { \notes \relative c''{
1938 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1939 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1941 \paper { linewidth = 8.\cm }
1946 The placement of these grace notes is synchronized between different
1949 @lilypond[relative=2,verbatim,fragment]
1950 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
1951 \context Staff = SB { c'4 \grace { g8 b } c4 } >
1955 Unbeamed eighth notes and shorter by default have a slash through the
1956 stem. This can be controlled with object property @code{stroke-style} of
1957 @internalsref{Stem}. For proper matching of override and reverts of
1958 such properties, it is necessary to use a Scheme function.
1960 The following fragment overrides the default formatting Grace style stems.
1962 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
1965 The @code{\override} is carefully matched with a @code{\revert}.
1970 @lilypond[fragment,verbatim]
1971 \relative c'' \context Voice {
1972 \grace c8 c4 \grace { c16-[ c16-] } c4
1974 \property Voice.Stem \override #'stroke-style = #'()
1976 \property Voice.Stem \revert #'stroke-style
1981 If you want to end a note with a grace note, then the standard trick
1982 is to put the grace notes before a phantom ``space note'', e.g.
1983 @lilypond[fragment,verbatim, relative=2]
1986 { s2 \grace { c16-[ d-] } } >
1991 A @code{\grace} section has some default values, and LilyPond will
1992 use those default values unless you specify otherwise inside the
1993 @code{\grace} section. For example, if you specify \slurUp
1994 @emph{before} your @code{\grace} section, a slur which starts inside
1995 the @code{\grace} will not be forced up, even if the slur ends outside
1996 of the @code{\grace}. Note the difference between the first and
1997 second bars in this example:
1999 @lilypond[fragment,verbatim]
2000 \relative c'' \context Voice {
2018 @internalsref{GraceMusic}.
2022 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2024 Grace note synchronization can also lead to surprises. Staff notation,
2025 such as key signatures, barlines, etc. are also synchronized. Take
2026 care when you mix staves with grace notes and staves without.
2028 @lilypond[relative=2,verbatim,fragment]
2029 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2030 \context Staff = SB { c4 \bar "|:" d4 } >
2033 Grace sections should only be used within sequential music
2034 expressions. Nesting, juxtaposing, or ending sequential music with a
2035 grace section is not supported, and might produce crashes or other
2038 Overriding settings for grace music using @code{add-to-grace-init}
2039 cannot be done in a modular way.
2043 @subsection Glissando
2046 @cindex @code{\glissando}
2048 A glissando is a smooth change in pitch. It is denoted by a line or a
2049 wavy line between two notes.
2053 A glissando line can be requested by attaching a @code{\glissando} to
2056 @lilypond[fragment,relative,verbatim]
2062 @internalsref{Glissando}, @internalsref{GlissandoEvent}.
2067 Printing of an additional text (such as @emph{gliss.}) must be done
2072 @subsection Dynamics
2085 @cindex @code{\ffff}
2095 Absolute dynamic marks are specified using an variable after a
2096 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2097 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2098 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2099 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2101 @lilypond[verbatim,singleline,fragment,relative]
2102 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2108 @cindex @code{\decr}
2109 @cindex @code{\rced}
2116 A crescendo mark is started with @code{\cr} and terminated with
2117 @code{\endcr}, and decrescendi similarly with @code{\decr} and
2118 @code{\enddecr}. There are also shorthands for these marks. A
2119 crescendo can be started with @code{\<} and a decrescendo can be
2120 started with @code{\>}. Either one can be terminated with @code{\!}.
2121 Because these marks are bound to notes, if you must use spacer notes
2122 if multiple marks during one note are needed.
2124 @lilypond[fragment,verbatim,center,quote]
2125 c''-\< c''-\! d''-\decr e''-\rced
2126 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2128 This may give rise to very short hairpins. Use @code{minimum-length}
2129 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2133 \property Staff.Hairpin \override #'minimum-length = #5
2136 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2137 is an example how to do it:
2139 @lilypond[fragment,relative=2,verbatim]
2140 c4 \cresc c4 \endcresc c4
2147 You can also supply your own texts:
2148 @lilypond[fragment,relative,verbatim]
2150 \property Voice.crescendoText = "cresc. poco"
2151 \property Voice.crescendoSpanner = #'dashed-line
2160 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
2161 @internalsref{AbsoluteDynamicEvent}.
2163 Dynamics are objects of @internalsref{DynamicText} and
2164 @internalsref{Hairpin}. Vertical positioning of these symbols is
2165 handled by the @internalsref{DynamicLineSpanner} object.
2167 If you want to adjust padding or vertical direction of the dynamics,
2168 you must set properties for the @internalsref{DynamicLineSpanner}
2169 object. Predefined variables to set the vertical direction are
2170 @code{\dynamicUp} and @code{\dynamicDown}.
2172 @cindex direction, of dynamics
2173 @cindex @code{\dynamicDown}
2174 @cindex @code{\dynamicUp}
2182 @cindex @code{\repeat}
2185 Repetition is a central concept in music, and multiple notations exist
2186 for repetitions. In LilyPond, most of these notations can be captured
2187 in a uniform syntax. One of the advantages is, all these repetitions
2188 can be rendered in MIDI accurately.
2190 The following types of repetition are supported:
2194 Repeated music is fully written (played) out. Useful for MIDI
2195 output, and entering repetitive music.
2198 This is the normal notation: Repeats are not written out, but
2199 alternative endings (voltas) are printed, left to right.
2203 Alternative endings are written stacked. This has limited use but may be
2204 used to typeset two lines of lyrics in songs with repeats, see
2205 @inputfileref{input,star-spangled-banner.ly}.
2212 Make beat or measure repeats. These look like percent signs.
2218 * Repeats and MIDI::
2219 * Manual repeat commands::
2221 * Tremolo subdivisions::
2226 @subsection Repeat syntax
2230 LilyPond has one syntactic construct for specifying different types of
2231 repeats. The syntax is
2234 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2237 If you have alternative endings, you may add
2238 @cindex @code{\alternative}
2240 \alternative @code{@{} @var{alternative1}
2242 @var{alternative3} @dots{} @code{@}}
2244 where each @var{alternative} is a music expression. If you do not
2245 give enough alternatives for all of the repeats, then the first
2246 alternative is assumed to be played more than once.
2248 Normal notation repeats are used like this:
2249 @lilypond[fragment,verbatim]
2251 \repeat volta 2 { c'4 d' e' f' }
2252 \repeat volta 2 { f' e' d' c' }
2255 With alternative endings:
2256 @lilypond[fragment,verbatim]
2258 \repeat volta 2 {c'4 d' e' f'}
2259 \alternative { {d'2 d'} {f' f} }
2263 @lilypond[fragment,verbatim]
2267 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2268 \alternative { { g4 g g } { a | a a a a | b2. } }
2275 If you do a nested repeat like
2284 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2285 belongs. This ambiguity is resolved by always having the
2286 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2287 it is advisable to use braces in such situations.
2290 @node Repeats and MIDI
2291 @subsection Repeats and MIDI
2293 @cindex expanding repeats
2295 For instructions on how to unfold repeats for MIDI output, see the
2296 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2301 Timing information is not remembered at the start of an alternative,
2302 so you have to reset timing information after a repeat, e.g. using a
2303 bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
2304 or entering @code{\partial}. Similarly, slurs or ties are also not
2308 @node Manual repeat commands
2309 @subsection Manual repeat commands
2311 @cindex @code{repeatCommands}
2313 The property @code{repeatCommands} can be used to control the layout of
2314 repeats. Its value is a Scheme list of repeat commands, where each repeat
2322 @item (volta . @var{text})
2323 Print a volta bracket saying @var{text}. The text can be specified as
2324 a text string or as a markup text, see @ref{Text markup}. Do not
2325 forget to change the font, as the default number font does not contain
2326 alphabetic characters.
2328 Stop a running volta bracket
2331 @lilypond[verbatim, fragment]
2333 \property Score.repeatCommands = #'((volta "93") end-repeat)
2335 \property Score.repeatCommands = #'((volta #f))
2342 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2343 @internalsref{VoltaRepeatedMusic},
2344 @internalsref{UnfoldedRepeatedMusic}
2345 @internalsref{FoldedRepeatedMusic}.
2347 @node Tremolo repeats
2348 @subsection Tremolo repeats
2349 @cindex tremolo beams
2351 To place tremolo marks between notes, use @code{\repeat} with tremolo
2353 @lilypond[verbatim,center,singleline]
2355 \context Voice \notes\relative c' {
2356 \repeat "tremolo" 8 { c16 d16 }
2357 \repeat "tremolo" 4 { c16 d16 }
2358 \repeat "tremolo" 2 { c16 d16 }
2359 \repeat "tremolo" 4 c16
2366 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2367 @internalsref{StemTremolo}. @internalsref{TremoloEvent}.
2372 The single stem tremolo @emph{must} be entered without @code{@{} and
2375 @node Tremolo subdivisions
2376 @subsection Tremolo subdivisions
2377 @cindex tremolo marks
2378 @cindex @code{tremoloFlags}
2380 Tremolo marks can be printed on a single note by adding
2381 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2382 A @var{length} value of 8 gives one line across the note stem. If the
2383 length is omitted, then then the last value (stored in
2384 @code{Voice.tremoloFlags}) is used.
2386 @lilypond[verbatim,fragment,center]
2387 c'2:8 c':32 | c': c': |
2390 @c [TODO : stok is te kort bij 32en]
2394 Tremolos in this style do not carry over into the MIDI output.
2397 @node Measure repeats
2398 @subsection Measure repeats
2400 @cindex percent repeats
2401 @cindex measure repeats
2403 In the @code{percent} style, a note pattern can be repeated. It is
2404 printed once, and then the pattern is replaced with a special sign.
2405 Patterns of a one and two measures are replaced by percent-like signs,
2406 patterns that divide the measure length are replaced by slashes.
2408 @lilypond[verbatim,singleline]
2409 \context Voice { \repeat "percent" 4 { c'4 }
2410 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2416 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2417 @internalsref{PercentRepeatedMusic}, and
2418 @internalsref{DoublePercentRepeat}.
2423 Single measure and double measure percent-repeats cannot be nested.
2425 @node Rhythmic music
2426 @section Rhythmic music
2428 Sometimes you might want to show only the rhythm of a melody. This
2429 can be done with the rhythmic staff. All pitches of notes on such a
2430 staff are squashed, and the staff itself has a single line:
2432 @lilypond[fragment,relative,verbatim]
2433 \context RhythmicStaff {
2435 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2440 * Percussion staves::
2441 * Percussion midi output::
2444 @node Percussion staves
2445 @subsection Percussion staves
2449 To typeset more than one piece of percussion to be played by the same
2450 musician one typically uses a multiline staff where each staff
2451 position refers to a specific piece of percussion.
2455 Percussion staves are typeset with help of a set of Scheme
2456 functions. The system is based on the general MIDI drum-pitches.
2457 Include @file{ly/drumpitch-init.ly} to use drum pitches. This file
2458 defines the pitches from the Scheme variable @code{drum-pitch-names},
2459 the definition of which can be read in @file{scm/drums.scm}. Each
2460 piece of percussion has a full name and an abbreviated name, and both
2461 the full name or the abbreviation may be used in input files.
2463 To typeset the music on a staff apply the function @code{drums->paper}
2464 to the percussion music. This function takes a list of percussion
2465 instrument names, notehead scripts and staff positions (that is:
2466 pitches relative to the C-clef) and transforms the input
2467 music by moving the pitch, changing the notehead and (optionally)
2470 @lilypond[singleline,verbatim,quote]
2471 \include "drumpitch-init.ly"
2472 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2473 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2475 \apply #(drums->paper 'drums) \context Staff <
2477 \context Voice = up { \voiceOne \up }
2478 \context Voice = down { \voiceTwo \down }
2483 In the above example the music was transformed using the list @code{'drums}.
2484 Currently the following lists are defined in @file{scm/drums.scm}:
2487 To typeset a typical drum kit on a five-line staff.
2490 \include "drumpitch-init.ly"
2491 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2492 bd sn ss tomh tommh tomml toml tomfh tomfl }
2493 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2494 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2497 \apply #(drums->paper 'drums) \context Staff <
2501 \context Lyrics \nam
2504 linewidth = 100.0\mm
2507 \remove Bar_engraver
2508 \remove Time_signature_engraver
2509 minimumVerticalExtent = #'(-4.0 . 5.0)
2513 \remove Stem_engraver
2519 The drum scheme supports six different toms. When there fewer toms, simply
2520 select the toms that produce the desired result, i.e., to get toms on
2521 the three middle lines you use @code{tommh}, @code{tomml} and
2524 Because general MIDI does not contain rimshots the sidestick is used
2525 for this purpose instead.
2527 To typeset timbales on a two line staff.
2529 @lilypond[singleline]
2530 \include "drumpitch-init.ly"
2531 nam = \lyrics { timh ssh timl ssl cb }
2532 mus = \notes { timh ssh timl ssl cb s16 }
2535 \apply #(drums->paper 'timbales) \context Staff <
2539 \context Lyrics \nam
2544 \remove Bar_engraver
2545 \remove Time_signature_engraver
2546 StaffSymbol \override #'line-count = #2
2547 StaffSymbol \override #'staff-space = #2
2548 minimumVerticalExtent = #'(-3.0 . 4.0)
2552 \remove Stem_engraver
2559 To typeset congas on a two line staff.
2561 @lilypond[singleline]
2562 \include "drumpitch-init.ly"
2563 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2564 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2567 \apply #(drums->paper 'congas) \context Staff <
2571 \context Lyrics \nam
2576 \remove Bar_engraver
2577 \remove Time_signature_engraver
2578 StaffSymbol \override #'line-count = #2
2579 StaffSymbol \override #'staff-space = #2
2580 minimumVerticalExtent = #'(-3.0 . 4.0)
2584 \remove Stem_engraver
2590 To typeset bongos on a two line staff.
2592 @lilypond[singleline]
2593 \include "drumpitch-init.ly"
2594 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2595 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2598 \apply #(drums->paper 'bongos) \context Staff <
2602 \context Lyrics \nam
2607 \remove Bar_engraver
2608 \remove Time_signature_engraver
2609 StaffSymbol \override #'line-count = #2
2610 StaffSymbol \override #'staff-space = #2
2611 minimumVerticalExtent = #'(-3.0 . 4.0)
2615 \remove Stem_engraver
2621 To typeset all kinds of simple percussion on one line staves.
2622 @lilypond[singleline]
2623 \include "drumpitch-init.ly"
2624 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2625 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2628 \apply #(drums->paper 'percussion) \context Staff <
2632 \context Lyrics \nam
2637 \remove Bar_engraver
2638 \remove Time_signature_engraver
2639 StaffSymbol \override #'line-count = #1
2640 minimumVerticalExtent = #'(-2.0 . 3.0)
2644 \remove Stem_engraver
2651 If you do not like any of the predefined lists you can define your own
2652 list at the top of your file:
2654 @lilypond[singleline, verbatim]
2656 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2657 (snare default #f ,(ly:make-pitch 0 1 0))
2658 (hihat cross #f ,(ly:make-pitch 0 5 0))
2659 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2660 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2662 \include "drumpitch-init.ly"
2663 up = \notes { hh8 hh hh hh hhp4 hhp }
2664 down = \notes { bd4 sn bd toml8 toml }
2666 \apply #(drums->paper 'mydrums) \context Staff <
2668 \context Voice = up { \voiceOne \up }
2669 \context Voice = down { \voiceTwo \down }
2674 To use a modified existing list, one can prepend modifications to the
2678 #(define mydrums (append `(
2679 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2680 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2684 The file @file{drumpitch-init.ly} replaces the normal pitch names, so
2685 you have to reinclude @file{nederlands.ly} after the
2686 drum-pattern-definitions to enter normal notes.
2688 @lilypond[singleline,verbatim]
2689 \include "drumpitch-init.ly"
2690 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2691 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2692 \include "nederlands.ly"
2693 bass = \notes \transpose c c,, { a4. e8 r e g e }
2696 \apply #(drums->paper 'drums) \context Staff = drums <
2698 \context Voice = up { \voiceOne \up }
2699 \context Voice = down { \voiceTwo \down }
2701 \context Staff = bass { \clef "F_8" \bass }
2706 @node Percussion midi output
2707 @subsection Percussion midi output
2709 In order to produce correct midi output you need to produce two score
2710 blocks---one for the paper and one for the midi output. To use the
2711 percussion channel you set the property @code{instrument} to
2712 @code{'drums}. Because the drum-pitches themself are similar to the
2713 general midi pitches all you have to do is to insert the voices with
2714 none of the scheme functions to get the correct midi output:
2718 \apply #(drums->paper 'mydrums) \context Staff <
2727 \property Staff.instrument = #'drums
2736 This scheme is to be considered a temporary implementation.
2740 @section Piano music
2742 Piano staves are two normal staves coupled with a brace. The staves
2743 are largely independent, but sometimes voices can cross between the
2744 two staves. The same notation is also used for harps and other key
2745 instruments. The @internalsref{PianoStaff} is especially built to
2746 handle this cross-staffing behavior. In this section we discuss the
2747 @internalsref{PianoStaff} and some other pianistic peculiarities.
2751 * Automatic staff changes::
2752 * Manual staff switches::
2755 * Staff switch lines::
2760 There is no support for putting chords across staves. You can get
2761 this result by increasing the length of the stem in the lower stave so
2762 it reaches the stem in the upper stave, or vice versa. An example is
2763 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2765 Dynamics are not centered, but kludges do exist. See
2766 @inputfileref{input/templates,piano-dynamics.ly}.
2768 @cindex cross staff stem
2769 @cindex stem, cross staff
2772 @c fixme: should have hyperlinks as well.
2778 @node Automatic staff changes
2779 @subsection Automatic staff changes
2780 @cindex Automatic staff changes
2782 Voices can switch automatically between the top and the bottom
2783 staff. The syntax for this is
2785 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2787 The autochanger switches on basis of pitch (central C is the turning
2788 point), and it looks ahead skipping over rests to switch rests in
2789 advance. Here is a practical example:
2791 @lilypond[verbatim,singleline,quote]
2792 \score { \notes \context PianoStaff <
2793 \context Staff = "up" {
2794 \autochange Staff \context Voice = VA < \relative c' {
2795 g4 a b c d r4 a g } > }
2796 \context Staff = "down" {
2801 Spacer rests are used to prevent the bottom staff from
2802 terminating too soon.
2807 The staff switches often do not end up in optimal places. For high
2808 quality output staff switches should be specified manually.
2812 @node Manual staff switches
2813 @subsection Manual staff switches
2815 @cindex manual staff switches
2816 @cindex staff switch, manual
2818 Voices can be switched between staves manually, using the following command:
2820 \translator Staff = @var{staffname} @var{music}
2822 The string @var{staffname} is the name of the staff. It switches the
2823 current voice from its current staff to the Staff called
2824 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2832 Pianos have pedals that alter the way sound are produced. Generally, a
2833 piano has three pedals, sustain, una corda, and sostenuto.
2837 Piano pedal instruction can be expressed by attaching
2838 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2839 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
2842 The symbols that are printed can be modified by setting
2843 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2844 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
2845 of @internalsref{SustainPedal} for more information.
2847 Pedals can also be indicated by a sequence of brackets, by setting the
2848 @code{pedal-type} property of @internalsref{SustainPedal} objects:
2850 @lilypond[fragment,verbatim]
2851 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2852 c''4-\sustainDown d''4 e''4
2853 a'4-\sustainUp-\sustainDown
2854 f'4 g'4 a'4-\sustainUp
2857 A third style of pedal notation is a mixture of text and brackets,
2858 obtained by setting @code{pedal-type} to @code{mixed}:
2860 @lilypond[fragment,verbatim]
2861 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2862 c''4-\sustainDown d''4 e''4
2863 c'4-\sustainUp-\sustainDown
2864 f'4 g'4 a'4-\sustainUp
2867 The default `*Ped' style for sustain and damper pedals corresponds to
2868 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2869 for a sostenuto pedal:
2871 @lilypond[fragment,verbatim]
2872 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
2875 For fine-tuning of the appearance of a pedal bracket, the properties
2876 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2877 @code{PianoPedalBracket} objects (see the detailed documentation of
2878 @internalsref{PianoPedalBracket}) can be modified. For example, the bracket
2879 may be extended to the end of the note head.
2881 @lilypond[fragment,verbatim]
2882 \property Staff.PianoPedalBracket \override
2883 #'shorten-pair = #'(0 . -1.0)
2884 c''4-\sostenutoDown d''4 e''4 c'4
2885 f'4 g'4 a'4-\sostenutoUp
2889 @subsection Arpeggio
2892 @cindex broken arpeggio
2893 @cindex @code{\arpeggio}
2895 You can specify an arpeggio sign on a chord by attaching an
2896 @code{\arpeggio} to a chord.
2899 @lilypond[fragment,relative,verbatim]
2900 <<c e g c>>-\arpeggio
2903 When an arpeggio crosses staves in piano music, you attach an arpeggio
2904 to the chords in both staves, and set
2905 @internalsref{PianoStaff}.@code{connectArpeggios}.
2907 @lilypond[fragment,relative,verbatim]
2908 \context PianoStaff <
2909 \property PianoStaff.connectArpeggios = ##t
2910 \context Voice = one { <<c' e g c>>-\arpeggio }
2911 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
2915 This command creates @internalsref{Arpeggio} objects. Cross staff
2916 arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
2918 The direction of the arpeggio is sometimes denoted by adding an
2919 arrowhead to the wiggly line. This can be typeset by setting
2920 @code{arpeggio-direction}.
2922 @lilypond[fragment,relative,verbatim]
2924 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2925 <<c e g c>>-\arpeggio
2926 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2927 <<c e g c>>-\arpeggio
2931 A square bracket on the left indicates that the player should not
2932 arpeggiate the chord. To draw these brackets, set the
2933 @code{molecule-callback} property of @code{Arpeggio} or
2934 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
2935 @code{\arpeggio} statements within the chords as before.
2937 @lilypond[fragment,relative,verbatim]
2938 \property PianoStaff.Arpeggio \override
2939 #'molecule-callback = \arpeggioBracket
2940 <<c' e g c>>-\arpeggio
2946 It is not possible to mix connected arpeggios and unconnected
2947 arpeggios in one @internalsref{PianoStaff} at the same time.
2949 @node Staff switch lines
2950 @subsection Staff switch lines
2953 @cindex follow voice
2954 @cindex staff switching
2957 @cindex @code{followVoice}
2959 Whenever a voice switches to another staff a line connecting the notes
2960 can be printed automatically. This is enabled if the property
2961 @code{PianoStaff.followVoice} is set to true:
2963 @lilypond[fragment,relative,verbatim]
2964 \context PianoStaff <
2965 \property PianoStaff.followVoice = ##t
2966 \context Staff \context Voice {
2968 \translator Staff=two
2971 \context Staff=two { \clef bass \skip 1*2 }
2975 The associated object is @internalsref{VoiceFollower}.
2979 @section Vocal music
2981 This section discusses how to enter, and print lyrics.
2985 * The Lyrics context::
2990 @node Entering lyrics
2991 @subsection Entering lyrics
2995 @cindex @code{\lyrics}
2998 Lyrics are entered in a special input mode. This mode is is introduced
2999 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3000 punctuation and accents without any hassle. Syllables are entered like
3001 notes, but with pitches replaced by text. For example,
3003 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3006 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3007 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3008 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3009 any 8-bit character with ASCII code over 127, or a two-character
3010 combination of a backslash followed by one of @code{`}, @code{'},
3011 @code{"}, or @code{^}.
3013 Subsequent characters of a word can be any character that is not a digit
3014 and not white space. One important consequence of this is that a word
3015 can end with @code{@}}. The following example is usually a bug. The
3016 syllable includes a @code{@}}, and hence the opening brace is not balanced.
3018 \lyrics @{ twinkle@}
3020 which may be confusing.
3022 @cindex @code{\property}, in @code{\lyrics}
3023 Similarly, a period following a alphabetic sequence, is included in the
3024 resulting string. As a consequence, spaces must be inserted around
3025 @code{\property} commands:
3027 \property Lyrics . LyricText \set #'font-shape = #'italic
3031 @cindex spaces, in lyrics
3032 @cindex quotes, in lyrics
3034 Any @code{_} character which appears in an unquoted word is converted
3035 to a space. This provides a mechanism for introducing spaces into words
3036 without using quotes. Quoted words can also be used in Lyrics mode to
3037 specify words that cannot be written with the above rules:
3040 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3044 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3049 These will be attached to the end of the first syllable.
3051 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3052 as a separate word between syllables. The hyphen will have variable
3053 length depending on the space between the syllables and it will be
3054 centered between the syllables.
3059 When a lyric is sung over many notes (this is called a melisma), this is
3060 indicated with a horizontal line centered between a syllable and the
3061 next one. Such a line is called an extender line, and it is entered as
3066 @internalsref{LyricEvent}, @internalsref{HyphenEvent},
3067 @internalsref{ExtenderEvent}.
3071 The definition of lyrics mode is too complex.
3073 @node The Lyrics context
3074 @subsection The Lyrics context
3076 Lyrics are printed by interpreting them in @internalsref{Lyrics}
3079 \context Lyrics \lyrics @dots{}
3082 @cindex automatic syllable durations
3083 @cindex @code{\addlyrics}
3084 @cindex lyrics and melodies
3086 This will place the lyrics according to the durations that were
3087 entered. The lyrics can also be aligned under a given melody
3088 automatically. In this case, it is no longer necessary to enter the
3089 correct duration for each syllable. This is achieved by combining the
3090 melody and the lyrics with the @code{\addlyrics} expression
3094 \context Lyrics @dots{}
3097 @cindex staff order, with @code{\addlyrics}
3099 Normally, this will put the lyrics below the staff. For different or
3100 more complex orderings, the best way is to setup the hierarchy of
3101 staffs and lyrics first, e.g.
3103 \context ChoirStaff \notes <
3104 \context Lyrics = LA @{ s1 @}
3105 \context Staff = SA @{ s1 @}
3106 \context Lyrics = LB @{ s1 @}
3107 \context Staff = SB @{ s1 @}
3110 and then combine the appropriate melodies and lyric lines:
3113 \context Staff = SA @emph{the music}
3114 \context Lyrics = LA @emph{the lyrics}
3117 putting both together, you would get
3119 \context ChoirStaff \notes <
3120 \context Lyrics = LA @dots{}
3121 \context Staff = SB @dots{}
3127 @cindex choral score
3129 An example of a SATB score setup is in the file
3130 @inputfileref{input/template,satb}.
3134 @internalsref{LyricCombineMusic}, @internalsref{Lyrics},
3135 @inputfileref{input/template,satb}.
3139 @code{\addlyrics} is not automatic enough: melismata are not detected
3140 automatically, and melismata are not stopped when they hit a rest.
3144 @subsection More stanzas
3147 @cindex phrasing, in lyrics
3149 When multiple stanzas are printed underneath each other, the vertical
3150 groups of syllables should be aligned around punctuation. This can be
3151 done automatically when corresponding lyric lines and melodies are
3154 To this end, give the @internalsref{Voice} context an identity,
3156 \context Voice = duet @{
3161 Then set the @internalsref{LyricsVoice} contexts to names starting with
3162 that identity followed by a dash. In the preceding example, the
3163 @internalsref{Voice} identity is @code{duet}, so the identities of the
3164 @internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}.
3166 \context LyricsVoice = "duet-1" @{
3167 Hi, my name is bert. @}
3168 \context LyricsVoice = "duet-2" @{
3169 Ooooo, ch\'e -- ri, je t'aime. @}
3171 The convention for naming @internalsref{LyricsVoice} and
3172 @internalsref{Voice} must also be used to get melismata on rests
3175 The complete example is shown here.
3176 @lilypond[singleline,verbatim]
3179 \notes \relative c'' \context Voice = duet { \time 3/4
3181 \lyrics \context Lyrics <
3182 \context LyricsVoice = "duet-1" {
3183 \property LyricsVoice . stanza = "Bert"
3184 Hi, my name is bert. }
3185 \context LyricsVoice = "duet-2" {
3186 \property LyricsVoice . stanza = "Ernie"
3187 Ooooo, ch\'e -- ri, je t'aime. }
3192 Stanza numbers, or the names of the singers can be added by setting
3193 @code{LyricsVoice.Stanza} (for the first system) and
3194 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3195 surrounded with spaces in @code{\lyrics} mode.
3198 \property LyricsVoice . stanza = "Bert"
3200 \property LyricsVoice . stanza = "Ernie"
3203 You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
3204 lyrics. This can confuse the LilyPond -- for example, this might put
3205 (empty) lyrics under rests. To remedy this, use @code{\skip} instead.
3213 Input for lyrics introduces a syntactical ambiguity:
3220 is interpreted as assigning a string identifier @code{\foo} such that
3221 it contains @code{"bar"}. However, it could also be interpreted as
3222 making or a music identifier @code{\foo} containing the syllable
3223 `bar'. The force the latter interpretation, use
3233 The term @emph{ambitus} denotes a range of pitches for a given voice in
3234 a part of music. It also may denote the pitch range that a musical
3235 instrument is capable of playing. Most musical instruments have their
3236 ambitus standardized (or at least there is agreement upon the minimal
3237 ambitus of a particular type of instrument), such that a composer or
3238 arranger of a piece of music can easily meet the ambitus constraints of
3239 the targeted instrument. However, the ambitus of the human voice
3240 depends on individual physiological state, including education and
3241 training of the voice. Therefore, a singer potentially has to check for
3242 each piece of music if the ambitus of that piece meets his individual
3243 capabilities. This is why the ambitus of a piece may be of particular
3244 value to vocal performers.
3246 The ambitus is typically notated on a per-voice basis at the very
3247 beginning of a piece, e.g. nearby the initial clef or time signature of
3248 each staff. The range is graphically specified by two noteheads, that
3249 represent the minimum and maximum pitch. Some publishers use a textual
3250 notation: they put the range in words in front of the corresponding
3251 staff. Lilypond currently only supports the graphical ambitus notation.
3253 To apply, add the @internalsref{Ambitus_engraver} to the
3254 @internalsref{Voice} context, i.e.
3257 \paper @{ \translator @{
3259 \consists Ambitus_engraver
3265 @lilypond[singleline]
3266 upper = \notes \relative c {
3269 as'' c e2 bes f cis d4 e f2 g
3271 lower = \notes \relative c {
3274 e'4 b g a c es fis a cis b a g f e d2
3277 \context ChoirStaff {
3279 \context Staff = one { \upper }
3280 \context Staff = three { \lower }
3286 \consists Ambitus_engraver
3295 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
3300 Tablature notation is used for notating music for plucked string
3301 instruments. It notates pitches not by using note heads, but by
3302 indicating on which string and fret a note must be played. LilyPond
3303 offers limited support for tablature.
3306 * Tablatures basic::
3307 * Non-guitar tablatures::
3310 @node Tablatures basic
3311 @subsection Tablatures basic
3312 @cindex Tablatures basic
3314 The string number associated to a note is given as a backslash
3315 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3316 string. By default, string 1 is the highest one, and the tuning
3317 defaults to the standard guitar tuning (with 6 strings). The notes
3318 are printed as tablature, by using @internalsref{TabStaff} and
3319 @internalsref{TabVoice} contexts.
3321 @lilypond[fragment,verbatim]
3322 \notes \context TabStaff {
3328 If you do not specify a string number then one is selected
3329 automatically: the first string that does not give a fret number less
3330 than @code{minimumFret} is selected. The default value for
3331 @code{minimumFret} is 0.
3335 e8 fis gis a b cis' dis' e'
3336 \property TabStaff.minimumFret = #8
3337 e8 fis gis a b cis' dis' e'
3342 e8 fis gis a b cis' dis' e'
3343 \property TabStaff.minimumFret = #8
3344 e8 fis gis a b cis' dis' e'
3347 \context StaffGroup <
3348 \context Staff { \clef "G_8" \frag }
3349 \context TabStaff { \frag }
3356 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3357 @internalsref{StringNumberEvent}.
3361 Chords are not handled in a special way, and hence the automatic
3362 string selector may easily select the same string to two notes in a
3366 @node Non-guitar tablatures
3367 @subsection Non-guitar tablatures
3368 @cindex Non-guitar tablatures
3370 You can change the number of strings, by setting the number of lines
3371 in the @internalsref{TabStaff} (the @code{line-count} property of
3372 @internalsref{TabStaff} can only be changed using
3373 @code{\outputproperty}, for more information, see @ref{Tuning objects}.
3375 You can change the tuning of the strings. A string tuning is given as
3376 a Scheme list with one integer number for each string, the number
3377 being the pitch (measured in semitones relative to central C) of an
3378 open string. The numbers specified for @code{stringTuning} are the
3379 numbers of semitones to subtract or add, starting the specified pitch
3380 by default middle C, in string order: thus the notes are e, a, d, and
3383 @lilypond[fragment,verbatim]
3386 \outputproperty #(make-type-checker 'staff-symbol-interface)
3388 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3391 a,4 c' a e' e c' a e'
3396 It is possible to change the Scheme function to format the tablature
3397 note text. The default is @code{fret-number-tablature-format}, which
3398 uses the fret number. For instruments that do not use this notation,
3399 you can create a special tablature formatting function. This function
3400 takes three argument: the string number, the string tuning and the
3405 As tablature is a recent feature, most of the guitar special effects
3406 such as bend are not yet supported.
3410 @section Chord names
3413 LilyPond has support for both entering and printing named chords.
3414 These chords are internally represented as a set of pitches. Therefore
3415 they can be entered by name and printed as notes, entered as notes and
3416 printed as chord names, or (the most common case) entered them by
3417 name, and print them as name. The following fragment shows these
3420 @lilypond[verbatim,singleline]
3421 twoWays = \notes \transpose c c' {
3431 < \context ChordNames \twoWays
3432 \context Voice \twoWays > }
3435 This example also shows that the chord printing routines do not try to
3436 be intelligent. The chord @code{f bes d}, is not interpreted as an
3442 * Printing chord names::
3447 @subsection Chords mode
3450 Chord mode is a mode where you can input sets of pitches using common
3451 names. It is introduced by the keyword @code{\chords}.
3452 In chords mode, a chord is entered by the root, which is entered
3453 like a common pitch, for example,
3454 @lilypond[fragment,verbatim,quote, relative=1]
3455 \chords { es4. d8 c2 }
3460 Other chords may be entered by suffixing a colon, and introducing a
3461 modifier, and optionally, a number, for example
3463 @lilypond[fragment,verbatim,quote]
3464 \chords { e1:m e1:7 e1:m7 }
3466 The first number following the root is taken to be the `type' of the
3467 chord, thirds are added to the root until it reaches the specified
3468 number, for example.
3469 @lilypond[fragment,verbatim]
3470 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3473 @cindex root of chord
3474 @cindex additions, in chords
3475 @cindex removals, in chords
3477 More complex chords may also be constructed adding separate steps
3478 to a chord. Additions are added after the number following
3479 the colon, and are separated by dots. For example
3481 @lilypond[verbatim,fragment,quote]
3482 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3484 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3485 to the number, for example:
3486 @lilypond[verbatim,fragment,quote]
3487 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3489 Removals are specified similarly, and are introduced by a caret. They
3490 must come after the additions.
3491 @lilypond[verbatim,fragment]
3492 \chords { c^3 c:7^5 c:9^3.5 }
3495 Modifiers can be used to change pitches. The following modifiers are
3499 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3501 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3504 is the augmented chord. This modifier raises the 5th step.
3506 is the major 7th chord. This modifier raises the 7th step if present.
3508 is the suspended 4th or 2nd. This modifier removes the 3rd
3509 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3512 Modifiers can be mixed with additions.
3513 @lilypond[verbatim,fragment]
3514 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3517 @cindex modifiers, in chords.
3524 Since the unaltered 11 does sound well when combined with the
3525 unaltered 3, the 11 is removed in this case, unless it is added
3526 explicitly). For example,
3527 @lilypond[fragment,verbatim]
3528 \chords { c:13 c:13.11 c:m13 }
3533 An inversion (putting one pitch of the chord on the bottom), as well
3534 as bass notes, can be specified by appending
3535 @code{/}@var{pitch} to the chord.
3536 @lilypond[fragment,verbatim,center]
3537 \chords { c1 c/g c/f }
3540 If you do not want to remove the bass note from the chord, but rather
3541 add the note, then you can use @code{/+}@var{pitch}.
3543 @lilypond[fragment,verbatim,center]
3544 \chords { c1 c/+g c/+f }
3547 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3548 of the commands continue to work, for example, @code{r} and
3549 @code{\skip} can be used to insert rests and spaces, and
3550 @code{\property} may be used to change various settings.
3556 Each step can only be present in a chord once. The following
3557 simply produces the augmented chord, since @code{5+} is interpreted
3560 @lilypond[verbatim,fragment]
3561 \chords { c:5.5-.5+ }
3564 In chord mode, dashes and carets are used to indicate chord additions
3565 and subtractions, so articulation scripts cannot be entered.
3568 @node Printing chord names
3569 @subsection Printing chord names
3571 @cindex printing chord names
3575 For displaying printed chord names, use the @internalsref{ChordNames}
3576 context. The chords may be entered either using the notation
3577 described above, or directly using @code{<<} and @code{>>}.
3579 @lilypond[verbatim,singleline]
3581 \chords {a1 b c} <<d' f' g'>> <<e' g' b'>>
3585 \context ChordNames \scheme
3586 \context Staff \scheme
3591 You can make the chord changes stand out by setting
3592 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3593 display chord names when there is a change in the chords scheme and at
3594 the start of a new line.
3598 c1:m c:m \break c:m c:m d
3602 \context ChordNames {
3603 \property ChordNames.chordChanges = ##t
3605 \context Staff \transpose c c' \scheme
3607 \paper{linewidth= 9.\cm}
3611 The default chord name layout is a system for Jazz music, proposed by
3612 Klaus Ignatzek (See @ref{Literature}).
3614 The Ignatzek chord name formatting can be tuned in a number of ways
3615 through the following properties:
3618 @cindex chordNameExceptions
3619 @item chordNameExceptions
3620 This is a list that contains the chords that have special formatting.
3622 @inputfileref{input/regression,chord-name-exceptions.ly}.
3623 @cindex exceptions, chord names.
3626 @cindex majorSevenSymbol
3627 @item majorSevenSymbol
3628 This property contains the markup object used for the 7th step, when
3629 it is major. Predefined options are @code{whiteTriangleMarkup} and
3630 @code{blackTriangleMarkup}. See
3631 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3633 @cindex chordNameSeparator
3634 @item chordNameSeparator
3635 Different parts of a chord name are normally separated by a
3636 slash. By setting @code{chordNameSeparator}, you can specify other
3638 @lilypond[fragment,verbatim]
3639 \context ChordNames \chords {
3641 \property ChordNames.chordNameSeparator
3646 @cindex chordRootNamer
3647 @item chordRootNamer
3648 The root of a chord is usually printed as a letter with an optional
3649 alteration. The transformation from pitch to letter is done by this
3650 function. Special note names (for example, the German ``H'' for a
3651 B-chord) can be produced by storing a new function in this property.
3653 @cindex chordNoteNamer
3654 @item chordNoteNamer
3655 The default is to print single notes (as for instance the bass note)
3656 using the @code{chordRootNamer}. However, by setting this function to a non-null
3657 value you can specify a different function. I.e. you could use letters
3658 in lower case for the base note.
3664 @inputfileref{input/regression,chord-name-major7.ly},
3665 @inputfileref{input/regression,chord-name-exceptions.ly},
3666 @inputfileref{input/test,chord-names-german.ly},
3667 @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
3672 Chord names are determined solely from the list of pitches. Chord
3673 inversions are not identified, and neither are added bass notes. This
3674 may result in strange chord names when chords are entered with the
3675 @code{<< .. >>} syntax.
3681 @section Writing parts
3683 Orchestral music involves some special notation, both in the full
3684 score and the individual parts. This section explains how to tackle
3685 some common problems in orchestral music.
3692 * Instrument names::
3694 * Multi measure rests::
3695 * Automatic part combining::
3697 * Sound output for transposing instruments::
3701 @node Rehearsal marks
3702 @subsection Rehearsal marks
3703 @cindex Rehearsal marks
3705 @cindex @code{\mark}
3707 To print a rehearsal mark, use the @code{\mark} command.
3708 @lilypond[fragment,verbatim]
3718 The mark is incremented automatically if you use @code{\mark
3719 \default}. The value to use is stored in the property
3720 @code{rehearsalMark} is used and automatically incremented.
3722 The @code{\mark} command can also be used to put signs like coda,
3723 segno and fermatas on a barline. Use @code{\markup} to
3724 to access the appropriate symbol.
3726 @lilypond[fragment,verbatim,relative=1]
3727 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3731 In this case, during line breaks,
3732 marks must also be printed at the end of the line, and not at the
3733 beginning. Use the following to force that behavior
3735 \property Score.RehearsalMark \override
3736 #'break-visibility = #begin-of-line-invisible
3739 See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
3745 @cindex barlines, putting symbols on
3749 @internalsref{MarkEvent}, @internalsref{RehearsalMark},
3750 @inputfileref{input/test,boxed-molecule.ly}.
3754 @subsection Bar numbers
3758 @cindex measure numbers
3759 @cindex currentBarNumber
3761 Bar numbers are printed by default at the start of the line. The
3762 number itself is stored in the
3763 @code{currentBarNumber} property,
3764 which is normally updated automatically for every measure.
3766 Bar numbers can be typeset at regular intervals instead of at the
3767 beginning of each line. This is illustrated in the following example,
3768 whose source is available as
3769 @inputfileref{input/test,bar-number-every-fifth.ly}
3771 @lilypondfile[notexidoc]{bar-number-every-fifth.ly}
3773 The start of that numbering can also be reset, as demonstrated in
3774 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3776 @lilypondfile[notexidoc]{bar-number-every-five-reset.ly}
3781 @internalsref{BarNumber}.
3782 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3783 @inputfileref{input/test,bar-number-every-fifth.ly}
3787 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
3788 there is one at the top. To solve this, You have to twiddle with the
3789 @internalsref{padding} property of @internalsref{BarNumber} if your
3790 score starts with a @internalsref{StaffGroup}.
3792 @node Instrument names
3793 @subsection Instrument names
3795 In an orchestral score, instrument names are printed left of the
3798 This can be achieved by setting @internalsref{Staff}.@code{instrument}
3799 and @internalsref{Staff}.@code{instr}. This will print a string before
3800 the start of the staff. For the first start, @code{instrument} is
3801 used, for the next ones @code{instr} is used.
3803 @lilypond[verbatim,singleline]
3804 \property Staff.instrument = "ploink " { c''4 }
3807 You can also use markup texts to construct more complicated instrument
3810 @lilypond[fragment,verbatim,singleline]
3811 \notes \context Staff = treble {
3812 \property Staff.instrument = \markup {
3813 \column << "Clarinetti"
3815 \smaller \musicglyph #"accidentals--1"
3826 @internalsref{InstrumentName}
3830 When you put a name on a grand staff or piano staff the width of the
3831 brace is not taken into account. You must add extra spaces to the end of
3832 the name to avoid a collision.
3835 @subsection Transpose
3837 @cindex transposition of pitches
3838 @cindex @code{\transpose}
3840 A music expression can be transposed with @code{\transpose}. The syntax
3843 \transpose @var{from} @var{to} @var{musicexpr}
3846 This means that @var{musicexpr} is transposed by the interval
3847 between @var{from} and @var{to}.
3849 @code{\transpose} distinguishes between enharmonic pitches: both
3850 @code{\transpose c cis} or @code{\transpose c des} will transpose up
3851 half a tone. The first version will print sharps and the second
3852 version will print flats.
3854 @lilypond[singleline, verbatim]
3855 mus =\notes { \key d \major cis d fis g }
3856 \score { \notes \context Staff {
3859 \transpose c g' \mus
3860 \transpose c f' \mus
3866 @internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
3870 If you want to use both @code{\transpose} and @code{\relative}, then
3871 you must put @code{\transpose} outside of @code{\relative}, since
3872 @code{\relative} will have no effect music that appears inside a
3878 @node Multi measure rests
3879 @subsection Multi measure rests
3880 @cindex multi measure rests
3881 @cindex Rests, multi measure
3885 Multi measure rests are entered using `@code{R}'. It is specifically
3886 meant for full bar rests and for entering parts: the rest can expand to
3887 fill a score with rests, or it can be printed as a single multimeasure
3888 rest. This expansion is controlled by the property
3889 @code{Score.skipBars}. If this is set to true, Lily will not expand
3890 empty measures, and the appropriate number is added automatically.
3892 @lilypond[fragment,verbatim]
3893 \time 4/4 r1 | R1 | R1*2
3894 \property Score.skipBars = ##t R1*17 R1*4
3897 The @code{1} in @code{R1} is similar to the duration notation used for
3898 notes. Hence, for time signatures other than 4/4, you must enter other
3899 durations. This can be done with augmentation dots or fractions:
3901 @lilypond[fragment,verbatim]
3902 \property Score.skipBars = ##t
3910 A @code{R} spanning a single measure is printed as a whole rest
3911 centered in the measure (or a breve when the measure lasts longer than
3912 two whole notes), regardless of the time signature.
3916 @cindex text on multi-measure rest
3917 @cindex script on multi-measure rest
3918 @cindex fermata on multi-measure rest
3920 Texts can be added to multi-measure rests by using the
3921 @var{note}-@code{markup} syntax (see @ref{Text markup}) . In this case, the number is
3922 replaced. If you need both texts and the number, you must add the
3923 number by hand. A variable (@code{\fermataMarkup}) is provided for
3927 @lilypond[verbatim,fragment]
3929 R2._\markup { "Ad lib" }
3934 @cindex whole rests for a full measure
3938 @internalsref{MultiMeasureRestEvent},
3939 @internalsref{MultiMeasureTextEvent},
3940 @internalsref{MultiMeasureRestMusicGroup},
3941 @internalsref{MultiMeasureRest},
3943 The graphical object @internalsref{MultiMeasureRestNumber} is for the
3944 default number, and @internalsref{MultiMeasureRestText} for user
3949 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
3950 over multi-measure rests.
3952 @cindex condensing rests
3954 There is no way to automatically condense multiple rests into a single
3955 multimeasure rest. Multi measure rests do not take part in rest
3958 Be careful when entering multimeasure rests followed by whole notes,
3962 will enter two notes lasting four measures each. When @code{skipBars}
3963 is set, then the result will look OK6, but the bar numbering will be
3966 @node Automatic part combining
3967 @subsection Automatic part combining
3968 @cindex automatic part combining
3969 @cindex part combiner
3972 Automatic part combining is used to merge two parts of music onto a
3973 staff. It is aimed at typesetting orchestral scores. When the two
3974 parts are identical for a period of time, only one is shown. In
3975 places where the two parts differ, they are typeset as separate
3976 voices, and stem directions are set automatically. Also, solo and
3977 @emph{a due} parts are identified and can be marked.
3981 The syntax for part combining is
3984 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3986 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3987 combined into one context of type @var{context}. The music expressions
3988 must be interpreted by contexts whose names should start with @code{one}
3991 The following example demonstrates the basic functionality of the part
3992 combiner: putting parts on one staff, and setting stem directions and
3995 @lilypond[verbatim,singleline,fragment]
3997 \context Voice=one \partcombine Voice
3998 \context Thread=one \relative c'' {
4001 \context Thread=two \relative c'' {
4007 The first @code{g} appears only once, although it was
4008 specified twice (once in each part). Stem, slur and tie directions are
4009 set automatically, depending whether there is a solo or unisono. The
4010 first part (with context called @code{one}) always gets up stems, and
4011 `solo', while the second (called @code{two}) always gets down stems and
4014 If you just want the merging parts, and not the textual markings, you
4015 may set the property @var{soloADue} to false.
4017 @lilypond[verbatim,singleline,fragment]
4019 \property Staff.soloADue = ##f
4020 \context Voice=one \partcombine Voice
4021 \context Thread=one \relative c'' {
4024 \context Thread=two \relative c'' {
4032 @internalsref{PartCombineMusic},
4033 @internalsref{Thread_devnull_engraver},
4034 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4038 The syntax for naming contexts in inconsistent with the syntax for
4041 In @code{soloADue} mode, when the two voices play the same notes on and
4042 off, the part combiner may typeset @code{a2} more than once in a
4045 @lilypond[fragment,singleline]
4047 \context Voice=one \partcombine Voice
4048 \context Thread=one \relative c'' {
4051 \context Thread=two \relative c'' {
4057 The part combiner is slated to be rewritten [TODO: explain why] .
4059 @cindex @code{Thread_devnull_engraver}
4060 @cindex @code{Voice_engraver}
4061 @cindex @code{A2_engraver}
4063 @node Frenched scores
4064 @subsection Frenched scores
4066 In orchestral scores, staff lines that only have rests are usually removed.
4067 This saves some space. This style is called `French Score'.
4071 This is supported through the @code{RemoveEmptyStaff}. This staff is
4072 removed when it turns out empty (or containing multimeasure rests)
4073 after the line-breaking process.
4075 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4076 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4077 switched on by default. For normal staffs, it is available as a
4078 specialized @internalsref{Staff} context, with the name variable
4079 @code{\RemoveEmptyStaffContext}. Observe how the second staff in this
4080 example disappears in the second line.
4084 \notes \relative c' <
4085 \context Staff = SA { e4 f g a \break c1 }
4086 \context Staff = SB { c4 d e f \break R1 }
4090 \translator { \RemoveEmptyStaffContext }
4096 @node Sound output for transposing instruments
4097 @subsection Sound output for transposing instruments
4099 When you want to make a MIDI file from a score containing transposed
4100 and untransposed instruments, you have to instruct LilyPond the pitch
4101 offset (in semitones) for the transposed instruments. This is done
4102 using the @code{transposing} property. It does not affect printed
4105 @cindex @code{transposing}
4108 \property Staff.instrument = #"Cl. in B-flat"
4109 \property Staff.transposing = #-2
4113 @node Ancient notation
4114 @section Ancient notation
4116 @cindex Vaticana, Editio
4117 @cindex Medicaea, Editio
4122 @c [TODO: write introduction on ancient notation]
4125 * Ancient note heads::
4134 @node Ancient note heads
4135 @subsection Ancient note heads
4137 To get a longa note head, you have to use mensural note heads. This
4138 is accomplished by setting the @code{style} property of the
4139 NoteHead object to @code{mensural}. There is also a note head style
4140 @code{baroque} which gives mensural note heads for @code{\longa} and
4141 @code{\breve} but standard note heads for shorter notes.
4143 @lilypond[fragment,singleline,verbatim]
4144 \property Voice.NoteHead \set #'style = #'mensural
4149 @subsection Ancient clefs
4151 LilyPond supports a variety of clefs, many of them ancient.
4153 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4154 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4157 The following table shows all ancient clefs that are supported via the
4158 @code{\clef} command. Some of the clefs use the same glyph, but
4159 differ only with respect to the line they are printed on. In such
4160 cases, a trailing number in the name is used to enumerate these clefs.
4161 Still, you can manually force a clef glyph to be typeset on an
4162 arbitrary line, as described in section @ref{Clef}. The note printed
4163 to the right side of each clef in the example column denotes the
4164 @code{c'} with respect to that clef.
4166 @multitable @columnfractions .3 .3 .3 .1
4170 @b{Description} @tab
4171 @b{Supported Clefs} @tab
4175 @code{clefs-neo_mensural_c} @tab
4176 modern style mensural C clef @tab
4177 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4178 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4179 @lilypond[relative 0, notime]
4180 \property Staff.TimeSignature \set #'transparent = ##t
4181 \clef "neo_mensural_c2" c
4185 @code{clefs-petrucci_c1}
4186 @code{clefs-petrucci_c2}
4187 @code{clefs-petrucci_c3}
4188 @code{clefs-petrucci_c4}
4189 @code{clefs-petrucci_c5}
4192 petrucci style mensural C clefs, for use on different stafflines
4193 (the examples shows the 2nd staffline C clef).
4203 @lilypond[relative 0, notime]
4204 \property Staff.TimeSignature \set #'transparent = ##t
4205 \clef "petrucci_c2" c
4209 @code{clefs-petrucci_f} @tab
4210 petrucci style mensural F clef @tab
4211 @code{petrucci_f} @tab
4212 @lilypond[relative 0, notime]
4213 \property Staff.TimeSignature \set #'transparent = ##t
4214 \clef "petrucci_f" c
4218 @code{clefs-petrucci_g} @tab
4219 petrucci style mensural G clef @tab
4220 @code{petrucci_g} @tab
4221 @lilypond[relative 0, notime]
4222 \property Staff.TimeSignature \set #'transparent = ##t
4223 \clef "petrucci_g" c
4227 @code{clefs-mensural_c'} @tab
4228 historic style mensural C clef @tab
4229 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4230 @code{mensural_c4} @tab
4231 @lilypond[relative 0, notime]
4232 \property Staff.TimeSignature \set #'transparent = ##t
4233 \clef "mensural_c2" c
4237 @code{clefs-mensural_f} @tab
4238 historic style mensural F clef @tab
4239 @code{mensural_f} @tab
4240 @lilypond[relative 0, notime]
4241 \property Staff.TimeSignature \set #'transparent = ##t
4242 \clef "mensural_f" c
4246 @code{clefs-mensural_g} @tab
4247 historic style mensural G clef @tab
4248 @code{mensural_g} @tab
4249 @lilypond[relative 0, notime]
4250 \property Staff.TimeSignature \set #'transparent = ##t
4251 \clef "mensural_g" c
4255 @code{clefs-vaticana_do} @tab
4256 Editio Vaticana style do clef @tab
4257 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4258 @lilypond[relative 0, notime]
4260 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4261 \property Staff.TimeSignature \set #'transparent = ##t
4262 \clef "vaticana_do2" c
4266 @code{clefs-vaticana_fa} @tab
4267 Editio Vaticana style fa clef @tab
4268 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4269 @lilypond[relative 0, notime]
4271 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4272 \property Staff.TimeSignature \set #'transparent = ##t
4273 \clef "vaticana_fa2" c
4277 @code{clefs-medicaea_do} @tab
4278 Editio Medicaea style do clef @tab
4279 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4280 @lilypond[relative 0, notime]
4282 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4283 \property Staff.TimeSignature \set #'transparent = ##t
4284 \clef "medicaea_do2" c
4288 @code{clefs-medicaea_fa} @tab
4289 Editio Medicaea style fa clef @tab
4290 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4291 @lilypond[relative 0, notime]
4293 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4294 \property Staff.TimeSignature \set #'transparent = ##t
4295 \clef "medicaea_fa2" c
4299 @code{clefs-hufnagel_do} @tab
4300 historic style hufnagel do clef @tab
4301 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4302 @lilypond[relative 0, notime]
4304 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4305 \property Staff.TimeSignature \set #'transparent = ##t
4306 \clef "hufnagel_do2" c
4310 @code{clefs-hufnagel_fa} @tab
4311 historic style hufnagel fa clef @tab
4312 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4313 @lilypond[relative 0, notime]
4315 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4316 \property Staff.TimeSignature \set #'transparent = ##t
4317 \clef "hufnagel_fa2" c
4321 @code{clefs-hufnagel_do_fa} @tab
4322 historic style hufnagel combined do/fa clef @tab
4323 @code{hufnagel_do_fa} @tab
4324 @lilypond[relative 0, notime]
4325 \property Staff.TimeSignature \set #'transparent = ##t
4326 \clef "hufnagel_do_fa" c
4331 @c --- This should go somewhere else: ---
4332 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4335 @c @code{percussion}
4337 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4339 @c @item modern style tab clef (glyph: @code{clefs-tab})
4344 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4346 @emph{Modern style} means ``as is typeset in contemporary editions of
4347 transcribed mensural music''.
4349 @emph{Petrucci style} means ``inspired by printings published by the
4350 famous engraver Petrucci (1466-1539)''.
4352 @emph{Historic style} means ``as was typeset or written in historic
4353 editions (other than those of Petrucci)''.
4355 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4357 Petrucci used C clefs with differently balanced left-side vertical
4358 beams, depending on which staffline it is printed.
4362 @subsection Custodes
4367 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4368 symbol that appears at the end of a staff. It anticipates the pitch
4369 of the first note(s) of the following line and thus helps the player
4370 or singer to manage line breaks during performance, thus enhancing
4371 readability of a score.
4373 Custodes were frequently used in music notation until the 17th
4374 century. Nowadays, they have survived only in a few particular forms
4375 of musical notation such as contemporary editions of Gregorian chant
4376 like the @emph{editio vaticana}. There are different custos glyphs
4377 used in different flavours of notational style.
4379 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4380 @internalsref{Staff} context when declaring the @code{\paper} block,
4381 as shown in the following example.
4387 \consists Custos_engraver
4388 Custos \override #'style = #'mensural
4393 The result looks like this:
4399 \property Staff.Custos \set #'style = #'mensural
4406 \consists Custos_engraver
4413 The custos glyph is selected by the @code{style} property. The styles
4414 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4415 @code{mensural}. They are demonstrated in the following fragment:
4425 { " " \musicglyph #"custodes-vaticana-u0" }
4429 { " " \musicglyph #"custodes-medicaea-u0" }
4433 { " " \musicglyph #"custodes-hufnagel-u0" }
4437 { " " \musicglyph #"custodes-mensural-u0" }
4446 \remove "Bar_number_engraver"
4450 \remove "Clef_engraver"
4451 \remove "Key_engraver"
4452 \remove "Time_signature_engraver"
4453 \remove "Staff_symbol_engraver"
4454 minimumVerticalExtent = ##f
4460 If the boolean property @code{adjust-if-on-staffline} is set to
4461 @code{#t} (which it is by default), lily typesets slightly different
4462 variants of the custos glyph, depending on whether the custos, is
4463 typeset on or between stafflines. The glyph will
4464 optically fit well into the staff, with the appendage on the right of
4465 the custos always ending at the same vertical position between two
4466 stafflines regardless of the pitch. If you set
4467 @code{adjust-if-on-staffline} to @code{#f}, then
4468 a compromise between both forms is used.
4470 Just like stems can be attached to noteheads in two directions
4471 @emph{up} and @emph{down}, each custos glyph is available with its
4472 appendage pointing either up or down. If the pitch of a custos is
4473 above a selectable position, the appendage will point downwards; if
4474 the pitch is below this position, the appendage will point upwards.
4475 Use property @code{neutral-position} to select this position. By
4476 default, it is set to @code{0}, such that the neutral position is the
4477 center of the staff. Use property @code{neutral-direction} to control
4478 what happens if a custos is typeset on the neutral position itself.
4479 By default, this property is set to @code{-1}, such that the appendage
4480 will point downwards. If set to @code{1}, the appendage will point
4481 upwards. Other values such as @code{0} are reserved for future
4482 extensions and should not be used.
4487 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4488 @inputfileref{input/regression,custos.ly}.
4492 @subsection Divisiones
4498 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4499 `division') is a staff context symbol that is used to structure
4500 Gregorian music into phrases and sections. The musical meaning of
4501 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4502 can be characterized as short, medium and long pause, somewhat like
4503 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4504 a chant, but is also frequently used within a single
4505 antiphonal/responsorial chant to mark the end of each section.
4509 To use divisiones, include the file @code{gregorian-init.ly}. It
4510 contains definitions that you can apply by just inserting
4511 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4512 and @code{\finalis} at proper places in the input. Some editions use
4513 @emph{virgula} or @emph{caesura} instead of divisio minima.
4514 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4518 @lilypondfile[notexidoc]{divisiones.ly}
4522 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4523 @inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
4526 @subsection Ligatures
4530 @c TODO: Should double check if I recalled things correctly when I wrote
4531 @c down the following paragraph by heart.
4533 In musical terminology, a ligature is a coherent graphical symbol that
4534 represents at least two different notes. Ligatures originally appeared
4535 in the manuscripts of Gregorian chant notation roughly since the 9th
4536 century as an allusion to the accent symbols of greek lyric poetry to
4537 denote ascending or descending sequences of notes. Both, the shape and
4538 the exact meaning of ligatures changed tremendously during the following
4539 centuries: In early notation, ligatures where used for monophonic tunes
4540 (Gregorian chant) and very soon denoted also the way of performance in
4541 the sense of articulation. With upcoming multiphony, the need for a
4542 metric system arised, since multiple voices of a piece have to be
4543 synchronized some way. New notation systems were invented that used
4544 the manifold shapes of ligatures to now denote rhythmical patterns
4545 (e.g. black mensural notation, mannered notation, ars nova). With the
4546 invention of the metric system of the white mensural notation, the need
4547 for ligatures to denote such patterns disappeared. Nevertheless,
4548 ligatures were still in use in the mensural system for a couple of
4549 decades until they finally disappeared during the late 16th / early 17th
4550 century. Still, ligatures have survived in contemporary editions of
4551 Gregorian chant such as the Editio Vaticana from 1905/08.
4555 Syntactically, ligatures are simply enclosed by @code{\[} and
4556 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4557 additional input syntax specific for this particular type of ligature.
4558 By default, the @internalsref{LigatureBracket} engraver just puts a
4559 square bracket above the ligature.
4561 @lilypond[singleline,verbatim]
4563 \notes \transpose c c' {
4571 To select a specific style of ligatures, a proper ligature engraver
4572 has to be added to the @internalsref{Voice} context, as explained in
4573 the following subsections. Currently, only white mensural ligatures
4574 are supported with certain limitations. Support for Editio Vaticana
4575 will be added in the future.
4578 * White mensural ligatures::
4579 * Gregorian square neumes ligatures::
4582 @node White mensural ligatures
4583 @subsubsection White mensural ligatures
4585 @cindex Mensural ligatures
4586 @cindex White mensural ligatures
4588 There is limited support for white mensural ligatures. The
4589 implementation is still experimental; it currently may output strange
4590 warnings or even crash in some cases or produce weird results on more
4591 complex ligatures. To engrave white mensural ligatures, in the paper
4592 block the @internalsref{Mensural_ligature_engraver} has to be put into
4593 the @internalsref{Voice} context, and remove the
4594 @internalsref{Ligature_bracket_engraver}:
4600 \remove Ligature_bracket_engraver
4601 \consists Mensural_ligature_engraver
4606 There is no additional input language to describe the shape of a
4607 white mensural ligature. The shape is rather determined solely from
4608 the pitch and duration of the enclosed notes. While this approach may
4609 take a new user a while to get accustomed, it has the great advantage
4610 that the full musical information of the ligature is known internally.
4611 This is not only required for correct MIDI output, but also allows for
4612 automatic transcription of the ligatures.
4617 \property Score.timing = ##f
4618 \property Score.defaultBarType = "empty"
4619 \property Voice.NoteHead \set #'style = #'neo_mensural
4620 \property Staff.TimeSignature \set #'style = #'neo_mensural
4622 \[ g\longa c\breve a\breve f\breve d'\longa \]
4624 \[ e1 f1 a\breve g\longa \]
4626 @lilypond[singleline]
4628 \notes \transpose c c' {
4629 \property Score.timing = ##f
4630 \property Score.defaultBarType = "empty"
4631 \property Voice.NoteHead \set #'style = #'neo_mensural
4632 \property Staff.TimeSignature \set #'style = #'neo_mensural
4634 \[ g\longa c\breve a\breve f\breve d'\longa \]
4636 \[ e1 f1 a\breve g\longa \]
4641 \remove Ligature_bracket_engraver
4642 \consists Mensural_ligature_engraver
4648 Without replacing @internalsref{Ligature_bracket_engraver} with
4649 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4652 @lilypond[singleline]
4654 \notes \transpose c c' {
4655 \property Score.timing = ##f
4656 \property Score.defaultBarType = "empty"
4657 \property Voice.NoteHead \set #'style = #'neo_mensural
4658 \property Staff.TimeSignature \set #'style = #'neo_mensural
4660 \[ g\longa c\breve a\breve f\breve d'\longa \]
4662 \[ e1 f1 a\breve g\longa \]
4667 @node Gregorian square neumes ligatures
4668 @subsubsection Gregorian square neumes ligatures
4670 @cindex Square neumes ligatures
4671 @cindex Gregorian square neumes ligatures
4673 Gregorian square neumes notation (following the style of the Editio
4674 Vaticana) is under heavy development, but not yet really usable for
4675 production purposes. Core ligatures can already be typeset, but
4676 essential issues for serious typesetting are still under development,
4677 such as (among others) horizontal alignment of multiple ligatures,
4678 lyrics alignment and proper accidentals handling. Still, this section
4679 gives a sneak preview of what Gregorian chant may look like once it
4682 The following table contains the extended neumes table of the 2nd
4683 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
4684 1983 by the monks of Solesmes.
4686 @multitable @columnfractions .4 .2 .2 .2
4689 @b{Neuma aut@*Neumarum Elementa} @tab
4690 @b{Figurae@*Rectae} @tab
4691 @b{Figurae@*Liquescentes Auctae} @tab
4692 @b{Figurae@*Liquescentes Deminutae}
4694 @c TODO: \paper block is identical in all of the below examples.
4695 @c Therefore, it should somehow be included rather than duplicated all
4698 @c why not make identifiers in ly/engraver-init.ly? --hwn
4703 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
4704 \include "gregorian-init.ly"
4706 \notes \transpose c c' {
4709 \noBreak s^\markup {"a"} \noBreak
4711 % Punctum Inclinatum
4713 \noBreak s^\markup {"b"}
4719 \remove "Bar_number_engraver"
4723 \remove "Clef_engraver"
4724 \remove "Key_engraver"
4725 \remove "Staff_symbol_engraver"
4726 \remove "Time_signature_engraver"
4727 \remove "Bar_engraver"
4728 minimumVerticalExtent = ##f
4732 \remove Ligature_bracket_engraver
4733 \consists Vaticana_ligature_engraver
4734 NoteHead \set #'style = #'vaticana_punctum
4735 Stem \set #'transparent = ##t
4741 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
4742 \include "gregorian-init.ly"
4744 \notes \transpose c c' {
4745 % Punctum Auctum Ascendens
4746 \[ \auctum \ascendens b \]
4747 \noBreak s^\markup {"c"} \noBreak
4749 % Punctum Auctum Descendens
4750 \[ \auctum \descendens b \]
4751 \noBreak s^\markup {"d"} \noBreak
4753 % Punctum Inclinatum Auctum
4754 \[ \inclinatum \auctum b \]
4755 \noBreak s^\markup {"e"}
4761 \remove "Bar_number_engraver"
4765 \remove "Clef_engraver"
4766 \remove "Key_engraver"
4767 \remove "Staff_symbol_engraver"
4768 \remove "Time_signature_engraver"
4769 \remove "Bar_engraver"
4770 minimumVerticalExtent = ##f
4774 \remove Ligature_bracket_engraver
4775 \consists Vaticana_ligature_engraver
4776 NoteHead \set #'style = #'vaticana_punctum
4777 Stem \set #'transparent = ##t
4783 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4784 \include "gregorian-init.ly"
4786 \notes \transpose c c' {
4787 % Punctum Inclinatum Parvum
4788 \[ \inclinatum \deminutum b \]
4789 \noBreak s^\markup {"f"}
4795 \remove "Bar_number_engraver"
4799 \remove "Clef_engraver"
4800 \remove "Key_engraver"
4801 \remove "Staff_symbol_engraver"
4802 \remove "Time_signature_engraver"
4803 \remove "Bar_engraver"
4804 minimumVerticalExtent = ##f
4808 \remove Ligature_bracket_engraver
4809 \consists Vaticana_ligature_engraver
4810 NoteHead \set #'style = #'vaticana_punctum
4811 Stem \set #'transparent = ##t
4820 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4821 \include "gregorian-init.ly"
4823 \notes \transpose c c' {
4826 \noBreak s^\markup {"g"}
4832 \remove "Bar_number_engraver"
4836 \remove "Clef_engraver"
4837 \remove "Key_engraver"
4838 \remove "Staff_symbol_engraver"
4839 \remove "Time_signature_engraver"
4840 \remove "Bar_engraver"
4841 minimumVerticalExtent = ##f
4845 \remove Ligature_bracket_engraver
4846 \consists Vaticana_ligature_engraver
4847 NoteHead \set #'style = #'vaticana_punctum
4848 Stem \set #'transparent = ##t
4857 @code{3. Apostropha vel Stropha}
4859 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4860 \include "gregorian-init.ly"
4862 \notes \transpose c c' {
4865 \noBreak s^\markup {"h"}
4871 \remove "Bar_number_engraver"
4875 \remove "Clef_engraver"
4876 \remove "Key_engraver"
4877 \remove "Staff_symbol_engraver"
4878 \remove "Time_signature_engraver"
4879 \remove "Bar_engraver"
4880 minimumVerticalExtent = ##f
4884 \remove Ligature_bracket_engraver
4885 \consists Vaticana_ligature_engraver
4886 NoteHead \set #'style = #'vaticana_punctum
4887 Stem \set #'transparent = ##t
4893 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4894 \include "gregorian-init.ly"
4896 \notes \transpose c c' {
4898 \[ \stropha \auctum b \]
4899 \noBreak s^\markup {"i"}
4905 \remove "Bar_number_engraver"
4909 \remove "Clef_engraver"
4910 \remove "Key_engraver"
4911 \remove "Staff_symbol_engraver"
4912 \remove "Time_signature_engraver"
4913 \remove "Bar_engraver"
4914 minimumVerticalExtent = ##f
4918 \remove Ligature_bracket_engraver
4919 \consists Vaticana_ligature_engraver
4920 NoteHead \set #'style = #'vaticana_punctum
4921 Stem \set #'transparent = ##t
4931 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4932 \include "gregorian-init.ly"
4934 \notes \transpose c c' {
4937 \noBreak s^\markup {"j"}
4943 \remove "Bar_number_engraver"
4947 \remove "Clef_engraver"
4948 \remove "Key_engraver"
4949 \remove "Staff_symbol_engraver"
4950 \remove "Time_signature_engraver"
4951 \remove "Bar_engraver"
4952 minimumVerticalExtent = ##f
4956 \remove Ligature_bracket_engraver
4957 \consists Vaticana_ligature_engraver
4958 NoteHead \set #'style = #'vaticana_punctum
4959 Stem \set #'transparent = ##t
4968 @code{5. Clivis vel Flexa}
4970 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4971 \include "gregorian-init.ly"
4973 \notes \transpose c c' {
4982 \remove "Bar_number_engraver"
4986 \remove "Clef_engraver"
4987 \remove "Key_engraver"
4988 \remove "Staff_symbol_engraver"
4989 \remove "Time_signature_engraver"
4990 \remove "Bar_engraver"
4991 minimumVerticalExtent = ##f
4995 \remove Ligature_bracket_engraver
4996 \consists Vaticana_ligature_engraver
4997 NoteHead \set #'style = #'vaticana_punctum
4998 Stem \set #'transparent = ##t
5004 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5005 \include "gregorian-init.ly"
5007 \notes \transpose c c' {
5008 % Clivis Aucta Descendens
5009 \[ b \flexa \auctum \descendens g \]
5010 \noBreak s^\markup {"l"} \noBreak
5012 % Clivis Aucta Ascendens
5013 \[ b \flexa \auctum \ascendens g \]
5014 \noBreak s^\markup {"m"}
5020 \remove "Bar_number_engraver"
5024 \remove "Clef_engraver"
5025 \remove "Key_engraver"
5026 \remove "Staff_symbol_engraver"
5027 \remove "Time_signature_engraver"
5028 \remove "Bar_engraver"
5029 minimumVerticalExtent = ##f
5033 \remove Ligature_bracket_engraver
5034 \consists Vaticana_ligature_engraver
5035 NoteHead \set #'style = #'vaticana_punctum
5036 Stem \set #'transparent = ##t
5042 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5043 \include "gregorian-init.ly"
5045 \notes \transpose c c' {
5047 \[ b \flexa \deminutum g \]
5054 \remove "Bar_number_engraver"
5058 \remove "Clef_engraver"
5059 \remove "Key_engraver"
5060 \remove "Staff_symbol_engraver"
5061 \remove "Time_signature_engraver"
5062 \remove "Bar_engraver"
5063 minimumVerticalExtent = ##f
5067 \remove Ligature_bracket_engraver
5068 \consists Vaticana_ligature_engraver
5069 NoteHead \set #'style = #'vaticana_punctum
5070 Stem \set #'transparent = ##t
5077 @code{6. Podatus vel Pes}
5079 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5080 \include "gregorian-init.ly"
5082 \notes \transpose c c' {
5091 \remove "Bar_number_engraver"
5095 \remove "Clef_engraver"
5096 \remove "Key_engraver"
5097 \remove "Staff_symbol_engraver"
5098 \remove "Time_signature_engraver"
5099 \remove "Bar_engraver"
5100 minimumVerticalExtent = ##f
5104 \remove Ligature_bracket_engraver
5105 \consists Vaticana_ligature_engraver
5106 NoteHead \set #'style = #'vaticana_punctum
5107 Stem \set #'transparent = ##t
5113 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5114 \include "gregorian-init.ly"
5116 \notes \transpose c c' {
5117 % Pes Auctus Descendens
5118 \[ g \pes \auctum \descendens b \]
5119 \noBreak s^\markup {"p"} \noBreak
5121 % Pes Auctus Ascendens
5122 \[ g \pes \auctum \ascendens b \]
5123 \noBreak s^\markup {"q"}
5129 \remove "Bar_number_engraver"
5133 \remove "Clef_engraver"
5134 \remove "Key_engraver"
5135 \remove "Staff_symbol_engraver"
5136 \remove "Time_signature_engraver"
5137 \remove "Bar_engraver"
5138 minimumVerticalExtent = ##f
5142 \remove Ligature_bracket_engraver
5143 \consists Vaticana_ligature_engraver
5144 NoteHead \set #'style = #'vaticana_punctum
5145 Stem \set #'transparent = ##t
5151 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5152 \include "gregorian-init.ly"
5154 \notes \transpose c c' {
5156 \[ g \pes \deminutum b \]
5163 \remove "Bar_number_engraver"
5167 \remove "Clef_engraver"
5168 \remove "Key_engraver"
5169 \remove "Staff_symbol_engraver"
5170 \remove "Time_signature_engraver"
5171 \remove "Bar_engraver"
5172 minimumVerticalExtent = ##f
5176 \remove Ligature_bracket_engraver
5177 \consists Vaticana_ligature_engraver
5178 NoteHead \set #'style = #'vaticana_punctum
5179 Stem \set #'transparent = ##t
5186 @code{7. Pes Quassus}
5188 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5189 \include "gregorian-init.ly"
5191 \notes \transpose c c' {
5193 \[ \oriscus g \pes \virga b \]
5200 \remove "Bar_number_engraver"
5204 \remove "Clef_engraver"
5205 \remove "Key_engraver"
5206 \remove "Staff_symbol_engraver"
5207 \remove "Time_signature_engraver"
5208 \remove "Bar_engraver"
5209 minimumVerticalExtent = ##f
5213 \remove Ligature_bracket_engraver
5214 \consists Vaticana_ligature_engraver
5215 NoteHead \set #'style = #'vaticana_punctum
5216 Stem \set #'transparent = ##t
5222 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5223 \include "gregorian-init.ly"
5225 \notes \transpose c c' {
5226 % Pes Quassus Auctus Descendens
5227 \[ \oriscus g \pes \auctum \descendens b \]
5234 \remove "Bar_number_engraver"
5238 \remove "Clef_engraver"
5239 \remove "Key_engraver"
5240 \remove "Staff_symbol_engraver"
5241 \remove "Time_signature_engraver"
5242 \remove "Bar_engraver"
5243 minimumVerticalExtent = ##f
5247 \remove Ligature_bracket_engraver
5248 \consists Vaticana_ligature_engraver
5249 NoteHead \set #'style = #'vaticana_punctum
5250 Stem \set #'transparent = ##t
5258 @code{8. Quilisma Pes}
5260 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5261 \include "gregorian-init.ly"
5263 \notes \transpose c c' {
5265 \[ \quilisma g \pes b \]
5272 \remove "Bar_number_engraver"
5276 \remove "Clef_engraver"
5277 \remove "Key_engraver"
5278 \remove "Staff_symbol_engraver"
5279 \remove "Time_signature_engraver"
5280 \remove "Bar_engraver"
5281 minimumVerticalExtent = ##f
5285 \remove Ligature_bracket_engraver
5286 \consists Vaticana_ligature_engraver
5287 NoteHead \set #'style = #'vaticana_punctum
5288 Stem \set #'transparent = ##t
5294 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5295 \include "gregorian-init.ly"
5297 \notes \transpose c c' {
5298 % Quilisma Pes Auctus Descendens
5299 \[ \quilisma g \pes \auctum \descendens b \]
5306 \remove "Bar_number_engraver"
5310 \remove "Clef_engraver"
5311 \remove "Key_engraver"
5312 \remove "Staff_symbol_engraver"
5313 \remove "Time_signature_engraver"
5314 \remove "Bar_engraver"
5315 minimumVerticalExtent = ##f
5319 \remove Ligature_bracket_engraver
5320 \consists Vaticana_ligature_engraver
5321 NoteHead \set #'style = #'vaticana_punctum
5322 Stem \set #'transparent = ##t
5330 @code{9. Podatus Initio Debilis}
5332 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5333 \include "gregorian-init.ly"
5335 \notes \transpose c c' {
5336 % Pes Initio Debilis
5337 \[ \deminutum g \pes b \]
5344 \remove "Bar_number_engraver"
5348 \remove "Clef_engraver"
5349 \remove "Key_engraver"
5350 \remove "Staff_symbol_engraver"
5351 \remove "Time_signature_engraver"
5352 \remove "Bar_engraver"
5353 minimumVerticalExtent = ##f
5357 \remove Ligature_bracket_engraver
5358 \consists Vaticana_ligature_engraver
5359 NoteHead \set #'style = #'vaticana_punctum
5360 Stem \set #'transparent = ##t
5366 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5367 \include "gregorian-init.ly"
5369 \notes \transpose c c' {
5370 % Pes Auctus Descendens Initio Debilis
5371 \[ \deminutum g \pes \auctum \descendens b \]
5378 \remove "Bar_number_engraver"
5382 \remove "Clef_engraver"
5383 \remove "Key_engraver"
5384 \remove "Staff_symbol_engraver"
5385 \remove "Time_signature_engraver"
5386 \remove "Bar_engraver"
5387 minimumVerticalExtent = ##f
5391 \remove Ligature_bracket_engraver
5392 \consists Vaticana_ligature_engraver
5393 NoteHead \set #'style = #'vaticana_punctum
5394 Stem \set #'transparent = ##t
5404 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5405 \include "gregorian-init.ly"
5407 \notes \transpose c c' {
5409 \[ a \pes b \flexa g \]
5416 \remove "Bar_number_engraver"
5420 \remove "Clef_engraver"
5421 \remove "Key_engraver"
5422 \remove "Staff_symbol_engraver"
5423 \remove "Time_signature_engraver"
5424 \remove "Bar_engraver"
5425 minimumVerticalExtent = ##f
5429 \remove Ligature_bracket_engraver
5430 \consists Vaticana_ligature_engraver
5431 NoteHead \set #'style = #'vaticana_punctum
5432 Stem \set #'transparent = ##t
5438 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5439 \include "gregorian-init.ly"
5441 \notes \transpose c c' {
5442 % Torculus Auctus Descendens
5443 \[ a \pes b \flexa \auctum \descendens g \]
5450 \remove "Bar_number_engraver"
5454 \remove "Clef_engraver"
5455 \remove "Key_engraver"
5456 \remove "Staff_symbol_engraver"
5457 \remove "Time_signature_engraver"
5458 \remove "Bar_engraver"
5459 minimumVerticalExtent = ##f
5463 \remove Ligature_bracket_engraver
5464 \consists Vaticana_ligature_engraver
5465 NoteHead \set #'style = #'vaticana_punctum
5466 Stem \set #'transparent = ##t
5472 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5473 \include "gregorian-init.ly"
5475 \notes \transpose c c' {
5476 % Torculus Deminutus
5477 \[ a \pes b \flexa \deminutum g \]
5484 \remove "Bar_number_engraver"
5488 \remove "Clef_engraver"
5489 \remove "Key_engraver"
5490 \remove "Staff_symbol_engraver"
5491 \remove "Time_signature_engraver"
5492 \remove "Bar_engraver"
5493 minimumVerticalExtent = ##f
5497 \remove Ligature_bracket_engraver
5498 \consists Vaticana_ligature_engraver
5499 NoteHead \set #'style = #'vaticana_punctum
5500 Stem \set #'transparent = ##t
5507 @code{11. Torculus Initio Debilis}
5509 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5510 \include "gregorian-init.ly"
5512 \notes \transpose c c' {
5513 % Torculus Initio Debilis
5514 \[ \deminutum a \pes b \flexa g \]
5521 \remove "Bar_number_engraver"
5525 \remove "Clef_engraver"
5526 \remove "Key_engraver"
5527 \remove "Staff_symbol_engraver"
5528 \remove "Time_signature_engraver"
5529 \remove "Bar_engraver"
5530 minimumVerticalExtent = ##f
5534 \remove Ligature_bracket_engraver
5535 \consists Vaticana_ligature_engraver
5536 NoteHead \set #'style = #'vaticana_punctum
5537 Stem \set #'transparent = ##t
5543 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5544 \include "gregorian-init.ly"
5546 \notes \transpose c c' {
5547 % Torculus Auctus Descendens Initio Debilis
5548 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5555 \remove "Bar_number_engraver"
5559 \remove "Clef_engraver"
5560 \remove "Key_engraver"
5561 \remove "Staff_symbol_engraver"
5562 \remove "Time_signature_engraver"
5563 \remove "Bar_engraver"
5564 minimumVerticalExtent = ##f
5568 \remove Ligature_bracket_engraver
5569 \consists Vaticana_ligature_engraver
5570 NoteHead \set #'style = #'vaticana_punctum
5571 Stem \set #'transparent = ##t
5577 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5578 \include "gregorian-init.ly"
5580 \notes \transpose c c' {
5581 % Torculus Deminutus Initio Debilis
5582 \[ \deminutum a \pes b \flexa \deminutum g \]
5589 \remove "Bar_number_engraver"
5593 \remove "Clef_engraver"
5594 \remove "Key_engraver"
5595 \remove "Staff_symbol_engraver"
5596 \remove "Time_signature_engraver"
5597 \remove "Bar_engraver"
5598 minimumVerticalExtent = ##f
5602 \remove Ligature_bracket_engraver
5603 \consists Vaticana_ligature_engraver
5604 NoteHead \set #'style = #'vaticana_punctum
5605 Stem \set #'transparent = ##t
5612 @code{12. Porrectus}
5614 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5615 \include "gregorian-init.ly"
5617 \notes \transpose c c' {
5619 \[ a \flexa g \pes b \]
5626 \remove "Bar_number_engraver"
5630 \remove "Clef_engraver"
5631 \remove "Key_engraver"
5632 \remove "Staff_symbol_engraver"
5633 \remove "Time_signature_engraver"
5634 \remove "Bar_engraver"
5635 minimumVerticalExtent = ##f
5639 \remove Ligature_bracket_engraver
5640 \consists Vaticana_ligature_engraver
5641 NoteHead \set #'style = #'vaticana_punctum
5642 Stem \set #'transparent = ##t
5648 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5649 \include "gregorian-init.ly"
5651 \notes \transpose c c' {
5652 % Porrectus Auctus Descendens
5653 \[ a \flexa g \pes \auctum \descendens b \]
5660 \remove "Bar_number_engraver"
5664 \remove "Clef_engraver"
5665 \remove "Key_engraver"
5666 \remove "Staff_symbol_engraver"
5667 \remove "Time_signature_engraver"
5668 \remove "Bar_engraver"
5669 minimumVerticalExtent = ##f
5673 \remove Ligature_bracket_engraver
5674 \consists Vaticana_ligature_engraver
5675 NoteHead \set #'style = #'vaticana_punctum
5676 Stem \set #'transparent = ##t
5682 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5683 \include "gregorian-init.ly"
5685 \notes \transpose c c' {
5686 % Porrectus Deminutus
5687 \[ a \flexa g \pes \deminutum b \]
5694 \remove "Bar_number_engraver"
5698 \remove "Clef_engraver"
5699 \remove "Key_engraver"
5700 \remove "Staff_symbol_engraver"
5701 \remove "Time_signature_engraver"
5702 \remove "Bar_engraver"
5703 minimumVerticalExtent = ##f
5707 \remove Ligature_bracket_engraver
5708 \consists Vaticana_ligature_engraver
5709 NoteHead \set #'style = #'vaticana_punctum
5710 Stem \set #'transparent = ##t
5719 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5720 \include "gregorian-init.ly"
5722 \notes \transpose c c' {
5724 \[ \virga b \inclinatum a \inclinatum g \]
5731 \remove "Bar_number_engraver"
5735 \remove "Clef_engraver"
5736 \remove "Key_engraver"
5737 \remove "Staff_symbol_engraver"
5738 \remove "Time_signature_engraver"
5739 \remove "Bar_engraver"
5740 minimumVerticalExtent = ##f
5744 \remove Ligature_bracket_engraver
5745 \consists Vaticana_ligature_engraver
5746 NoteHead \set #'style = #'vaticana_punctum
5747 Stem \set #'transparent = ##t
5753 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5754 \include "gregorian-init.ly"
5756 \notes \transpose c c' {
5758 \[ \virga b \inclinatum a \inclinatum \auctum g \]
5765 \remove "Bar_number_engraver"
5769 \remove "Clef_engraver"
5770 \remove "Key_engraver"
5771 \remove "Staff_symbol_engraver"
5772 \remove "Time_signature_engraver"
5773 \remove "Bar_engraver"
5774 minimumVerticalExtent = ##f
5778 \remove Ligature_bracket_engraver
5779 \consists Vaticana_ligature_engraver
5780 NoteHead \set #'style = #'vaticana_punctum
5781 Stem \set #'transparent = ##t
5787 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5788 \include "gregorian-init.ly"
5790 \notes \transpose c c' {
5791 % Climacus Deminutus
5792 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
5799 \remove "Bar_number_engraver"
5803 \remove "Clef_engraver"
5804 \remove "Key_engraver"
5805 \remove "Staff_symbol_engraver"
5806 \remove "Time_signature_engraver"
5807 \remove "Bar_engraver"
5808 minimumVerticalExtent = ##f
5812 \remove Ligature_bracket_engraver
5813 \consists Vaticana_ligature_engraver
5814 NoteHead \set #'style = #'vaticana_punctum
5815 Stem \set #'transparent = ##t
5822 @code{14. Scandicus}
5824 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5825 \include "gregorian-init.ly"
5827 \notes \transpose c c' {
5829 \[ g \pes a \virga b \]
5836 \remove "Bar_number_engraver"
5840 \remove "Clef_engraver"
5841 \remove "Key_engraver"
5842 \remove "Staff_symbol_engraver"
5843 \remove "Time_signature_engraver"
5844 \remove "Bar_engraver"
5845 minimumVerticalExtent = ##f
5849 \remove Ligature_bracket_engraver
5850 \consists Vaticana_ligature_engraver
5851 NoteHead \set #'style = #'vaticana_punctum
5852 Stem \set #'transparent = ##t
5858 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5859 \include "gregorian-init.ly"
5861 \notes \transpose c c' {
5862 % Scandicus Auctus Descendens
5863 \[ g \pes a \pes \auctum \descendens b \]
5870 \remove "Bar_number_engraver"
5874 \remove "Clef_engraver"
5875 \remove "Key_engraver"
5876 \remove "Staff_symbol_engraver"
5877 \remove "Time_signature_engraver"
5878 \remove "Bar_engraver"
5879 minimumVerticalExtent = ##f
5883 \remove Ligature_bracket_engraver
5884 \consists Vaticana_ligature_engraver
5885 NoteHead \set #'style = #'vaticana_punctum
5886 Stem \set #'transparent = ##t
5892 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5893 \include "gregorian-init.ly"
5895 \notes \transpose c c' {
5896 % Scandicus Deminutus
5897 \[ g \pes a \pes \deminutum b \]
5904 \remove "Bar_number_engraver"
5908 \remove "Clef_engraver"
5909 \remove "Key_engraver"
5910 \remove "Staff_symbol_engraver"
5911 \remove "Time_signature_engraver"
5912 \remove "Bar_engraver"
5913 minimumVerticalExtent = ##f
5917 \remove Ligature_bracket_engraver
5918 \consists Vaticana_ligature_engraver
5919 NoteHead \set #'style = #'vaticana_punctum
5920 Stem \set #'transparent = ##t
5929 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5930 \include "gregorian-init.ly"
5932 \notes \transpose c c' {
5934 \[ g \oriscus a \pes \virga b \]
5941 \remove "Bar_number_engraver"
5945 \remove "Clef_engraver"
5946 \remove "Key_engraver"
5947 \remove "Staff_symbol_engraver"
5948 \remove "Time_signature_engraver"
5949 \remove "Bar_engraver"
5950 minimumVerticalExtent = ##f
5954 \remove Ligature_bracket_engraver
5955 \consists Vaticana_ligature_engraver
5956 NoteHead \set #'style = #'vaticana_punctum
5957 Stem \set #'transparent = ##t
5963 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5964 \include "gregorian-init.ly"
5966 \notes \transpose c c' {
5967 % Salicus Auctus Descendens
5968 \[ g \oriscus a \pes \auctum \descendens b \]
5975 \remove "Bar_number_engraver"
5979 \remove "Clef_engraver"
5980 \remove "Key_engraver"
5981 \remove "Staff_symbol_engraver"
5982 \remove "Time_signature_engraver"
5983 \remove "Bar_engraver"
5984 minimumVerticalExtent = ##f
5988 \remove Ligature_bracket_engraver
5989 \consists Vaticana_ligature_engraver
5990 NoteHead \set #'style = #'vaticana_punctum
5991 Stem \set #'transparent = ##t
6001 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6002 \include "gregorian-init.ly"
6004 \notes \transpose c c' {
6006 \[ \stropha b \stropha b \stropha a \]
6013 \remove "Bar_number_engraver"
6017 \remove "Clef_engraver"
6018 \remove "Key_engraver"
6019 \remove "Staff_symbol_engraver"
6020 \remove "Time_signature_engraver"
6021 \remove "Bar_engraver"
6022 minimumVerticalExtent = ##f
6026 \remove Ligature_bracket_engraver
6027 \consists Vaticana_ligature_engraver
6028 NoteHead \set #'style = #'vaticana_punctum
6029 Stem \set #'transparent = ##t
6040 Unlike most other neumes notation systems, the input language for
6041 neumes does not necessarily reflect directly the typographical
6042 appearance, but is designed to solely focuse on musical meaning. For
6043 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6044 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6045 a torculus with a curved flexa shape and only a single Punctum head.
6046 There is no command to explicitly typeset the curved flexa shape; the
6047 decision of when to typeset a curved flexa shape is purely taken from
6048 the musical input. The idea of this approach is to separate the
6049 musical aspects of the input from the notation style of the output.
6050 This way, the same input can be reused to typeset the same music in a
6051 different style of Gregorian chant notation such as Hufnagel (also
6052 known as German gothic neumes) or Medicaea (kind of a very simple
6053 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6054 engraver and Medicaea ligature engraver will have been implemented, it
6055 will be as simple as replacing the ligature engraver in the
6056 VoiceContext to get the desired notation style from the same input.
6058 The following table shows the code fragments that produce the
6059 ligatures in the above neumes table. The letter in the first column
6060 in each line of the below table indicates to which ligature in the
6061 above table it refers. The second column gives the name of the
6062 ligature. The third column shows the code fragment that produces this
6063 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6065 @multitable @columnfractions .1 .4 .5
6079 Punctum Inclinatum @tab
6080 @code{\[ \inclinatum b \]}
6084 Punctum Auctum Ascendens @tab
6085 @code{\[ \auctum \ascendens b \]}
6089 Punctum Auctum Descendens @tab
6090 @code{\[ \auctum \descendens b \]}
6094 Punctum Inclinatum Auctum @tab
6095 @code{\[ \inclinatum \auctum b \]}
6099 Punctum Inclinatum Parvum @tab
6100 @code{\[ \inclinatum \deminutum b \]}
6105 @code{\[ \virga b \]}
6110 @code{\[ \stropha b \]}
6115 @code{\[ \stropha \auctum b \]}
6120 @code{\[ \oriscus b \]}
6124 Clivis vel Flexa @tab
6125 @code{\[ b \flexa g \]}
6129 Clivis Aucta Descendens @tab
6130 @code{\[ b \flexa \auctum \descendens g \]}
6134 Clivis Aucta Ascendens @tab
6135 @code{\[ b \flexa \auctum \ascendens g \]}
6140 @code{\[ b \flexa \deminutum g \]}
6144 Podatus vel Pes @tab
6145 @code{\[ g \pes b \]}
6149 Pes Auctus Descendens @tab
6150 @code{\[ g \pes \auctum \descendens b \]}
6154 Pes Auctus Ascendens @tab
6155 @code{\[ g \pes \auctum \ascendens b \]}
6160 @code{\[ g \pes \deminutum b \]}
6165 @code{\[ \oriscus g \pes \virga b \]}
6169 Pes Quassus Auctus Descendens @tab
6170 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6175 @code{\[ \quilisma g \pes b \]}
6179 Quilisma Pes Auctus Descendens @tab
6180 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6184 Pes Initio Debilis @tab
6185 @code{\[ \deminutum g \pes b \]}
6189 Pes Auctus Descendens Initio Debilis @tab
6190 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6195 @code{\[ a \pes b \flexa g \]}
6199 Torculus Auctus Descendens @tab
6200 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6204 Torculus Deminutus @tab
6205 @code{\[ a \pes b \flexa \deminutum g \]}
6209 Torculus Initio Debilis @tab
6210 @code{\[ \deminutum a \pes b \flexa g \]}
6214 Torculus Auctus Descendens Initio Debilis @tab
6215 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6219 Torculus Deminutus Initio Debilis @tab
6220 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6225 @code{\[ a \flexa g \pes b \]}
6229 Porrectus Auctus Descendens @tab
6230 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6234 Porrectus Deminutus @tab
6235 @code{\[ a \flexa g \pes \deminutum b \]}
6240 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6244 Climacus Auctus @tab
6245 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6249 Climacus Deminutus @tab
6250 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6255 @code{\[ g \pes a \virga b \]}
6259 Scandicus Auctus Descendens @tab
6260 @code{\[ g \pes a \pes \auctum \descendens b \]}
6264 Scandicus Deminutus @tab
6265 @code{\[ g \pes a \pes \deminutum b \]}
6270 @code{\[ g \oriscus a \pes \virga b \]}
6274 Salicus Auctus Descendens @tab
6275 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6280 @code{\[ \stropha b \stropha b \stropha a \]}
6286 Use special heads for lower/upper head of Pes only when heads are
6289 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6290 Semivocalis head; this looks awful.
6292 Trigonus: apply equal spacing, regardless of pitch.
6295 @subsection Figured bass
6297 @cindex Basso continuo
6299 @c TODO: musicological blurb about FB
6303 LilyPond has limited support for figured bass:
6305 @lilypond[verbatim,fragment]
6307 \context Voice \notes { \clef bass dis4 c d ais}
6308 \context FiguredBass
6310 < 6 >4 < 7 >8 < 6+ [_!] >
6316 The support for figured bass consists of two parts: there is an input
6317 mode, introduced by @code{\figures}, where you can enter bass figures
6318 as numbers, and there is a context called @internalsref{FiguredBass}
6319 that takes care of making @internalsref{BassFigure} objects.
6321 In figures input mode, a group of bass figures is delimited by
6322 @code{<} and @code{>}. The duration is entered after the @code{>}.
6327 \context FiguredBass
6331 Accidentals are added to the numbers if you alterate them by
6332 appending @code{-}, @code{!} and @code{+}.
6338 \context FiguredBass
6339 \figures { <4- 6+ 7!> }
6342 Spaces or dashes may be inserted by using @code{_}. Brackets are
6343 introduced with @code{[} and @code{]}.
6349 \context FiguredBass
6350 \figures { < [4 6] 8 [_ 12]> }
6353 Although the support for figured bass may superficially resemble chord
6354 support, it works much simpler. The @code{\figures} mode simply
6355 stores the numbers , and @internalsref{FiguredBass} context prints
6356 them as entered. There is no conversion to pitches, and no
6357 realizations of the bass are played in the MIDI file.
6359 Internally, the code produces markup texts. You can use any of the
6360 markup text properties to override formatting. For example, the
6361 vertical spacing of the figures may be set with @code{baseline-skip}.
6365 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
6366 @internalsref{FiguredBass} context
6370 Slash notation for alterations is not supported.
6373 @node Contemporary notation
6374 @section Contemporary notation
6376 In the 20th century, composers have greatly expanded the musical
6377 vocabulary. With this expansion, many innovations in musical notation
6378 have been tried. For a comprehensive overview, refer to @cite{Stone
6379 1980} (see @ref{Literature}). In general, the use of new, innovative
6380 notation makes a piece harder to understand and perform and its use
6381 should therefore be avoided if possible. For this reason, support for
6382 contemporary notation in LilyPond is limited.
6391 @subsection Clusters
6395 In musical terminology, a @emph{cluster} denotes a range of
6396 simultaneously sounding pitches that may change over time. The set of
6397 available pitches to apply usually depends on the accoustic source.
6398 Thus, in piano music, a cluster typically consists of a continous range
6399 of the semitones as provided by the piano's fixed set of a chromatic
6400 scale. In choral music, each singer of the choir typically may sing an
6401 arbitrary pitch within the cluster's range that is not bound to any
6402 diatonic, chromatic or other scale. In electronic music, a cluster
6403 (theoretically) may even cover a continuous range of pitches, thus
6404 resulting in coloured noise, such as pink noise.
6406 Clusters can be denoted in the context of ordinary staff notation by
6407 engraving simple geometrical shapes that replace ordinary notation of
6408 notes. Ordinary notes as musical events specify starting time and
6409 duration of pitches; however, the duration of a note is expressed by the
6410 shape of the note head rather than by the horizontal graphical extent of
6411 the note symbol. In contrast, the shape of a cluster geometrically
6412 describes the development of a range of pitches (vertical extent) over
6413 time (horizontal extent). Still, the geometrical shape of a cluster
6414 covers the area in wich any single pitch contained in the cluster would
6415 be notated as an ordinary note. From this point of view, it is
6416 reasonable to specify a cluster as the envelope of a set of notes.
6420 A cluster is engraved as the envelope of a set of notes. The starting
6421 note is marked with @code{\startCluster}, and the ending note with
6422 @code{\stopCluster}, e.g.,
6430 The following example (from
6431 @inputfileref{input/regression,cluster.ly}) shows what the result
6434 @lilypondfile[notexidoc]{cluster.ly}
6436 By default, @internalsref{Cluster_engraver} is in the
6437 @internalsref{Voice} context. This allows putting ordinary notes and
6438 clusters together in the same staff, even simultaneously. In such a
6439 case no attempt is made to automatically avoid collisions between
6440 ordinary notes and clusters.
6444 @internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
6445 @internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
6449 When a cluster is active, note heads must be switched off manually using
6452 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
6453 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
6458 @subsection Fermatas
6464 Contemporary music notation frequently uses special fermata symbols to
6465 indicate fermatas of differing lengths.
6469 The following are supported
6471 @lilypond[singleline]
6494 \context Lyrics \lyrics {
6495 "shortfermata" "fermata" "longfermata" "verylongfermata"
6500 See @ref{Articulations} for general instructions how to apply scripts
6501 such as fermatas to a @code{\notes@{@}} block.
6504 @section Tuning output
6506 There are situations where default layout decisions are not
6507 sufficient. In this section we discuss ways to override these
6510 Formatting is internally done by manipulating so called objects (graphic
6511 objects). Each object carries with it a set of properties (object
6512 properties) specific to that object. For example, a stem object has
6513 properties that specify its direction, length and thickness.
6515 The most direct way of tuning the output is by altering the values of
6516 these properties. There are two ways of doing that: first, you can
6517 temporarily change the definition of one type of object, thus
6518 affecting a whole set of objects. Second, you can select one specific
6519 object, and set a object property in that object.
6529 @node Tuning objects
6530 @subsection Tuning objects
6532 @cindex object description
6534 The definition of an object is actually a list of default object
6535 properties. For example, the definition of the Stem object (available
6536 in @file{scm/grob-description.scm}), includes the following definitions for
6541 (beamed-lengths . (0.0 2.5 2.0 1.5))
6542 (Y-extent-callback . ,Stem::height)
6547 By adding variables on top of these existing definitions, the system
6548 defaults is overriden, and the appearance of a graphical objects is
6554 Changing a variable for only one object is commonly achieved with
6558 \once \property @var{context}.@var{grobname}
6559 \override @var{symbol} = @var{value}
6561 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
6562 and @var{grobname} is a string and @var{value} is a Scheme expression.
6563 This command applies a setting only during one moment in the score.
6565 In the following example, only one @internalsref{Stem} object is
6566 changed from its original setting:
6568 @lilypond[verbatim, fragment, relative=1]
6570 \once \property Voice.Stem \set #'thickness = #4
6574 @cindex @code{\once}
6576 For changing more objects, the same command, without @code{\once} can
6579 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
6581 This command adds @code{@var{symbol} = @var{value}} to the definition
6582 of @var{grobname} in the context @var{context}, and this definition
6583 stays in place until it is removed.
6585 An existing definition may be removed by the following command
6588 \property @var{context}.@var{grobname} \revert @var{symbol}
6591 All @code{\override} and @code{\revert} commands should be balanced.
6592 The @code{\set} shorthand, performs a revert followed by an override,
6593 and is often more convenient to use
6596 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
6600 @lilypond[verbatim,quote]
6601 c'4 \property Voice.Stem \override #'thickness = #4.0
6603 c'4 \property Voice.Stem \revert #'thickness
6607 The following example gives exactly the same result as the previous
6608 one (assuming the system default for stem thickness is 1.3).
6610 @lilypond[verbatim,quote]
6611 c'4 \property Voice.Stem \set #'thickness = #4.0
6613 c'4 \property Voice.Stem \set #'thickness = #1.3
6617 Reverting a setting which was not set in the first place has no
6618 effect. However, if the setting was set as a system default, this may
6619 remove the default value, and this may give surprising results,
6620 including crashes. In other words, @code{\override} and
6621 @code{\revert} must be carefully balanced.
6623 These are examples of correct nesting of @code{\override}, @code{\set},
6626 A clumsy but correct form:
6628 \override \revert \override \revert \override \revert
6631 Shorter version of the same:
6633 \override \set \set \revert
6636 A short form, using only @code{\set}. This requires you to know the
6639 \set \set \set \set @var{to default value}
6642 If there is no default (i.e. by default, the object property is unset),
6645 \set \set \set \revert
6648 For the digirati, the object description is an Scheme association
6649 list. Since a Scheme list is a singly linked list, we can treat it as
6650 a stack, and @code{\override} and @code{\revert} are push and pop
6651 operations. The association list is stored in a normal context
6654 \property Voice.NoteHead = #'()
6656 will effectively erase @internalsref{NoteHead}s from the current
6657 @internalsref{Voice}. However, this mechanism is not guaranteed to
6658 work, and may cause crashes or other anomalous behavior.
6662 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
6663 @internalsref{PropertySet}, @internalsref{backend properties},
6664 @internalsref{All Graphical Objects}.
6669 The backend is not very strict in type-checking object properties.
6670 Cyclic references in @var{value} cause hangs and/or crashes.
6671 Similarly, reverting properties that are system defaults may also lead
6676 @subsection Applyoutput
6678 The most versatile way of tuning object is @code{\applyoutput}. Its
6681 \applyoutput @var{proc}
6683 where @var{proc} is a Scheme function, taking four arguments.
6685 When interpreted, the function @var{proc} is called for every grob found
6686 in the context, with the following arguments:
6688 @item the grob itself
6689 @item the context where the grob was created
6690 @item the context where @code{\applyoutput} is processed.
6693 In addition, the cause of the grob, i.e. the music expression or object
6694 that was responsible for creating the object, is in the object property
6695 @code{cause}. For example, for a note head, this is a
6696 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
6697 this is a @internalsref{NoteHead} object.
6700 @node Outputproperty
6701 @subsection Outputproperty
6703 @cindex \outputproperty
6705 Another way of tuning objects is the more arcane @code{\outputproperty}
6706 feature. The syntax is as follows:
6708 \outputproperty @var{predicate} @var{symbol} = @var{value}
6710 Here @code{predicate} is a Scheme function taking an object argument, and
6711 returning a boolean. This statement is processed by the
6712 @code{Output_property_engraver}. It instructs the engraver to feed all
6713 objects that it sees to @var{predicate}. Whenever the predicate returns
6714 true, the object property @var{symbol} will be set to @var{value}.
6716 You will need to combine this statement with @code{\context} to select
6717 the appropriate context to apply this to.
6718 @inputfileref{input/regression,output-property.ly} shows an example of
6719 the use of @code{\outputproperty}.
6723 If possible, avoid this feature: the semantics are not very clean, and
6724 the syntax and semantics are up for rewrite.
6727 @node Font selection
6728 @subsection Font selection
6730 The most common thing to change about the appearance of fonts is
6731 their size. The font size of any context can be easily
6732 changed by setting the @code{fontSize} property for that context:
6734 @lilypond[fragment,relative=1,verbatim,quote]
6735 c4 c4 \property Voice.fontSize = #-1
6738 This command will set @code{font-relative-size} (see below),
6739 and does not change the size of variable symbols, such as
6740 beams or slurs. You can use this command to get smaller symbol for
6741 cue notes, but that involves some more subtleties. An elaborate
6742 example of those is in @inputfileref{input/test,cue-notes.ly}.
6744 @cindex magnification
6746 The size of the font may be scaled with the object property
6747 @code{font-magnification}. For example, @code{2.0} blows up all
6748 letters by a factor 2 in both directions.
6757 The font used for printing a object can be selected by setting
6758 @code{font-name}, e.g.
6760 \property Staff.TimeSignature
6761 \set #'font-name = #"cmr17"
6763 You may use any font which is available to @TeX{}, such as foreign
6764 fonts or fonts that do not belong to the Computer Modern font family.
6766 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
6767 can also be adjusted with a more fine-grained mechanism. By setting
6768 the object properties described below, you can select a different font.
6769 All three mechanisms work for every object that supports
6770 @code{font-interface}.
6774 A symbol indicating the general class of the typeface. Supported are
6775 @code{roman} (Computer Modern), @code{braces} (for piano staff
6776 braces), @code{music} (the standard music font, including ancient
6777 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
6780 A symbol indicating the shape of the font, there are typically several
6781 font shapes available for each font family. Choices are @code{italic},
6782 @code{caps} and @code{upright}
6785 A symbol indicating the series of the font. There are typically several
6786 font series for each font family and shape. Choices are @code{medium}
6789 @item font-relative-size
6790 A number indicating the size relative the standard size. For example,
6791 with 20pt staff height, relative size -1 corresponds to 16pt staff
6792 height, and relative size +1 corresponds to 23 pt staff height.
6794 There are small differences in design between fonts designed for
6795 different sizes, hence @code{font-relative-size} is preferred over
6796 @code{font-magnification} for changing font sizes.
6799 @item font-design-size
6800 A number indicating the design size of the font.
6802 This is a feature of the Computer Modern Font: each point size has a
6803 slightly different design. Smaller design sizes are relatively wider,
6804 which enhances readability.
6807 For any of these properties, the value @code{*} (i.e. the symbol
6808 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
6809 to override default setting, which are always present. For example:
6811 \property Lyrics.LyricText \override #'font-series = #'bold
6812 \property Lyrics.LyricText \override #'font-family = #'typewriter
6813 \property Lyrics.LyricText \override #'font-shape = #'*
6816 @cindex @code{font-style}
6822 Relative size is not linked to any real size.
6824 There is no style sheet provided for other fonts besides the @TeX{}
6825 family, and the style sheet cannot be modified easily.
6827 @cindex font selection
6828 @cindex font magnification
6829 @cindex @code{font-interface}
6833 @subsection Text markup
6838 @cindex typeset text
6840 LilyPond has an internal mechanism to typeset texts. You can access it
6841 with the keyword @code{\markup}. Within markup mode, you can enter texts
6842 similar to lyrics: simply enter them, surrounded by spaces.
6845 @lilypond[verbatim,fragment,relative=1]
6846 c1^\markup { hello }
6847 c1_\markup { hi there }
6848 c1^\markup { hi \bold there, is \italic anyone home? }
6851 @cindex font switching
6853 The line of the example demonstrates font switching commands. The
6854 command only apply to the first following word; enclose a set of texts
6855 with braces to apply a command to more words.
6857 \markup @{ \bold @{ hi there @} @}
6859 For clarity, you can also do this for single arguments, e.g.
6861 \markup @{ is \italic @{ anyone @} home @}
6864 @cindex font size, texts
6866 The following size commands set abolute sizes
6882 You can also make letter larger or smaller relative to their neighbors,
6883 with the commands @code{\larger} and @code{\smaller}.
6887 @cindex font style, for texts
6893 The following font change commands are defined:
6896 This changes to the font used for dynamic signs. This font does not
6897 contain all characters of the alphabet, so when producing ``piu f'',
6898 the ``piu'' should be done in a different font.
6902 This changes to the font used for time signatures. It only contains
6903 numbers and a few punctuation marks.
6905 Changes @code{font-shape} to @code{italic}
6907 Changes @code{font-series} to @code{bold}
6910 @cindex raising text
6911 @cindex lowering text
6913 @cindex translating text
6918 Raising and lowering texts can be done with @code{\super} and
6921 @lilypond[verbatim,fragment,relative=1]
6922 c1^\markup { E "=" mc \super "2" }
6927 If you want to give an explicit amount for lowering or raising, use
6928 @code{\raise}. This command takes a Scheme valued first argument, and
6929 a markup object as second argument
6931 @lilypond[verbatim,fragment,relative=1,quote]
6932 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
6934 The argument to @code{\raise} is the vertical displacement amount,
6935 measured in (global) staff spaces.
6937 Other commands taking single arguments include
6940 @item \bracket, \hbracket
6941 Bracket the argument markup with normal and horizontal brackets
6946 This is converted to a musical symbol, e.g. @code{\musicglyph
6947 #"accidentals-0"} will select the natural sign from the music font.
6948 See @ref{The Feta font} for a complete listing of the possible glyphs.
6950 This produces a single character, e.g. @code{\char #65} produces the
6953 @item \hspace #@var{amount}
6955 This produces a invisible object taking horizontal space.
6957 \markup @{ A \hspace #2.0 B @}
6959 will put extra space between A and B, on top of the space that is
6960 normally inserted before elements on a line.
6962 @item \fontsize #@var{size}
6964 This sets the relative font size, eg.
6966 A \fontsize #2 @{ B C @} D
6970 This will enlarge the B and the C by two steps.
6971 @item \translate #(cons @var{x} @var{y})
6973 This translates an object. Its first argument is a cons of numbers
6975 A \translate #(cons 2 -3) @{ B C @} D
6977 This moves `B C' 2 spaces to the right, and 3 down.
6979 @item \magnify #@var{mag}
6981 This sets the font magnification for the its argument. In the following
6982 example, the middle A will be 10% larger.
6984 A \magnify #1.1 @{ A @} A
6988 @item \override #(@var{key} . @var{value})
6990 This overrides a formatting property for its argument. The argument
6991 should be a key/value pair, e.g.
6993 m \override #'(font-family . math) m m
6997 In markup mode you can compose expressions, similar to mathematical
6998 expressions, XML documents and music expressions. The braces group
6999 notes into horizontal lines. Other types of lists also exist: you can
7000 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7001 the command @code{\column}. Similarly, @code{\center} aligns texts by
7004 @lilypond[verbatim,fragment,relative=1]
7005 c1^\markup { \column << a bbbb c >> }
7006 c1^\markup { \center << a bbbb c >> }
7007 c1^\markup { \line << a b c >> }
7010 The markup mechanism is extensible. Refer to
7011 @file{scm/new-markup.scm} for more information on extending the markup
7018 @internalsref{Markup functions}, @file{scm/new-markup.scm}
7025 Text layout is ultimately done by @TeX{}, which does kerning of
7026 letters. LilyPond does not account for kerning, so texts will be
7027 spaced slightly too wide.
7029 Syntax errors for markup mode are confusing.
7033 @section Global layout
7035 The global layout determined by three factors: the page layout, the
7036 line breaks and the spacing. These all influence each other. The
7037 choice of spacing determines how densely each system of music is set,
7038 which influences where line breaks breaks are chosen, and thus
7039 ultimately how many pages a piece of music takes. In this section, the
7040 algorithm for spacing music is explained, and how spacing can be
7043 Globally spoken, this procedure happens in three steps: first,
7044 flexible distances (``springs'') are chosen, based on durations. All
7045 possible line breaking combination are tried, and the one with the
7046 best results---a layout that has uniform density and requires as
7047 little stretching or cramping as possible---is chosen. When the score
7048 is processed by @TeX{}, each page is filled with systems, and page breaks
7049 are chosen whenever the page gets full.
7054 * Vertical spacing::
7055 * Horizontal spacing::
7062 @node Vertical spacing
7063 @subsection Vertical spacing
7065 @cindex vertical spacing
7066 @cindex distance between staves
7067 @cindex staff distance
7068 @cindex between staves, distance
7069 @cindex staffs per page
7072 The height of each system is determined automatically by lilypond, to
7073 keep systems from bumping into each other, some minimum distances are
7074 set. By changing these, you can put staves closer together, and thus
7075 put more systems onto one page.
7077 Normally staves are stacked vertically. To make
7078 staves maintain a distance, their vertical size is padded. This is
7079 done with the property @code{minimumVerticalExtent}. It takes a pair
7080 of numbers, so if you want to make it smaller from its, then you could
7083 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7085 This sets the vertical size of the current staff to 4 staff-space on
7086 either side of the center staff line. The argument of
7087 @code{minimumVerticalExtent} is interpreted as an interval, where the
7088 center line is the 0, so the first number is generally negative. The
7089 staff can be made larger at the bottom by setting it to @code{(-6
7092 The piano staves are handled a little differently: to make cross-staff
7093 beaming work correctly, it necessary that the distance between staves
7094 is fixed beforehand. This is also done with a
7095 @internalsref{VerticalAlignment} object, created in
7096 @internalsref{PianoStaff}. In this object the distance between the
7097 staves is fixed by setting @code{forced-distance}. If you want to
7098 override this, use a @code{\translator} block as follows:
7102 VerticalAlignment \override #'forced-distance = #9
7105 This would bring the staves together at a distance of 9 staff spaces,
7106 measured from the center line of each staff.
7110 Vertical aligment of staves is handled by the
7111 @internalsref{VerticalAlignment} object.
7115 @node Horizontal spacing
7116 @subsection Horizontal Spacing
7118 The spacing engine translates differences in durations into
7119 stretchable distances (``springs'') of differing lengths. Longer
7120 durations get more space, shorter durations get less. The shortest
7121 durations get a fixed amount of space (which is controlled by
7122 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
7123 object). The longer the duration, the more space it gets: doubling a
7124 duration adds a fixed amount (this amount is controlled by
7125 @code{spacing-increment}) of space to the note.
7127 For example, the following piece contains lots of half, quarter and
7128 8th notes, the eighth note is followed by 1 note head width (NHW).
7129 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
7130 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
7134 Normally, @code{shortest-duration-space} is set to 1.2, which is the
7135 width of a note head, and @code{shortest-duration-space} is set to
7136 2.0, meaning that the shortest note gets 2 NHW (2 times
7137 @code{shortest-duration-space}) of space. For normal notes, this space
7138 is always counted from the left edge of the symbol, so the shortest
7139 notes are generally followed by one NHW of space.
7141 If one would follow the above procedure exactly, then adding a single
7142 32th note to a score that uses 8th and 16th notes, would widen up the
7143 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
7144 thus adding 2 noteheads of space to every note. To prevent this, the
7145 shortest duration for spacing is not the shortest note in the score,
7146 but the most commonly found shortest note. Notes that are even
7147 shorter this are followed by a space that is proportonial to their
7148 duration relative to the common shortest note. So if we were to add
7149 only a few 16th notes to the example above, they would be followed by
7152 @lilypond[fragment, verbatim, relative=2]
7153 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
7156 The most common shortest duration is determined as follows: in every
7157 measure, the shortest duration is determined. The most common short
7158 duration, is taken as the basis for the spacing, with the stipulation
7159 that this shortest duration should always be equal to or shorter than
7160 1/8th note. The shortest duration is printed when you run lilypond
7161 with @code{--verbose}. These durations may also be customized. If you
7162 set the @code{common-shortest-duration} in
7163 @internalsref{SpacingSpanner}, then this sets the base duration for
7164 spacing. The maximum duration for this base (normally 1/8th), is set
7165 through @code{base-shortest-duration}.
7167 @cindex @code{common-shortest-duration}
7168 @cindex @code{base-shortest-duration}
7169 @cindex @code{stem-spacing-correction}
7170 @cindex @code{spacing}
7172 In the introduction it was explained that stem directions influence
7173 spacing. This is controlled with @code{stem-spacing-correction}
7174 property in @internalsref{NoteSpacing}, which are generated for every
7175 @internalsref{Voice} context. The @code{StaffSpacing} object
7176 (generated at @internalsref{Staff} context) contains the same property
7177 for controlling the stem/barline spacing. The following example
7178 shows these corrections, once with default settings, and once with
7179 exaggerated corrections.
7185 \property Staff.NoteSpacing \override #'stem-spacing-correction
7187 \property Staff.StaffSpacing \override #'stem-spacing-correction
7192 \paper { raggedright = ##t } }
7195 @cindex SpacingSpanner, overriding properties
7197 Properties of the @internalsref{SpacingSpanner} must be overriden
7198 from the @code{\paper} block, since the @internalsref{SpacingSpanner}
7199 is created before any @code{\property} statements are interpreted.
7201 \paper @{ \translator @{
7203 SpacingSpanner \override #'spacing-increment = #3.0
7210 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
7211 @internalsref{StaffSpacing}, @internalsref{SeparationItem},
7212 @internalsref{SeparatingGroupSpanner}.
7216 Spacing is determined on a score wide basis. If you have a score that
7217 changes its character (measured in durations) halfway during the
7218 score, the part containing the longer durations will be spaced too
7221 There is no convenient mechanism to manually override spacing.
7226 @subsection Font size
7227 @cindex font size, setting
7228 @cindex staff size, setting
7229 @cindex @code{paper} file
7231 The Feta font provides musical symbols at seven different sizes.
7232 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
7233 26 point. The point size of a font is the height of the corresponding
7234 staff (excluding line thicknesses).
7236 Definitions for these sizes are the files @file{paperSZ.ly}, where
7237 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
7238 of these files, the variables @code{paperEleven},
7239 @code{paperThirteen}, @code{paperSixteen},
7240 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
7241 are defined respectively. The default @code{\paper} block is also
7242 set. These files should be imported at toplevel, i.e.
7244 \include "paper26.ly"
7248 The font definitions are generated using a Scheme function. For more
7249 details, see the file @file{scm/font.scm}.
7254 @subsection Line breaking
7257 @cindex breaking lines
7259 Line breaks are normally computed automatically. They are chosen such
7260 that lines look neither cramped nor loose, and that consecutive lines
7261 have similar density.
7263 Occasionally you might want to override the automatic breaks; you can
7264 do this by specifying @code{\break}. This will force a line break at
7265 this point. Line breaks can only occur at places where there are bar
7266 lines. If you want to have a line break where there is no bar line,
7267 you can force an invisible bar line by entering @code{\bar
7268 ""}. Similarly, @code{\noBreak} forbids a line break at a
7272 @cindex regular line breaks
7273 @cindex four bar music.
7275 If you want linebreaks at regular intervals, you can use the following:
7277 < \repeat unfold 7 @{ s1 * 4 \break @}
7278 @emph{the real music}
7281 This makes the following 28 measures (assuming 4/4 time) be broken every
7286 @internalsref{BreakEvent}
7290 @subsection Page layout
7293 @cindex breaking pages
7295 @cindex @code{indent}
7296 @cindex @code{linewidth}
7298 The most basic settings influencing the spacing are @code{indent} and
7299 @code{linewidth}. They are set in the @code{\paper} block. They
7300 control the indentation of the first line of music, and the lengths of
7303 If @code{raggedright} is set to true in the @code{\paper}
7304 block, then the lines are justified at their natural length. This
7305 useful for short fragments, and for checking how tight the natural
7309 @cindex vertical spacing
7311 The page layout process happens outside the LilyPond formatting
7312 engine: variables controlling page layout are passed to the output,
7313 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
7314 to the following variables in the @code{\paper} block. The variable
7315 @code{textheight} sets the total height of the music on each page.
7316 The spacing between systems is controlled with @code{interscoreline},
7317 its default is 16pt. The distance between the score lines will
7318 stretch in order to fill the full page @code{interscorelinefill} is
7319 set to a positive number. In that case @code{interscoreline}
7320 specifies the minimum spacing.
7322 @cindex @code{textheight}
7323 @cindex @code{interscoreline}
7324 @cindex @code{interscorelinefill}
7326 If the variable @code{lastpagefill} is defined,
7327 @c fixme: this should only be done if lastpagefill == #t
7328 systems are evenly distributed vertically on the last page. This
7329 might produce ugly results in case there are not enough systems on the
7330 last page. The @command{lilypond-book} command ignores
7331 @code{lastpagefill}. See @ref{lilypond-book manual} for more
7334 @cindex @code{lastpagefill}
7336 Page breaks are normally computed by @TeX{}, so they are not under
7337 direct control of LilyPond. However, you can insert a commands into
7338 the @file{.tex} output to instruct @TeX{} where to break pages. This
7339 is done by setting the @code{between-systems-strings} on the
7340 @internalsref{NonMusicalPaperColumn} where the system is broken.
7341 An example is shown in @inputfileref{input/regression,between-systems.ly}.
7345 @cindex @code{papersize}
7347 To change the paper size, you must first set the
7348 @code{papersize} paper variable variable. Set it to
7349 the strings @code{a4}, @code{letter}, or @code{legal}. After this
7350 specification, you must set the font as described above. If you want
7351 the default font, then use the 20 point font.
7354 \paper@{ papersize = "a4" @}
7355 \include "paper16.ly"
7358 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
7359 will set the paper variables @code{hsize} and @code{vsize} (used by
7360 Lilypond and @code{ly2dvi})
7365 @ref{Invoking ly2dvi},
7366 @inputfileref{input/regression,between-systems.ly},
7367 @internalsref{NonMusicalPaperColumn}.
7371 There is no concept of page breaking, which makes it difficult to
7372 choose sensible page breaks in multi-page pieces.
7381 Entered music can also be converted to MIDI output. The performance
7382 is good enough for proof-hearing the music for errors.
7384 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7385 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7386 marks translate to a fixed fraction of the available MIDI volume
7387 range, crescendi and decrescendi make the volume vary linearly between
7388 their two extremities. The fractions be adjusted by
7389 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7390 For each type of MIDI instrument, a volume range can be defined. This
7391 gives you basic equalizer control, which can enhance the quality of
7392 the MIDI output remarkably. The equalizer can be controlled by
7393 setting @code{instrumentEqualizer}.
7397 Many musically interesting effects, such as swing, articulation,
7398 slurring, etc., are not translated to MIDI.
7403 * MIDI instrument names::
7408 @subsection MIDI block
7412 The MIDI block is analogous to the paper block, but it is somewhat
7413 simpler. The @code{\midi} block can contain:
7417 @item a @code{\tempo} definition
7418 @item context definitions
7421 Assignments in the @code{\midi} block are not allowed.
7425 @cindex context definition
7427 Context definitions follow precisely the same syntax as within the
7428 \paper block. Translation modules for sound are called performers.
7429 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7432 @node MIDI instrument names
7433 @subsection MIDI instrument names
7435 @cindex instrument names
7436 @cindex @code{Staff.midiInstrument}
7437 @cindex @code{Staff.instrument}
7439 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7440 property or, if that property is not set, the @code{Staff.instrument}
7441 property. The instrument name should be chosen from the list in
7442 @ref{MIDI instruments}.
7446 If the selected string does not exactly match, then LilyPond uses the
7447 default (Grand Piano). It is not possible to select an instrument by