3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
40 @c FIXME: Note entry vs Music entry at top level menu is confusing.
46 The basic elements of any piece of music are the notes. This section
47 is about basic notation elements notes, rests and related constructs,
48 such as stems, tuplets and ties.
53 * Chromatic alterations::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (i.e. an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[singleline,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[singleline,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[singleline,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[singleline,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative 2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
362 Whenever a note is found, a @internalsref{Stem} object is created
363 automatically. For whole notes and rests, they are also created but
368 @cindex @code{\stemUp}
370 @cindex @code{\stemDown}
372 @cindex @code{\stemBoth}
383 A tie connects two adjacent note heads of the same pitch. The tie in
384 effect extends the length of a note. Ties should not be confused with
385 slurs, which indicate articulation, or phrasing slurs, which indicate
386 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
388 @lilypond[fragment,verbatim,center]
389 e' ~ e' <c' e' g'> ~ <c' e' g'>
392 When a tie is applied to a chord, all note heads whose pitches match
393 are connected. When no note heads match, no ties will be created.
395 In its meaning a tie is just a way of extending a note duration, similar
396 to the augmentation dot; in the following example there are two ways of
397 notating exactly the same concept:
399 @lilypond[fragment, singleline,quote]
400 \time 3/4 c'2. c'2 ~ c'4
402 If you need to tie a lot of notes over bars, it may be easier to use automatic
403 note splitting (see @ref{Automatic note splitting}).
408 @cindex @code{\tieUp}
410 @cindex @code{\tieDown}
412 @cindex @code{\tieBoth}
414 @cindex @code{\tieDotted}
416 @cindex @code{\tieSolid}
421 In this manual: @ref{Automatic note splitting}.
423 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
426 Examples: if you want less ties created for a chord, see
427 @inputfileref{input/test,tie-sparse.ly}.
429 For tying only a subset of the note heads of a pair of chords, see
430 @inputfileref{input/regression,tie-chord-partial.ly}.
435 Switching staves when a tie is active will not produce a slanted tie.
437 Formatting of ties is a difficult subject. The results are often not
447 @cindex @code{\times}
449 Tuplets are made out of a music expression by multiplying all durations
452 @cindex @code{\times}
454 \times @var{fraction} @var{musicexpr}
458 The duration of @var{musicexpr} will be multiplied by the fraction.
459 The fraction's denominator will be printed over the notes, optionally
460 with a bracket. The most common tuplet is the triplet in which 3
461 notes have the length of 2, so the notes are 2/3 of their written
464 @lilypond[fragment,verbatim,center]
465 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
468 The property @code{tupletSpannerDuration} specifies how long each
469 bracket should last. With this, you can make lots of tuplets while
470 typing @code{\times} only once, saving lots of typing. In the next
471 example, there are two triplets shown, while @code{\times} was only
474 @lilypond[fragment, relative, singleline, verbatim]
475 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
476 \times 2/3 { c'8 c c c c c }
479 The format of the number is determined by the property
480 @code{tupletNumberFormatFunction}. The default prints only the
481 denominator, but if it is set to the Scheme function
482 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
486 @cindex @code{tupletNumberFormatFunction}
487 @cindex tuplet formatting
492 @cindex @code{\tupletUp}
494 @cindex @code{\tupletDown}
496 @cindex @code{\tupletBoth}
501 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
503 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
507 Nested tuplets are not formatted automatically. In this case, outer
508 tuplet brackets should be moved manually, which is demonstrated in
509 @inputfileref{input/regression,tuplet-nest.ly}.
513 @node Easier music entry
514 @section Easier music entry
517 When entering music it is easy to introduce errors. This section deals
518 with tricks and features of the input language that were added solely
519 to help entering music, and find and correct mistakes.
521 It is also possible to use external programs, for example GUI
522 interfaces, or MIDI transcription programs, to enter or edit
523 music. Refer to the website for more information. Finally, there are
524 tools make debugging easier, by linking the input file and the output
525 shown on screen. See @ref{Point and click} for more information.
532 * Skipping corrected music::
533 * Automatic note splitting::
539 @node Relative octaves
540 @subsection Relative octaves
542 @cindex relative octave specification
544 Octaves are specified by adding @code{'} and @code{,} to pitch names.
545 When you copy existing music, it is easy to accidentally put a pitch
546 in the wrong octave and hard to find such an error. The relative
547 octave mode prevents these errors: a single error puts the rest of the
548 piece off by one octave:
550 @cindex @code{\relative}
552 \relative @var{startpitch} @var{musicexpr}
555 The octave of notes that appear in @var{musicexpr} are calculated as
556 follows: If no octave changing marks are used, the basic interval
557 between this and the last note is always taken to be a fourth or less
558 (; this distance is determined without regarding alterations: a
559 @code{fisis} following a @code{ceses} will be put above the
562 The octave changing marks @code{'} and @code{,} can be added to raise
563 or lower the pitch by an extra octave. Upon entering relative mode,
564 an absolute starting pitch must be specified that will act as the
565 predecessor of the first note of @var{musicexpr}.
567 Here is the relative mode shown in action:
568 @lilypond[fragment,singleline,verbatim,center]
574 Octave changing marks are used for intervals greater than a fourth:
575 @lilypond[fragment,verbatim,center]
580 If the preceding item is a chord, the first note of the chord is used
581 to determine the first note of the next chord:
583 @lilypond[fragment,verbatim,center]
590 @cindex @code{\notes}
592 The pitch after the @code{\relative} contains a note name. To parse
593 the pitch as a note name, you have to be in note mode, so there must
594 be a surrounding @code{\notes} keyword (which is not
597 The relative conversion will not affect @code{\transpose},
598 @code{\chords} or @code{\relative} sections in its argument. If you
599 want to use relative within transposed music, you must place an
600 additional @code{\relative} inside the @code{\transpose}.
603 @subsection Octave check
606 Octave checks make octave errors easier to correct: a note may be
607 followed by @code{=}@var{quotes} which indicates what its absolute
608 octave should be. In the following example,
610 \relative c'' @{ c='' b=' d,='' @}
614 @c take care with @code, adds confusing quotes.
615 the d will generate a warning, because a d'' is expected, but a d' is
616 found. In the output, the octave is corrected this and the following
621 There is also a syntax that is separate from the notes.
626 This checks that @var{pitch} (without octave) yields @var{pitch} (with
627 octave) in \relative mode. If not, a warning is printed, and the
628 octave is corrected, for example, the first check is passed
629 successfully. The second check fails with an error message. The
630 octave is adjusted so the following notes are in the correct octave
641 The octave of a note following an octave check is determined with
642 respect to the note preceding it. In the next fragment, the last note
643 is a @code{a'}, above central C. Hence, the @code{\octave} check may
644 be deleted without changing the meaning of the piece.
646 @lilypond[verbatim,fragment]
655 @subsection Bar check
659 @cindex @code{barCheckSynchronize}
662 Bar checks help detect errors in the durations. A bar check is
663 entered using the bar symbol, `@code{|}'. Whenever it is encountered
664 during interpretation, it should fall on a measure boundary. If it
665 does not, a warning is printed. Depending on the value of
666 @code{barCheckSynchronize}, the beginning of the measure will be
669 In the next example, the second bar check will signal an error:
671 \time 3/4 c2 e4 | g2 |
674 Bar checks can also be used in lyrics, for example
679 Twin -- kle | Twin -- kle
684 @cindex skipTypesetting
686 Failed bar checks are caused by entering incorrect
687 durations. Incorrect durations often completely garble up the score,
688 especially if it is polyphonic, so you should start correcting the
689 score by scanning for failed bar checks and incorrect durations. To
690 speed up this process, you can use @code{skipTypesetting}, described
693 @node Skipping corrected music
694 @subsection Skipping corrected music
696 The property @code{Score.skipTypesetting} can be used to switch on and
697 off typesetting completely during the interpretation phase. When
698 typesetting is switched off, the music is processed much more quickly.
699 This can be used to skip over the parts of a score that have already
700 been checked for errors:
702 @lilypond[fragment,singleline,verbatim]
704 \property Score.skipTypesetting = ##t
706 \property Score.skipTypesetting = ##f
710 @node Automatic note splitting
711 @subsection Automatic note splitting
713 Long notes can be converted automatically to tied notes. This is done
714 by replacing the @internalsref{Note_heads_engraver} by the
715 @internalsref{Completion_heads_engraver}.
716 In the following examples, notes crossing the barline are split and tied.
719 @lilypond[noindent,verbatim]
721 \remove "Note_heads_engraver"
722 \consists "Completion_heads_engraver"
724 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
728 This engraver splits all running notes at the bar line, and inserts
729 ties. One of its uses is to debug complex scores: if the measures are
730 not entirely filled, then the ties exactly show how much each measure
735 Not all durations (especially those containing tuplets) can be
736 represented exactly; the engraver will not insert tuplets.
740 Examples: @inputfileref{input/regression,completion-heads.ly}
742 Internals: @internalsref{Completion_heads_engraver}
746 @section Staff notation
748 This section describes music notation that occurs on staff level,
749 such as keys, clefs and time signatures.
751 @cindex Staff notation
765 @subsection Staff symbol
767 @cindex adjusting staff symbol
768 @cindex StaffSymbol, using \property
770 Notes, dynamic signs, etc. are grouped
771 with a set of horizontal lines, into a staff (plural `staves'). In our
772 system, these lines are drawn using a separate layout object called
776 @cindex staff lines, setting number of
777 @cindex staff lines, setting thickness of
778 @cindex thickness of staff lines, setting
779 @cindex number of staff lines, setting
783 Internals: @internalsref{StaffSymbol},
785 Examples: @inputfileref{input/test,staff-lines.ly},
786 @inputfileref{input/test,staff-size.ly}
790 If a staff is ended halfway a piece, the staff symbol may not end
791 exactly on the barline.
795 @subsection Key signature
796 @cindex Key signature
800 The key signature indicates the scale in which a piece is played. It
801 is denoted by a set of alterations (flats or sharps) at the start of
806 Setting or changing the key signature is done with the @code{\key}
809 @code{\key} @var{pitch} @var{type}
812 @cindex @code{\minor}
813 @cindex @code{\major}
814 @cindex @code{\minor}
815 @cindex @code{\ionian}
816 @cindex @code{\locrian}
817 @cindex @code{\aeolian}
818 @cindex @code{\mixolydian}
819 @cindex @code{\lydian}
820 @cindex @code{\phrygian}
821 @cindex @code{\dorian}
823 Here, @var{type} should be @code{\major} or @code{\minor} to get
824 @var{pitch}-major or @var{pitch}-minor, respectively.
825 The standard mode names @code{\ionian},
826 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
827 @code{\phrygian}, and @code{\dorian} are also defined.
829 This command sets the context property
830 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
831 can be specified by setting this property directly.
833 Accidentals and key signatures often confuse new users, because
834 unaltered notes get natural signs depending on the keysignature. The
835 tutorial explains why this is so in @ref{More about pitches}.
839 The ordering of a key cancellation is wrong when it is combined with
840 repeat bar lines. The cancellation is also printed after a line break.
844 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
846 @cindex @code{keySignature}
853 The clef indicates which lines of the staff correspond to which
858 The clef can be set or changed with the @code{\clef} command:
859 @lilypond[fragment,verbatim]
860 \key f\major c''2 \clef alto g'2
863 Supported clef-names include:
864 @c Moved standard clefs to the top /MB
868 @item treble, violin, G, G2
881 G clef on 1st line, so-called French violin clef
886 @cindex mezzosoprano clef
889 @cindex baritone clef
892 @cindex varbaritone clef
901 By adding @code{_8} or @code{^8} to the clef name, the clef is
902 transposed one octave down or up, respectively, and @code{_15} and
903 @code{^15} transposes by two octaves. The argument @var{clefname}
904 must be enclosed in quotes when it contains underscores or digits. For
908 @cindex choral tenor clef
909 @lilypond[verbatim,fragment,relative]
913 This command is equivalent to setting @code{clefGlyph},
914 @code{clefPosition} (which controls the Y position of the clef),
915 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
916 when any of these properties are changed.
920 Internals: the object for this symbol is @internalsref{Clef}.
924 @node Ottava brackets
925 @subsection Ottava brackets
927 ``Ottava'' brackets introduce an extra transposition of an octave for
928 the staff. They are created by invoking the function
929 @code{set-octavation}:
935 @lilypond[verbatim,fragment]
944 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
945 (for 15ma) as arguments. Internally the function sets the properties
946 @code{ottavation} (eg. to @code{"8va"}) and
947 @code{centralCPosition}. For overriding the text of the bracket, set
948 @code{ottavation} after invoking @code{set-octavation}, i.e.,
952 \property Staff.ottavation = #"8"
957 Internals: @internalsref{OttavaBracket}.
959 Examples: @inputfileref{input/regression,ottava.ly},
960 @inputfileref{input/regression,ottava-broken.ly}.
964 @code{set-octavation} will get confused when clef changes happen
965 during an octavation bracket.
968 @subsection Time signature
969 @cindex Time signature
973 Time signature indicates the metrum of a piece: a regular pattern of
974 strong and weak beats. It is denoted by a fraction at the start of the
979 The time signature is set or changed by the @code{\time}
981 @lilypond[fragment,verbatim]
982 \time 2/4 c'2 \time 3/4 c'2.
985 The symbol that is printed can be customized with the @code{style}
986 property. Setting it to @code{#'()} uses fraction style for 4/4 and
987 2/2 time. There are many more options for its layout. See
988 @inputfileref{input/test,time.ly} for more examples.
991 This command sets the property @code{timeSignatureFraction},
992 @code{beatLength} and @code{measureLength} in the @code{Timing}
993 context, which is normally aliased to @internalsref{Score}. The
994 property @code{measureLength} determines where bar lines should be
995 inserted, and how automatic beams should be generated. Changing the
996 value of @code{timeSignatureFraction} also causes the symbol to be
999 More options are available through the Scheme function
1000 @code{set-time-signature}. In combination with the
1001 @internalsref{Measure_grouping_engraver}, it will create
1002 @internalsref{MeasureGrouping} signs. Such signs ease reading
1003 rhythmically complex modern music. In the following example, the 9/8
1004 measure is subdivided in 2, 2, 2 and 3. This is passed to
1005 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1008 \score { \notes \relative c'' {
1009 #(set-time-signature 9 8 '(2 2 2 3))
1010 g8[ g] d[ d] g[ g] a8[( bes g]) |
1011 #(set-time-signature 5 8 '(3 2))
1016 \translator { \StaffContext
1017 \consists "Measure_grouping_engraver"
1023 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1028 Automatic beaming does not use measure grouping specified with
1029 @code{set-time-signature}.
1031 @node Partial measures
1032 @subsection Partial measures
1035 @cindex partial measure
1036 @cindex measure, partial
1037 @cindex shorten measures
1038 @cindex @code{\partial}
1040 Partial measures, for example in upsteps, are entered using the
1041 @code{\partial} command:
1042 @lilypond[fragment,verbatim,relative 1]
1043 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1046 The syntax for this command is
1048 \partial @var{duration}
1050 This is internally translated into
1052 \property Timing.measurePosition = -@var{length of duration}
1055 The property @code{measurePosition} contains a rational number
1056 indicating how much of the measure has passed at this point.
1058 @node Unmetered music
1059 @subsection Unmetered music
1061 Bar lines and bar numbers are calculated automatically. For unmetered
1062 music (e.g. cadenzas), this is not desirable. By setting
1063 @code{Score.timing} to false, this automatic timing can be switched
1069 @cindex @code{\cadenzaOn}
1071 @cindex @code{\cadenzaOff}
1075 @subsection Bar lines
1079 @cindex measure lines
1083 Bar lines delimit measures, but are also used to indicate repeats.
1084 Normally, they are inserted automatically. Line breaks may only
1090 of barlines can be forced with the @code{\bar} command:
1092 @lilypond[relative=1,fragment,verbatim]
1096 The following bar types are available:
1097 @lilypond[fragment, relative, singleline, verbatim]
1110 For allowing linebreaks, there is a special command,
1114 This will insert an invisible barline, and allow linebreaks at this
1117 In scores with many staves, a @code{\bar} command in one staff is
1118 automatically applied to all staves. The resulting bar lines are
1119 connected between different staves of a @internalsref{StaffGroup}:
1121 @lilypond[fragment, verbatim]
1122 << \context StaffGroup <<
1126 \new Staff { \clef bass c4 g e g } >>
1127 \new Staff { \clef bass c2 c2 } >>
1131 The command @code{\bar @var{bartype}} is a short cut for doing
1132 @code{\property Score.whichBar = @var{bartype}} Whenever
1133 @code{whichBar} is set to a string, a bar line of that type is
1134 created. At the start of a measure it is set to
1135 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1136 to override default measure bars.
1138 Property @code{whichBar} can also be set directly, using @code{\property}
1139 or @code{\bar}. These settings take precedence over the automatic
1140 @code{whichBar} settings.
1143 @cindex repeatCommands
1144 @cindex defaultBarType
1146 You are encouraged to use @code{\repeat} for repetitions. See
1153 In this manual: @ref{Repeats}.
1156 Internals: the bar line objects that are created at
1157 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1158 lines that span staves are @internalsref{SpanBar}s.
1160 @cindex bar lines at start of system
1161 @cindex start of system
1163 The barlines at the start of each system are
1164 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1165 @internalsref{SystemStartBracket}. Only one of these types is created
1166 in every context, and that type is determined by the property
1167 @code{systemStartDelimiter}.
1169 Examples: @inputfileref{input/test,bar-lines.ly},
1175 The easiest way to enter fragments with more than one voice on a staff
1176 is to split chords using the separator @code{\\}. You can use it for
1177 small, short-lived voices or for single chords:
1179 @lilypond[verbatim,fragment]
1180 \context Staff \relative c'' {
1181 c4 << { f d e } \\ { b c2 } >>
1182 c4 << g' \\ b, \\ f' \\ d >>
1186 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1187 voices are sometimes called "layers" other notation packages}
1189 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1190 each of these contexts, vertical direction of slurs, stems, etc. is set
1193 @cindex @code{\voiceOne}
1194 @cindex @code{\voiceFour}
1196 This can also be done by instantiating @internalsref{Voice} contexts
1197 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1198 a stem directions and horizontal shift for each part:
1201 @lilypond[singleline, verbatim]
1203 \context Staff << \new Voice { \voiceOne cis2 b }
1204 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1205 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1209 The command @code{\oneVoice} will revert back to the normal setting.
1210 @cindex @code{\oneVoice}
1213 Normally, note heads with a different number of dots are not merged, but
1214 when the object property @code{merge-differently-dotted} is set in
1215 the @internalsref{NoteCollision} object, they are merged:
1216 @lilypond[verbatim,fragment,singleline]
1217 \relative c'' \context Voice << {
1219 \property Staff.NoteCollision \override
1220 #'merge-differently-dotted = ##t
1222 } \\ { g8.[ f16] g8.[ f16] }
1226 Similarly, you can merge half note heads with eighth notes, by setting
1227 @code{merge-differently-headed}:
1228 @lilypond[fragment, relative=2,verbatim]
1231 \property Staff.NoteCollision
1232 \override #'merge-differently-headed = ##t
1233 c8 c4. } \\ { c2 c2 } >>
1236 LilyPond also vertically shifts rests that are opposite of a stem:
1239 @lilypond[singleline,fragment,verbatim]
1240 \context Voice << c''4 \\ r4 >>
1248 @cindex @code{\oneVoice}
1250 @cindex @code{\voiceOne}
1252 @cindex @code{\voiceTwo}
1254 @cindex @code{\voiceThree}
1256 @cindex @code{\voiceFour}
1260 The following commands specify in what chords of the current voice
1261 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1262 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1265 @cindex @code{\shiftOn}
1267 @cindex @code{\shiftOnn}
1269 @cindex @code{\shiftOnnn}
1271 @cindex @code{\shiftOff}
1278 Internals: the objects responsible for resolving collisions are
1279 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1281 Examples: See also example files
1282 @inputfileref{input/regression,collision-dots.ly},
1283 @inputfileref{input/regression,collision-head-chords.ly},
1284 @inputfileref{input/regression,collision-heads.ly},
1285 @inputfileref{input/regression,collision-mesh.ly}, and
1286 @inputfileref{input/regression,collisions.ly}.
1291 Resolving collisions is a intricate subject, and only a few situations
1292 are handled. When LilyPond cannot cope, the @code{force-hshift}
1293 property of the @internalsref{NoteColumn} object and pitched rests can
1294 be used to override typesetting decisions.
1296 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1297 note, and a downstem half note, the 8th note gets the wrong offset.
1299 There is no support for clusters where the same note occurs with
1300 different accidentals in the same chord. In this case, it is
1301 recommended to use enharmonic transcription, or to use special cluster
1302 notation (see @ref{Clusters}).
1307 Beams are used to group short notes into chunks that are aligned with
1308 the metrum. They are inserted automatically in most cases:
1310 @lilypond[fragment,verbatim, relative=2]
1311 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1314 When these automatic decisions are not good enough, beaming can be
1315 entered explicitly. It is also possible to define beaming patterns
1316 that differ from the defaults.
1320 Internals: @internalsref{Beam}.
1323 @cindex Automatic beams
1326 * Setting automatic beam behavior::
1330 @subsection Manual beams
1331 @cindex beams, manual
1335 In some cases it may be necessary to override the automatic beaming
1336 algorithm. For example, the auto beamer will not put beams over rests
1337 or bar lines. Such beams are specified by manually: the begin and end
1338 point are marked with @code{[} and @code{]}:
1340 @lilypond[fragment,relative,verbatim]
1342 r4 r8[ g' a r8] r8 g[ | a] r8
1346 @cindex @code{stemLeftBeamCount}
1348 Normally, beaming patterns within a beam are determined automatically.
1349 When this mechanism fouls up, the properties
1350 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1351 be used to control the beam subdivision on a stem. If either property
1352 is set, its value will be used only once, and then it is erased.
1354 @lilypond[fragment,relative,verbatim]
1357 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1360 @cindex @code{stemRightBeamCount}
1363 The property @code{subdivideBeams} can be set in order to subdivide
1364 all 16th or shorter beams at beat positions, as defined by the
1365 @code{beatLength} property . This accomplishes the same effect as
1366 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1367 but it take less typing:
1370 @lilypond[relative=1,verbatim,noindent]
1372 \property Voice.subdivideBeams = ##t
1374 \property Score.beatLength = #(ly:make-moment 1 8)
1377 @cindex subdivideBeams
1379 Kneed beams are inserted automatically, when a large gap is detected
1380 between the note heads. This behavior can be tuned through the object
1381 property @code{auto-knee-gap}.
1383 Normally, line breaks are forbidden when beams cross bar lines. This
1384 behavior can be changed by setting @code{allowBeamBreak}.
1386 @cindex @code{allowBeamBreak}
1387 @cindex beams and line breaks
1389 @cindex beams, kneed
1391 @cindex auto-knee-gap
1397 @cindex Frenched staves
1399 Automatically kneed beams cannot be used together with hidden staves.
1404 @node Setting automatic beam behavior
1405 @subsection Setting automatic beam behavior
1407 @cindex @code{autoBeamSettings}
1408 @cindex @code{(end * * * *)}
1409 @cindex @code{(begin * * * *)}
1410 @cindex automatic beams, tuning
1411 @cindex tuning automatic beaming
1413 @c [TODO: use \applycontext]
1415 In normal time signatures, automatic beams can start on any note but can
1416 only end in a few positions within the measure: beams can end on a beat,
1417 or at durations specified by the properties in
1418 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1419 are defined in @file{scm/auto-beam.scm}.
1421 The value of @code{autoBeamSettings} is changed using
1422 @code{\override} and restored with @code{\revert}:
1424 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1425 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1427 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1428 whether the rule applies to begin or end-points. The quantity
1429 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1430 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1431 signature (wildcards `@code{* *}' may be entered to designate all time
1434 For example, if automatic beams should end on every quarter note, use
1437 \property Voice.autoBeamSettings \override
1438 #'(end * * * *) = #(ly:make-moment 1 4)
1440 Since the duration of a quarter note is 1/4 of a whole note, it is
1441 entered as @code{(ly:make-moment 1 4)}.
1443 The same syntax can be used to specify beam starting points. In this
1444 example, automatic beams can only end on a dotted quarter note:
1446 \property Voice.autoBeamSettings \override
1447 #'(end * * * *) = #(ly:make-moment 3 8)
1449 In 4/4 time signature, this means that automatic beams could end only on
1450 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1451 3/8, has passed within the measure).
1453 Rules can also be restricted to specific time signatures. A rule that
1454 should only be applied in @var{N}/@var{M} time signature is formed by
1455 replacing the second asterisks by @var{N} and @var{M}. For example, a
1456 rule for 6/8 time exclusively looks like
1458 \property Voice.autoBeamSettings \override
1459 #'(begin * * 6 8) = ...
1462 If a rule should be to applied only to certain types of beams, use the
1463 first pair of asterisks. Beams are classified according to the
1464 shortest note they contain. For a beam ending rule that only applies
1465 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1468 If a score ends while an automatic beam has not been ended and is still
1469 accepting notes, this last beam will not be typeset at all.
1471 @cindex automatic beam generation
1473 @cindex @code{Voice.autoBeaming}
1476 For melodies that have lyrics, you may want to switch off
1477 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1482 @cindex @code{\autoBeamOff}
1483 @code{\autoBeamOff},
1484 @cindex @code{\autoBeamOn}
1490 The rules for ending a beam depend on the shortest note in a beam.
1491 So, while it is possible to have different ending rules for eight
1492 beams and sixteenth beams, a beam that contains both eight and
1493 sixteenth notes will use the rules for the sixteenth beam.
1495 In the example below, the autobeamer makes eight beams and sixteenth
1496 end at 3 eights; the third beam can only be corrected by specifying
1499 @lilypond[singleline,fragment,relative,noverbatim,quote]
1500 \property Voice.autoBeamSettings
1501 \override #'(end * * * *) = #(ly:make-moment 3 8)
1502 % rather show case where it goes wrong
1503 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1504 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1506 It is not possible to specify beaming parameters that act differently in
1507 different parts of a measure. This means that it is not possible to use
1508 automatic beaming in irregular meters such as @code{5/8}.
1511 @section Accidentals
1514 This section describes how to change the way that accidentals are
1515 inserted automatically before the running notes.
1519 * Using the predefined accidental variables::
1520 * Customized accidental rules::
1523 @node Using the predefined accidental variables
1524 @subsection Using the predefined accidental variables
1526 The constructs for describing the accidental typesetting rules are
1527 quite hairy, so non-experts should stick to the variables
1528 defined in @file{ly/property-init.ly}.
1529 @cindex @file{property-init.ly}
1531 The variables set properties in the ``@code{Current}'' context (see
1532 @ref{Context properties}). This means that the variables should
1533 normally be added right after the creation of the context in which the
1534 accidental typesetting described by the variable is to take
1535 effect. For example, if you want to use piano-accidentals in a piano
1536 staff then issue @code{\pianoAccidentals} first thing after the
1537 creation of the piano staff:
1540 \notes \relative c'' <<
1541 \new Staff @{ cis4 d e2 @}
1542 \context GrandStaff <<
1544 \new Staff @{ cis4 d e2 @}
1545 \new Staff @{ es2 c @}
1547 \new Staff @{ es2 c @}
1551 @lilypond[singleline]
1553 \notes \relative c'' <<
1554 \new Staff { cis4 d e2 }
1555 \context GrandStaff <<
1557 \new Staff { cis4 d e2 }
1558 \new Staff { es2 c }
1560 \new Staff { es2 c }
1565 minimumVerticalExtent = #'(-4.0 . 4.0)
1573 @item \defaultAccidentals
1574 @cindex @code{\defaultAccidentals}
1575 This is the default typesetting behaviour. It should correspond
1576 to 18th century common practice: Accidentals are
1577 remembered to the end of the measure in which they occur and
1578 only on their own octave.
1580 @item \voiceAccidentals
1581 @cindex @code{\voiceAccidentals}
1583 The normal behaviour is to
1584 remember the accidentals on Staff-level. This variable, however,
1585 typesets accidentals individually for each voice. Apart from that the
1586 rule is similar to @code{\defaultAccidentals}.
1588 This leads to some weird and often unwanted results
1589 because accidentals from one voice do not get cancelled in other
1591 @lilypond[singleline,relative,fragment,verbatim,quote]
1599 Hence you should only use @code{\voiceAccidentals} if the voices
1600 are to be read solely by individual musicians. If the staff is to be
1601 used by one musician (e.g. a conductor) then you use
1602 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1605 @item \modernAccidentals
1606 @cindex @code{\modernAccidentals}
1607 This rule corresponds to the common practice in the 20th
1609 The rule is more complex than @code{\defaultAccidentals}.
1610 You get all the same accidentals, but temporary
1611 accidentals also get cancelled in other octaves. Furthermore,
1612 in the same octave, they also get cancelled in the following measure:
1613 @lilypond[singleline,fragment,verbatim]
1615 cis' c'' cis'2 | c'' c'
1618 @item \modernCautionaries
1619 @cindex @code{\modernCautionaries}
1620 This rule is similar to @code{\modernAccidentals}, but the
1621 ``extra'' accidentals (the ones not typeset by
1622 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1623 They are printed in reduced size or with parentheses:
1624 @lilypond[singleline,fragment,verbatim]
1626 cis' c'' cis'2 | c'' c'
1629 @cindex @code{\modernVoiceAccidentals}
1630 @item \modernVoiceAccidentals
1631 is used for multivoice accidentals to be read both by musicians
1632 playing one voice and musicians playing all voices. Accidentals are
1633 typeset for each voice, but they @emph{are} cancelled across voices in
1634 the same @internalsref{Staff}.
1636 @cindex @code{\modernVoiceCautionaries}
1637 @item \modernVoiceCautionaries
1638 is the same as @code{\modernVoiceAccidentals}, but with the extra
1639 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1640 as cautionaries. Even though all accidentals typeset by
1641 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1642 some of them are typeset as cautionaries.
1644 @item \pianoAccidentals
1645 @cindex @code{\pianoAccidentals}
1646 20th century practice for piano notation. Very similar to
1647 @code{\modernAccidentals} but accidentals also get cancelled
1648 across the staves in the same @internalsref{GrandStaff} or
1649 @internalsref{PianoStaff}.
1651 @item \pianoCautionaries
1652 @cindex @code{\pianoCautionaries}
1653 As @code{\pianoAccidentals} but with the extra accidentals
1654 typeset as cautionaries.
1657 @cindex @code{\noResetKey}
1658 Same as @code{\defaultAccidentals} but with accidentals lasting
1659 ``forever'' and not only until the next measure:
1660 @lilypond[singleline,fragment,verbatim,relative]
1665 @item \forgetAccidentals
1666 @cindex @code{\forgetAccidentals}
1667 This is sort of the opposite of @code{\noResetKey}: Accidentals
1668 are not remembered at all---and hence all accidentals are
1669 typeset relative to the key signature, regardless of what was
1670 before in the music:
1671 @lilypond[singleline,fragment,verbatim,relative]
1673 \key d\major c4 c cis cis d d dis dis
1677 @node Customized accidental rules
1678 @subsection Customized accidental rules
1680 For determining when to print an accidental, several different rules
1681 are tried. The rule that gives the highest number of accidentals is
1682 used. Each rule consists of
1685 In which context is the rule applied. For example, if
1686 @var{context} is @internalsref{Score} then all staves share
1687 accidentals, and if @var{context} is @internalsref{Staff} then all
1688 voices in the same staff share accidentals, but staves do not.
1690 Whether the accidental changes all octaves or only the current
1693 Over how many barlines the accidental lasts.
1694 If @var{lazyness} is @code{-1} then the accidental is forget
1695 immediately, and if @var{lazyness} is @code{#t} then the accidental
1698 @c [TODO: should use +infinity for this case?]
1704 @cindex @code{\defaultAccidentals}
1705 @code{\defaultAccidentals},
1706 @cindex @code{\voiceAccidentals}
1707 @code{\voiceAccidentals},
1708 @cindex @code{\modernAccidentals}
1709 @code{\modernAccidentals},
1710 @cindex @code{\modernCautionaries}
1711 @code{\modernCautionaries},
1712 @cindex @code{\modernVoiceAccidentals}
1713 @code{\modernVoiceAccidentals},
1714 @cindex @code{\modernVoiceCautionaries}
1715 @code{\modernVoiceCautionaries},
1716 @cindex @code{\pianoAccidentals}
1717 @code{\pianoAccidentals},
1718 @cindex @code{\pianoCautionaries}
1719 @code{\pianoCautionaries},
1720 @cindex @code{\noResetKey}
1722 @cindex @code{\forgetAccidentals}
1723 @code{\forgetAccidentals}.
1727 Internals: @internalsref{Accidental_engraver},
1728 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1733 Currently the simultaneous notes are considered to be entered in
1734 sequential mode. This means that in a chord the accidentals are
1735 typeset as if the notes in the chord happened once at a time - in the
1736 order in which they appear in the input file.
1738 This is only a problem when there are simultaneous notes whose
1739 accidentals depend on each other. The problem only occurs when using
1740 non-default accidentals. In the default scheme, accidentals only
1741 depend on other accidentals with the same pitch on the same staff, so
1742 no conflicts possible.
1744 This example shows two examples of the same music giving different
1745 accidentals depending on the order in which the notes occur in the
1748 @lilypond[singleline,fragment,verbatim]
1749 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1750 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1751 | <cis' c''> r | <c'' cis'> r |
1754 This problem can be solved by manually inserting @code{!} and @code{?}
1755 for the problematic notes.
1757 @node Expressive marks
1758 @section Expressive marks
1761 @c todo: should change ordering
1762 @c where to put text spanners, metronome marks,
1771 * Analysis brackets::
1773 * Fingering instructions::
1784 A slur indicates that notes are to be played bound or @emph{legato}.
1788 They are entered using parentheses:
1789 @lilypond[relative 1,fragment,verbatim,center]
1790 f( g)( a) a8 b( a4 g2 f4)
1795 @c TODO: should explain that ^( and _( set directions
1796 @c should set attachments with ^ and _ ?
1798 Slurs avoid crossing stems, and are generally attached to note heads.
1799 However, in some situations with beams, slurs may be attached to stem
1800 ends. If you want to override this layout you can do this through the
1801 object property @code{attachment} of @internalsref{Slur} in
1802 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1803 the attachment type of the left and right end points:
1805 @lilypond[fragment,relative,verbatim]
1807 \property Voice.Stem \set #'length = #5.5
1809 \property Voice.Slur \set #'attachment = #'(stem . stem)
1813 If a slur would strike through a stem or beam, the slur will be moved
1814 away upward or downward. If this happens, attaching the slur to the
1815 stems might look better:
1817 @lilypond[fragment,relative,verbatim]
1820 \property Voice.Slur \set #'attachment = #'(stem . stem)
1827 @cindex @code{\slurUp}
1829 @cindex @code{\slurDown}
1831 @cindex @code{\slurBoth}
1833 @cindex @code{\slurDotted}
1835 @cindex @code{\slurSolid}
1840 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1845 Producing nice slurs is a difficult problem, and LilyPond currently
1846 uses a simple, empiric method to produce slurs. In some cases, its
1850 @cindex Adjusting slurs
1852 @node Phrasing slurs
1853 @subsection Phrasing slurs
1855 @cindex phrasing slurs
1856 @cindex phrasing marks
1858 A phrasing slur (or phrasing mark) connects chords and is used to
1859 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1862 @lilypond[fragment,verbatim,center,relative]
1863 \time 6/4 c'\( d( e) f( e) d\)
1866 Typographically, the phrasing slur behaves almost exactly like a
1867 normal slur. However, they are treated as different objects. A
1868 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1869 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1870 @code{\phrasingSlurBoth}.
1872 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1873 will only affect normal slurs and not phrasing slurs.
1877 @cindex @code{\phrasingSlurUp}
1878 @code{\phrasingSlurUp},
1879 @cindex @code{\phrasingSlurDown}
1880 @code{\phrasingSlurDown},
1881 @cindex @code{\phrasingSlurBoth}
1882 @code{\phrasingSlurBoth},
1886 Internals: see also @internalsref{PhrasingSlur}, and
1887 @internalsref{PhrasingSlurEvent}.
1891 Phrasing slurs have the same limitations in their formatting as normal
1892 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1895 @subsection Breath marks
1897 Breath marks are entered using @code{\breathe}:
1900 @lilypond[fragment,relative,verbatim]
1904 The glyph of the breath mark can be tweaked by overriding the
1905 @code{text} property of the @code{BreathingSign} layout object with
1906 any markup text. For example,
1907 @lilypond[fragment,verbatim,relative]
1909 \property Voice.BreathingSign \override #'text
1910 = #(make-musicglyph-markup "scripts-rvarcomma")
1917 Internals: @internalsref{BreathingSign},
1918 @internalsref{BreathingSignEvent}
1920 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1923 @node Metronome marks
1924 @subsection Metronome marks
1927 @cindex beats per minute
1928 @cindex metronome marking
1930 Metronome settings can be entered as follows:
1932 \tempo @var{duration} = @var{perminute}
1935 In the MIDI output, they are interpreted as a tempo change, and in the
1936 paper output, a metronome marking is printed:
1937 @cindex @code{\tempo}
1938 @lilypond[fragment,verbatim]
1944 Internals: @internalsref{MetronomeChangeEvent}.
1949 @subsection Text spanners
1950 @cindex Text spanners
1952 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1953 are written as texts, and extended over many measures with dotted
1954 lines. You can create such texts using text spanners: attach
1955 @code{\startTextSpan} and @code{\stopTextSpan} to the
1956 start and ending note of the spanner.
1958 The string to be printed, as well as the style, is set through object
1961 @lilypond[fragment,relative,verbatim]
1963 \property Voice.TextSpanner \set #'direction = #-1
1964 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1965 c2\startTextSpan b c\stopTextSpan a }
1971 Internals @internalsref{TextSpanEvent},
1972 @internalsref{TextSpanner}.
1974 Examples: @inputfileref{input/regression,text-spanner.ly}.
1977 @node Analysis brackets
1978 @subsection Analysis brackets
1980 @cindex phrasing brackets
1981 @cindex musicological analysis
1982 @cindex note grouping bracket
1984 Brackets are used in musical analysis to indicate structure in musical
1985 pieces. LilyPond supports a simple form of nested horizontal brackets.
1986 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1987 @internalsref{Staff} context. A bracket is started with
1988 @code{\startGroup} and closed with @code{\stopGroup}:
1990 @lilypond[singleline,verbatim]
1991 \score { \notes \relative c'' {
1992 c4\startGroup\startGroup
1995 c4\stopGroup\stopGroup
1997 \paper { \translator {
1998 \StaffContext \consists "Horizontal_bracket_engraver"
2004 Internals: @internalsref{HorizontalBracket},
2005 @internalsref{NoteGroupingEvent}
2007 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2011 @subsection Articulations
2012 @cindex Articulations
2014 @cindex articulations
2018 A variety of symbols can appear above and below notes to indicate
2019 different characteristics of the performance. They are added to a note
2020 by adding a dash and the character signifying the
2021 articulation. They are demonstrated here:
2023 @lilypondfile[notexidoc]{script-abbreviations.ly}
2025 The meanings of these shorthands can be changed: see
2026 @file{ly/script-init.ly} for examples.
2029 The script is automatically placed, but if you need to force
2030 directions, you can use @code{_} to force them down, or @code{^} to
2032 @lilypond[fragment, verbatim]
2036 Other symbols can be added using the syntax
2037 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2038 can be forced up or down using @code{^} and @code{_},
2041 @lilypond[verbatim,fragment,relative 2]
2042 c\fermata c^\fermata c_\fermata
2049 @cindex staccatissimo
2058 @cindex organ pedal marks
2067 @cindex prallmordent
2071 @cindex thumb marking
2076 @lilypondfile[notexidoc]{script-chart.ly}
2081 @cindex @code{\scriptUp}
2083 @cindex @code{\scriptDown}
2085 @cindex @code{\scriptBoth}
2090 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2094 These note ornaments appear in the printed output but have no
2095 effect on the MIDI rendering of the music.
2098 @node Fingering instructions
2099 @subsection Fingering instructions
2103 Fingering instructions can be entered using
2105 @var{note}-@var{digit}
2107 For finger changes, use markup texts:
2109 @lilypond[verbatim, singleline, fragment]
2110 c'4-1 c'4-2 c'4-3 c'4-4
2111 c'^\markup { \fontsize #-3 \number "2-3" }
2114 @cindex finger change
2119 You can use the thumb-script to indicate that a note should be
2120 played with the thumb (e.g. in cello music):
2122 @lilypond[verbatim, singleline, fragment]
2123 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2124 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2127 Fingerings for chords can also be added to individual notes
2128 of the chord by adding them after the pitches:
2129 @lilypond[verbatim,singleline,fragment,relative=1]
2130 < c-1 e-2 g-3 b-5 > 4
2134 In this case, setting @code{fingeringOrientations} will put fingerings next
2137 @lilypond[verbatim,singleline,fragment,relative=1]
2138 \property Voice.fingeringOrientations = #'(left down)
2139 <c-1 es-2 g-4 bes-5 > 4
2140 \property Voice.fingeringOrientations = #'(up right down)
2141 <c-1 es-2 g-4 bes-5 > 4
2144 By using single note chords, fingering instructions can be put close
2145 to note heads in monophonic music.
2149 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2151 Examples: @inputfileref{input/regression,finger-chords.ly}
2154 @subsection Text scripts
2155 @cindex Text scripts
2157 @cindex text items, non-empty
2158 @cindex non-empty texts
2160 It is possible to place arbitrary strings of text or markup text (see
2161 @ref{Text markup}) above or below notes by using a string:
2162 @code{c^"text"}. By default, these indications do not influence the
2163 note spacing, but by using the command @code{\fatText}, the widths
2164 will be taken into account:
2166 @lilypond[fragment,singleline,verbatim] \relative c' {
2167 c4^"longtext" \fatText c4_"longlongtext" c4 }
2170 It is possible to use @TeX{} commands in the strings, but this should
2171 be avoided because the exact dimensions of the string can then no
2176 @refcommand{fatText}, @refcommand{emptyText}.
2181 In this manual: @ref{Text markup}.
2183 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2189 @subsection Grace notes
2192 @c should have blurb about accaciatura / appogiatura
2194 @cindex @code{\grace}
2198 Grace notes are ornaments that are written out. The most common ones
2199 are acciaccatura, which should be played as very short. It is denoted
2200 by a slurred small note with a slashed stem. The appoggiatura is a
2201 grace note that takes a fixed fraction of the main note, is and
2202 denoted as a slurred note in small print without a slash.
2203 They are entered with the commands @code{\acciaccatura} and
2204 @code{\appoggiatura}, as demonstrated in the following example:
2207 @cindex appoggiatura
2208 @cindex acciaccatura
2210 @lilypond[relative=2,verbatim,fragment]
2211 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2212 \acciaccatura { g16[ f] } e4
2215 Both are special forms of the @code{\grace} command. By prefixing this
2216 keyword to a music expression, a new one is formed, which will be
2217 printed in a smaller font and takes up no logical time in a measure.
2218 @lilypond[relative=2,verbatim,fragment]
2220 \grace { c16[ d16] } c2 c4
2224 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2225 @code{\grace} command does not start a slur.
2227 Internally, timing for grace notes is done using a second, `grace'
2228 time. Every point in time consists of two rational numbers: one
2229 denotes the logical time, one denotes the grace timing. The above
2230 example is shown here with timing tuples:
2232 @lilypond[singleline]
2235 c4 \grace c16 c4 \grace {
2238 \new Lyrics \lyrics {
2241 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2242 \markup { (\fraction 1 4 , 0 ) } 4
2244 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2245 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2247 \markup { ( \fraction 2 4 , 0 ) }
2252 The placement of grace notes is synchronized between different staves.
2253 In the following example, there are two sixteenth graces notes for
2254 every eighth grace note:
2256 @lilypond[relative=2,verbatim,fragment]
2257 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2258 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2263 If you want to end a note with a grace, then the standard trick
2264 is to put the grace notes after a ``space note'', e.g.
2265 @lilypond[fragment,verbatim, relative=2]
2268 { s2 \grace { c16[ d] } } >>
2274 By adjusting the duration of the skip note (here it is a half-note),
2275 the space between the main-note and the grace is adjusted.
2278 A @code{\grace} section will introduce special typesetting settings,
2279 for example, to produce smaller type, and set directions. Hence, when
2280 introducing layout tweaks, they should be inside the grace section,
2282 @lilypond[fragment,verbatim,relative 1]
2285 \property Voice.Stem \override #'direction = #-1
2287 \property Voice.Stem \revert #'direction
2294 The overrides should also be reverted inside the grace section.
2296 If the layout of grace sections must be changed throughout the music,
2297 then this can be accomplished through the function
2298 @code{add-grace-property}. The following example
2299 undefines the Stem direction grace section, so stems do not always
2304 #(add-grace-property "Voice" Stem direction '())
2310 Another option is to change the variables @code{startGraceMusic},
2311 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2312 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2313 @code{stopAppoggiaturaMstuic}. More information is in the file
2314 @file{ly/grace-init.ly}
2319 Internals: @internalsref{GraceMusic}.
2323 A score that starts with an @code{\grace} section needs an explicit
2324 @code{\context Voice} declaration, otherwise the main note and grace
2325 note end up on different staves.
2327 Grace note synchronization can also lead to surprises. Staff notation,
2328 such as key signatures, barlines, etc. are also synchronized. Take
2329 care when you mix staves with grace notes and staves without, for example,
2331 @lilypond[relative=2,verbatim,fragment]
2332 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2333 \new Staff { c4 \bar "|:" d4 } >>
2336 Grace sections should only be used within sequential music
2337 expressions. Nesting or juxtaposing grace sections is not supported,
2338 and might produce crashes or other errors.
2342 @subsection Glissando
2345 @cindex @code{\glissando}
2347 A glissando is a smooth change in pitch. It is denoted by a line or a
2348 wavy line between two notes.
2352 A glissando line can be requested by attaching a @code{\glissando} to
2355 @lilypond[fragment,relative,verbatim]
2361 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2366 Adding additional texts (such as @emph{gliss.}) is not supported.
2370 @subsection Dynamics
2383 @cindex @code{\ffff}
2393 Absolute dynamic marks are specified using an variable after a
2394 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2395 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2396 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2397 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2399 @lilypond[verbatim,singleline,fragment,relative]
2400 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2406 @cindex @code{\decr}
2407 @cindex @code{\rced}
2414 A crescendo mark is started with @code{\<} and terminated with
2415 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2416 with @code{\!}. Because these marks are bound to notes, if you must
2417 use spacer notes if multiple marks during one note are needed:
2419 @lilypond[fragment,verbatim,center,quote]
2420 c''\< c''\! d''\decr e''\rced
2421 << f''1 { s4 s4\< s4\! \> s4\! } >>
2423 This may give rise to very short hairpins. Use @code{minimum-length}
2424 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2428 \property Staff.Hairpin \override #'minimum-length = #5
2431 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2432 is an example how to do it:
2434 @lilypond[fragment,relative=2,verbatim]
2435 c4 \cresc c4 c c c \endcresc c4
2441 You can also supply your own texts:
2442 @lilypond[fragment,relative,verbatim]
2444 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2445 \property Voice.crescendoSpanner = #'dashed-line
2455 @cindex @code{\dynamicUp}
2457 @cindex @code{\dynamicDown}
2458 @code{\dynamicDown},
2459 @cindex @code{\dynamicBoth}
2460 @code{\dynamicBoth}.
2462 @cindex direction, of dynamics
2466 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2467 @internalsref{AbsoluteDynamicEvent}.
2469 Dynamics are objects of @internalsref{DynamicText} and
2470 @internalsref{Hairpin}. Vertical positioning of these symbols is
2471 handled by the @internalsref{DynamicLineSpanner} object.
2473 If you want to adjust padding or vertical direction of the dynamics, you
2474 must set properties for the @internalsref{DynamicLineSpanner} object.
2482 @cindex @code{\repeat}
2485 Repetition is a central concept in music, and multiple notations exist
2486 for repetitions. In LilyPond, most of these notations can be captured
2487 in a uniform syntax. One of the advantages is that they can be
2488 rendered in MIDI accurately.
2490 The following types of repetition are supported:
2494 Repeated music is fully written (played) out. Useful for MIDI
2495 output, and entering repetitive music.
2498 This is the normal notation: Repeats are not written out, but
2499 alternative endings (voltas) are printed, left to right.
2503 Alternative endings are written stacked. This has limited use but may be
2504 used to typeset two lines of lyrics in songs with repeats, see
2505 @inputfileref{input,star-spangled-banner.ly}.
2513 Make beat or measure repeats. These look like percent signs.
2519 * Repeats and MIDI::
2520 * Manual repeat commands::
2522 * Tremolo subdivisions::
2527 @subsection Repeat syntax
2531 LilyPond has one syntactic construct for specifying different types of
2532 repeats. The syntax is
2535 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2538 If you have alternative endings, you may add
2539 @cindex @code{\alternative}
2541 \alternative @code{@{} @var{alternative1}
2543 @var{alternative3} @dots{} @code{@}}
2545 where each @var{alternative} is a music expression. If you do not
2546 give enough alternatives for all of the repeats, then the first
2547 alternative is assumed to be played more than once.
2549 Normal notation repeats are used like this:
2550 @lilypond[fragment,verbatim,relative 1]
2552 \repeat volta 2 { c4 d e f }
2553 \repeat volta 2 { f e d c }
2556 With alternative endings:
2557 @lilypond[fragment,verbatim,relative 1]
2559 \repeat volta 2 {c4 d e f}
2560 \alternative { {d2 d} {f f,} }
2564 @lilypond[fragment,verbatim,relative 1]
2567 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2568 \alternative { { g4 g g } { a | a a a a | b2. } }
2574 If you do a nested repeat like
2583 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2584 belongs. This ambiguity is resolved by always having the
2585 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2586 it is advisable to use braces in such situations.
2589 @node Repeats and MIDI
2590 @subsection Repeats and MIDI
2592 @cindex expanding repeats
2594 For instructions on how to unfold repeats for MIDI output, see the
2595 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2600 Timing information is not remembered at the start of an alternative,
2601 so after a repeat timing information must be reset by hand, for
2602 example by setting @code{Score.measurePosition} or entering
2603 @code{\partial}. Similarly, slurs or ties are also not repeated.
2606 @node Manual repeat commands
2607 @subsection Manual repeat commands
2609 @cindex @code{repeatCommands}
2611 The property @code{repeatCommands} can be used to control the layout of
2612 repeats. Its value is a Scheme list of repeat commands, where each repeat
2616 @item the symbol @code{start-repeat},
2617 which prints a @code{|:} bar line,
2618 @item the symbol @code{end-repeat},
2619 which prints a @code{:|} bar line,
2620 @item the list @code{(volta @var{text})},
2621 which prints a volta bracket saying @var{text}: The text can be specified as
2622 a text string or as a markup text, see @ref{Text markup}. Do not
2623 forget to change the font, as the default number font does not contain
2624 alphabetic characters. Or,
2625 @item the list @code{(volta #f)}, which
2626 stops a running volta bracket:
2629 @lilypond[verbatim, fragment,relative 2]
2631 \property Score.repeatCommands = #'((volta "93") end-repeat)
2633 \property Score.repeatCommands = #'((volta #f))
2640 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2641 @internalsref{VoltaRepeatedMusic},
2642 @internalsref{UnfoldedRepeatedMusic}, and
2643 @internalsref{FoldedRepeatedMusic}.
2645 @node Tremolo repeats
2646 @subsection Tremolo repeats
2647 @cindex tremolo beams
2649 To place tremolo marks between notes, use @code{\repeat} with tremolo
2651 @lilypond[verbatim,singleline]
2653 \context Voice \notes\relative c' {
2654 \repeat "tremolo" 8 { c16 d16 }
2655 \repeat "tremolo" 4 { c16 d16 }
2656 \repeat "tremolo" 2 { c16 d16 }
2661 Tremolo marks can also be put on a single note. In this case, the
2662 note should not be surrounded by braces.
2663 @lilypond[verbatim,singleline]
2664 \repeat "tremolo" 4 c16
2667 A similar mechanism is the tremolo subdivision, described in
2668 @ref{Tremolo subdivisions}.
2672 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2674 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2675 tremolos are @internalsref{StemTremolo}s. The music expression is
2676 @internalsref{TremoloEvent},
2678 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2679 @inputfileref{input/regression,stem-tremolo.ly}.
2681 @node Tremolo subdivisions
2682 @subsection Tremolo subdivisions
2683 @cindex tremolo marks
2684 @cindex @code{tremoloFlags}
2686 Tremolo marks can be printed on a single note by adding
2687 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2688 A @var{length} value of 8 gives one line across the note stem. If the
2689 length is omitted, then then the last value (stored in
2690 @code{Voice.tremoloFlags}) is used:
2692 @lilypond[verbatim,fragment,center]
2693 c'2:8 c':32 | c': c': |
2696 @c [TODO : stok is te kort bij 32en]
2700 Tremolos in this style do not carry over into the MIDI output.
2704 In this manual: @ref{Tremolo repeats}.
2706 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2708 @node Measure repeats
2709 @subsection Measure repeats
2711 @cindex percent repeats
2712 @cindex measure repeats
2714 In the @code{percent} style, a note pattern can be repeated. It is
2715 printed once, and then the pattern is replaced with a special sign.
2716 Patterns of a one and two measures are replaced by percent-like signs,
2717 patterns that divide the measure length are replaced by slashes:
2719 @lilypond[verbatim,singleline]
2720 \context Voice { \repeat "percent" 4 { c'4 }
2721 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2727 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2728 @internalsref{PercentRepeatedMusic}, and
2729 @internalsref{DoublePercentRepeat}.
2733 @node Rhythmic music
2734 @section Rhythmic music
2736 Sometimes you might want to show only the rhythm of a melody. This
2737 can be done with the rhythmic staff. All pitches of notes on such a
2738 staff are squashed, and the staff itself has a single line:
2740 @lilypond[fragment,relative,verbatim]
2741 \context RhythmicStaff {
2743 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2749 Internals: @internalsref{RhythmicStaff}.
2751 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2755 * Percussion staves::
2756 * Percussion MIDI output::
2759 @node Percussion staves
2760 @subsection Percussion staves
2764 A percussion part for more than one instrument typically uses a
2765 multiline staff where each position in the staff refers to one piece
2770 Percussion notes may be entered in @code{\drums} mode, which is
2771 similar to @code{notes}. Each piece of percussion has a full name and
2772 an abbreviated name, and both be used in input files:
2774 @lilypond[singleline]
2775 \drums { hihat4 hh4 }
2778 To typeset the music, the notes must be interpreted in a
2779 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2782 @lilypond[singleline,verbatim,quote]
2783 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2784 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2787 << \new DrumVoice { \voiceOne \up }
2788 \new DrumVoice { \voiceTwo \down }
2792 There are also other layout possibilities. To use these, set the
2793 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2794 The following variables have been predefined:
2798 is the default. It typesets a typical drum kit on a five-line staff
2801 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2802 bd sn ss tomh tommh tomml toml tomfh tomfl }
2803 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2804 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2806 << \new DrumStaff\with {
2807 \remove Bar_engraver
2808 \remove Time_signature_engraver
2809 Stem \set #'transparent = ##t
2810 Stem \set #'Y-extent-callback = ##f
2811 minimumVerticalExtent = #'(-4.0 . 5.0)
2813 \context Lyrics \nam
2816 %% need to do this, because of indented @itemize
2818 \translator { \ScoreContext
2819 BarNumber \set #'transparent =##T
2823 The drum scheme supports six different toms. When there fewer toms, simply
2824 select the toms that produce the desired result, i.e. to get toms on
2825 the three middle lines you use @code{tommh}, @code{tomml} and
2828 @item timbales-style
2829 to typeset timbales on a two line staff:
2831 @lilypond[singleline]
2832 nam = \lyrics { timh ssh timl ssl cb }
2833 mus = \drums { timh ssh timl ssl cb s16 }
2836 \context DrumStaff \with {
2837 \remove Bar_engraver
2838 \remove Time_signature_engraver
2839 Stem \set #'transparent = ##t
2840 Stem \set #'Y-extent-callback = ##f
2841 StaffSymbol \override #'line-count = #2
2842 StaffSymbol \override #'staff-space = #2
2843 minimumVerticalExtent = #'(-3.0 . 4.0)
2844 drumStyleTable = #timbales-style
2846 \context Lyrics \nam
2851 to typeset congas on a two line staff:
2853 @lilypond[singleline]
2854 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2855 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2858 \context DrumStaff\with {
2859 \remove Bar_engraver
2860 \remove Time_signature_engraver
2861 drumStyleTable = #congas-style
2862 StaffSymbol \override #'line-count = #2
2864 %% this sucks; it will lengthen stems.
2865 StaffSymbol \override #'staff-space = #2
2866 Stem \set #'transparent = ##t
2867 Stem \set #'Y-extent-callback = ##f
2869 \context Lyrics \nam
2874 to typeset bongos on a two line staff:
2876 @lilypond[singleline]
2877 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2878 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2881 \context DrumStaff\with {
2882 \remove Bar_engraver
2883 \remove Time_signature_engraver
2884 StaffSymbol \override #'line-count = #2
2885 drumStyleTable = #bongos-style
2887 %% this sucks; it will lengthen stems.
2888 StaffSymbol \override #'staff-space = #2
2889 Stem \set #'transparent = ##t
2890 Stem \set #'Y-extent-callback = ##f
2892 \context Lyrics \nam
2897 @item percussion-style
2898 to typeset all kinds of simple percussion on one line staves:
2899 @lilypond[singleline]
2900 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2901 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2904 \context DrumStaff\with{
2905 \remove Bar_engraver
2906 drumStyleTable = #percussion-style
2907 StaffSymbol \override #'line-count = #1
2908 \remove Time_signature_engraver
2909 Stem \set #'transparent = ##t
2910 Stem \set #'Y-extent-callback = ##f
2912 \context LyricsVoice \nam
2918 If you do not like any of the predefined lists you can define your own
2919 list at the top of your file:
2921 @lilypond[singleline, verbatim]
2923 (bassdrum default #f -1)
2924 (snare default #f 0)
2926 (pedalhihat xcircle "stopped" 2)
2927 (lowtom diamond #f 3)
2929 up = \drums { hh8 hh hh hh hhp4 hhp }
2930 down = \drums { bd4 sn bd toml8 toml }
2933 \property DrumStaff.drumStyleTable
2934 = #(alist->hash-table mydrums)
2935 \new DrumVoice { \voiceOne \up }
2936 \new DrumVoice { \voiceTwo \down }
2944 Init files: @file{ly/drumpitch-init.ly}
2948 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2949 work for @internalsref{DrumVoices}.
2953 @node Percussion MIDI output
2954 @subsection Percussion MIDI output
2958 In order to produce correct MIDI output you need to produce two score
2959 blocks---one for the paper and one for the MIDI output. To use the
2960 percussion channel you set the property @code{instrument} to
2961 @code{'drums}. Because the drum-pitches themselves are similar to the
2962 general MIDI pitches all you have to do is to insert the voices with
2963 none of the scheme functions to get the correct MIDI output:
2967 \apply #(drums->paper 'mydrums) \context Staff <<
2976 \property Staff.instrument = #'drums
2983 Because general MIDI does not contain rimshots the sidestick is used
2984 for this purpose instead.
2991 MIDI output for drums is temporarily broken.
2994 @section Piano music
2996 Piano staves are two normal staves coupled with a brace. The staves
2997 are largely independent, but sometimes voices can cross between the
2998 two staves. The same notation is also used for harps and other key
2999 instruments. The @internalsref{PianoStaff} is especially built to
3000 handle this cross-staffing behavior. In this section we discuss the
3001 @internalsref{PianoStaff} and some other pianistic peculiarities.
3005 * Automatic staff changes::
3006 * Manual staff switches::
3009 * Staff switch lines::
3014 There is no support for putting chords across staves. You can get
3015 this result by increasing the length of the stem in the lower stave so
3016 it reaches the stem in the upper stave, or vice versa. An example is
3017 included with the distribution as
3018 @inputfileref{input/test,stem-cross-staff.ly}.
3020 Dynamics are not centered, but kludges do exist. See
3021 @inputfileref{input/template,piano-dynamics.ly}.
3023 @cindex cross staff stem
3024 @cindex stem, cross staff
3027 @c fixme: should have hyperlinks as well.
3033 @node Automatic staff changes
3034 @subsection Automatic staff changes
3035 @cindex Automatic staff changes
3037 Voices can switch automatically between the top and the bottom
3038 staff. The syntax for this is
3040 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3042 The two staffs of the piano staff must be named @code{up} and
3045 The autochanger switches on basis of pitch (central C is the turning
3046 point), and it looks ahead skipping over rests to switch in
3047 advance. Here is a practical example:
3049 @lilypond[verbatim,singleline,quote]
3050 \score { \notes \context PianoStaff <<
3051 \context Staff = "up" {
3052 \autochange \new Voice \relative c' {
3053 g4 a b c d r4 a g } }
3054 \context Staff = "down" {
3061 In this example, spacer rests are used to prevent the bottom staff from
3062 terminating too soon.
3067 In this manual: @ref{Manual staff switches}
3069 Internals: @internalsref{AutoChangeMusic}.
3075 The staff switches often do not end up in optimal places. For high
3076 quality output, staff switches should be specified manually.
3080 @node Manual staff switches
3081 @subsection Manual staff switches
3083 @cindex manual staff switches
3084 @cindex staff switch, manual
3086 Voices can be switched between staves manually, using the following command:
3088 \change Staff = @var{staffname} @var{music}
3092 The string @var{staffname} is the name of the staff. It switches the
3093 current voice from its current staff to the Staff called
3094 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3103 Pianos have pedals that alter the way sound are produced. Generally, a
3104 piano has three pedals, sustain, una corda, and sostenuto.
3108 Piano pedal instruction can be expressed by attaching
3109 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3110 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3113 @lilypond[fragment,verbatim]
3114 c'4\sustainDown c'4\sustainUp
3117 What is printed can be modified by setting @code{pedal@var{X}Strings},
3118 where @var{X} is one of the pedal types: @code{Sustain},
3119 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3120 documentation of @internalsref{SustainPedal} for more information.
3122 Pedals can also be indicated by a sequence of brackets, by setting the
3123 @code{pedalSustainStyle} property to @code{bracket} objects:
3125 @lilypond[fragment,verbatim]
3126 \property Staff.pedalSustainStyle = #'bracket
3127 c''4\sustainDown d''4 e''4
3128 a'4\sustainUp\sustainDown
3129 f'4 g'4 a'4\sustainUp
3132 A third style of pedal notation is a mixture of text and brackets,
3133 obtained by setting the @code{pedalSustainStyle} style property to
3136 @lilypond[fragment,verbatim]
3137 \property Staff.pedalSustainStyle = #'mixed
3138 c''4\sustainDown d''4 e''4
3139 c'4\sustainUp\sustainDown
3140 f'4 g'4 a'4\sustainUp
3143 The default `*Ped' style for sustain and damper pedals corresponds to
3144 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3147 @lilypond[fragment,verbatim]
3148 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3151 For fine-tuning of the appearance of a pedal bracket, the properties
3152 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3153 @code{PianoPedalBracket} objects (see
3154 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3155 bracket may be extended to the end of the note head:
3157 @lilypond[fragment,verbatim]
3158 \property Staff.PianoPedalBracket \override
3159 #'shorten-pair = #'(0 . -1.0)
3160 c''4\sostenutoDown d''4 e''4 c'4
3161 f'4 g'4 a'4\sostenutoUp
3165 @subsection Arpeggio
3168 @cindex broken arpeggio
3169 @cindex @code{\arpeggio}
3171 You can specify an arpeggio sign on a chord by attaching an
3172 @code{\arpeggio} to a chord:
3175 @lilypond[fragment,relative,verbatim]
3179 When an arpeggio crosses staves, you attach an arpeggio to the chords
3180 in both staves, and set
3181 @internalsref{PianoStaff}.@code{connectArpeggios}:
3183 @lilypond[fragment,relative,verbatim]
3184 \context PianoStaff <<
3185 \property PianoStaff.connectArpeggios = ##t
3186 \new Staff { <c' e g c>\arpeggio }
3187 \new Staff { \clef bass <c,, e g>\arpeggio }
3191 The direction of the arpeggio is sometimes denoted by adding an
3192 arrowhead to the wiggly line. This can be typeset by setting
3193 @code{arpeggio-direction}:
3195 @lilypond[fragment,relative,verbatim]
3197 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3199 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3204 A square bracket on the left indicates that the player should not
3205 arpeggiate the chord. To draw these brackets, set the
3206 @code{molecule-callback} property of @code{Arpeggio} or
3207 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3208 @code{\arpeggio} statements within the chords as before:
3210 @lilypond[fragment,relative,verbatim]
3211 \property PianoStaff.Arpeggio \override
3212 #'molecule-callback = \arpeggioBracket
3218 @cindex @code{\arpeggioBracket}
3219 @code{\arpeggioBracket},
3220 @cindex @code{\arpeggio}
3225 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3226 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3227 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3231 It is not possible to mix connected arpeggios and unconnected
3232 arpeggios in one @internalsref{PianoStaff} at the same time.
3234 @node Staff switch lines
3235 @subsection Staff switch lines
3238 @cindex follow voice
3239 @cindex staff switching
3242 @cindex @code{followVoice}
3244 Whenever a voice switches to another staff a line connecting the notes
3245 can be printed automatically. This is enabled if the property
3246 @code{PianoStaff.followVoice} is set to true:
3248 @lilypond[fragment,relative,verbatim]
3249 \context PianoStaff <<
3250 \property PianoStaff.followVoice = ##t
3251 \context Staff \context Voice {
3256 \context Staff=two { \clef bass \skip 1*2 }
3260 The associated object is @internalsref{VoiceFollower}.
3264 @cindex @code{\showStaffSwitch}
3265 @code{\showStaffSwitch},
3266 @cindex @code{\hideStaffSwitch}
3267 @code{\hideStaffSwitch}.
3271 @section Vocal music
3273 This section discusses how to enter and print lyrics.
3277 * The Lyrics context::
3282 @node Entering lyrics
3283 @subsection Entering lyrics
3287 @cindex @code{\lyrics}
3290 Lyrics are entered in a special input mode. This mode is is introduced
3291 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3292 punctuation and accents without any hassle. Syllables are entered like
3293 notes, but with pitches replaced by text. For example,
3295 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3298 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3299 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3300 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3301 any 8-bit character with ASCII code over 127, or a two-character
3302 combination of a backslash followed by one of @code{`}, @code{'},
3303 @code{"}, or @code{^}.
3305 Subsequent characters of a word can be any character that is not a digit
3306 and not white space. One important consequence of this is that a word
3307 can end with @code{@}}. The following example is usually a bug. The
3308 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3310 \lyrics @{ twinkle@}
3313 @cindex @code{\property}, in @code{\lyrics}
3314 Similarly, a period following a alphabetic sequence, is included in the
3315 resulting string. As a consequence, spaces must be inserted around
3316 @code{\property} commands:
3318 \property Lyrics . LyricText \set #'font-shape = #'italic
3322 @cindex spaces, in lyrics
3323 @cindex quotes, in lyrics
3325 Any @code{_} character which appears in an unquoted word is converted
3326 to a space. This provides a mechanism for introducing spaces into words
3327 without using quotes. Quoted words can also be used in Lyrics mode to
3328 specify words that cannot be written with the above rules:
3331 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3335 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3340 These will be attached to the end of the first syllable.
3342 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3343 as a separate word between syllables. The hyphen will have variable
3344 length depending on the space between the syllables and it will be
3345 centered between the syllables.
3350 When a lyric is sung over many notes (this is called a melisma), this is
3351 indicated with a horizontal line centered between a syllable and the
3352 next one. Such a line is called an extender line, and it is entered as
3357 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3358 @internalsref{ExtenderEvent}.
3362 The definition of lyrics mode is too complex.
3366 @node The Lyrics context
3367 @subsection The Lyrics context
3369 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3371 \context LyricsVoice \lyrics @dots{}
3374 @cindex automatic syllable durations
3375 @cindex @code{\lyricsto}
3376 @cindex lyrics and melodies
3378 This will place the lyrics according to the durations that were
3379 entered. The lyrics can also be aligned under a given melody
3380 automatically. In this case, it is no longer necessary to enter the
3381 correct duration for each syllable. This is achieved by combining the
3382 melody and the lyrics with the @code{\lyricsto} expression:
3384 \lyricsto @var{name} \new LyricsVoice @dots{}
3387 This aligns the lyrics to the
3389 notes of the @internalsref{Voice} context called @var{name}, which has
3390 to exist. Therefore, normally the @code{Voice} is specified first, and
3391 then the lyrics are specified with @code{\lyricsto}.
3393 For different or more complex orderings, the best way is to setup the
3394 hierarchy of staves and lyrics first, e.g.
3396 \context ChoirStaff \notes <<
3397 \context LyricsVoice = sopranoLyrics @{ s1 @}
3398 \context Voice = soprano @{ @emph{music} @}
3399 \context LyricsVoice = tenor @{ s1 @}
3400 \context Voice = tenorLyrics @{ @emph{music} @}
3403 and then combine the appropriate melodies and lyric lines:
3405 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3409 The final input would resemble
3412 << \context ChoirStaff \notes << @emph{setup the music} >>
3413 \lyricsto "soprano" @emph{etc}
3414 \lyricsto "alto" @emph{etc}
3420 The @code{\lyricsto} command detects melismata: it only puts one
3421 syllable under a tied or slurred group of notes. If you want to force
3422 an unslurred group of notes to be a melisma, then insert
3423 @code{\melisma} after the first note of the group, and
3424 @code{\melismaEnd} after the last one, e.g.
3426 @lilypond[relative 1, singleline, fragment,verbatim]
3427 << \context Voice = "lala" { \time 3/4
3433 \lyricsto "lala" \new LyricsVoice \lyrics {
3438 In addition, notes are considered a melisma if they are manually
3439 beamed, and automatic beaming (see @ref{Setting automatic beam
3440 behavior}) is switched off. The criteria for deciding melismata
3441 can be tuned with the property @code{melismaBusyProperties}. See
3442 @internalsref{Melisma_engraver} for more information.
3444 When multiple stanzas are put on the same melody, it can happen that
3445 two stanzas have melismata in different locations. This can be
3446 remedied by switching off melismata for one
3447 @internalsref{LyricsVoice}. This is achieved by setting
3448 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3449 in @inputfileref{input/regression,lyric-combine-new.ly}.
3452 @cindex choral score
3454 A complete example of a SATB score setup is in the file
3455 @inputfileref{input/template,satb.ly}.
3459 @code{\melisma}, @code{\melismaEnd}
3460 @cindex @code{\melismaEnd}
3461 @cindex @code{\melisma}
3465 Internals: Music expressions: @internalsref{LyricCombineMusic},
3466 Contexts: @internalsref{LyricsVoice}, @internalsref{Melisma_engraver}.
3468 Examples: @inputfileref{input/template,satb.ly},
3469 @inputfileref{input/regression,lyric-combine-new.ly}.
3473 Melismata are not detected automatically, and extender lines must be
3477 For proper processing of extender lines, the
3478 @internalsref{LyricsVoice} and @internalsref{Voice} should be
3479 linked. This can be achieved either by using @code{\lyricsto} or by
3480 setting corresponding names for both contexts. The latter is explained
3481 in @ref{More stanzas}.
3484 @subsection More stanzas
3486 @cindex phrasing, in lyrics
3489 The lyrics should be aligned with the note heads of the melody. To
3490 achieve this, each line of lyrics should be marked to correspond with
3491 the melodic line. This is done automatically when @code{\lyricsto},
3492 but it can also be done manually.
3494 To this end, give the @internalsref{Voice} context an identity:
3496 \context Voice = duet @{
3501 Then set the @internalsref{LyricsVoice} contexts to names starting with
3502 that identity followed by a dash. In the preceding example, the
3503 @internalsref{Voice} identity is @code{duet}, so the identities of the
3504 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3506 \context LyricsVoice = "duet-1" @{
3507 Hi, my name is bert. @}
3508 \context LyricsVoice = "duet-2" @{
3509 Ooooo, ch\'e -- ri, je t'aime. @}
3512 The complete example is shown here:
3513 @lilypond[singleline,verbatim]
3515 << \notes \relative c'' \context Voice = duet { \time 3/4
3517 \lyrics << \lyricsto "duet" \new LyricsVoice {
3518 \property LyricsVoice . stanza = "1"
3519 Hi, my name is bert. }
3520 \lyricsto "duet" \new LyricsVoice {
3521 \property LyricsVoice . stanza = "2"
3522 Ooooo, ch\'e -- ri, je t'aime. }
3527 @cindex stanza number
3528 @cindex singer's names
3529 @cindex name of singer
3531 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3534 \property LyricsVoice . stanza = "Bert"
3536 \property LyricsVoice . stanza = "Ernie"
3539 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3540 prevent @code{LyricsVoice.stanza} being interpreted as a single
3543 Names of the singers should be added using @code{LyricsVoice
3544 . vocalName} and @code{LyricsVoice . vocNam}, analogous to instrument
3545 annotations for staves.
3547 To make empty spaces in lyrics, use @code{\skip}.
3552 Internals: Layout objects @internalsref{LyricText}
3553 @internalsref{VocalName}. Music expressions:
3554 @internalsref{LyricEvent}.
3560 Input for lyrics introduces a syntactical ambiguity:
3567 is interpreted as assigning a string identifier @code{\foo} such that
3568 it contains @code{"bar"}. However, it could also be interpreted as
3569 making or a music identifier @code{\foo} containing the syllable
3570 `bar'. The force the latter interpretation, use
3582 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3583 for a given voice in a part of music. It also may denote the pitch
3584 range that a musical instrument is capable of playing. Most musical
3585 instruments have their ambitus standardized (or at least there is
3586 agreement upon the minimal ambitus of a particular type of
3587 instrument), such that a composer or arranger of a piece of music can
3588 easily meet the ambitus constraints of the targeted instrument.
3589 However, the ambitus of the human voice depends on individual
3590 physiological state, including education and training of the voice.
3591 Therefore, a singer potentially has to check for each piece of music
3592 if the ambitus of that piece meets his individual capabilities. This
3593 is why the ambitus of a piece may be of particular value to vocal
3596 The ambitus is typically notated on a per-voice basis at the very
3597 beginning of a piece, e.g. nearby the initial clef or time signature of
3598 each staff. The range is graphically specified by two noteheads, that
3599 represent the minimum and maximum pitch. Some publishers use a textual
3600 notation: they put the range in words in front of the corresponding
3601 staff. LilyPond only supports the graphical ambitus notation.
3603 To apply, add the @internalsref{Ambitus_engraver} to the
3604 @internalsref{Voice} context, i.e.
3610 \consists Ambitus_engraver
3615 This results in the following output:
3616 @lilypond[singleline]
3617 upper = \notes \relative c {
3620 as'' c e2 bes f cis d4 e f2 g
3622 lower = \notes \relative c {
3625 e'4 b g a c es fis a cis b a g f e d2
3628 \context ChoirStaff {
3630 \new Staff { \upper }
3631 \new Staff { \lower }
3637 \consists Ambitus_engraver
3643 If you have multiple voices in a single staff, and you want a single
3644 ambitus per staff rather than per each voice, then add the
3645 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3646 rather than to the @internalsref{Voice} context.
3648 It is possible to tune individual ambituses for multiple voices on a
3649 single staff, for example by erasing or shifting them horizontally. An
3650 example is in @inputfileref{input/test,ambitus-mixed.ly}
3654 Internals: @internalsref{Ambitus}
3656 Examples: @inputfileref{input/regression,ambitus.ly},
3657 @inputfileref{input/test,ambitus-mixed.ly}.
3661 There is no collision handling in the case of multiple per-voice
3667 Tablature notation is used for notating music for plucked string
3668 instruments. It notates pitches not by using note heads, but by
3669 indicating on which string and fret a note must be played. LilyPond
3670 offers limited support for tablature.
3673 * Tablatures basic::
3674 * Non-guitar tablatures::
3677 @node Tablatures basic
3678 @subsection Tablatures basic
3679 @cindex Tablatures basic
3681 The string number associated to a note is given as a backslash
3682 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3683 string. By default, string 1 is the highest one, and the tuning
3684 defaults to the standard guitar tuning (with 6 strings). The notes
3685 are printed as tablature, by using @internalsref{TabStaff} and
3686 @internalsref{TabVoice} contexts:
3688 @lilypond[fragment,verbatim]
3689 \notes \context TabStaff {
3697 When no string is specified, the first string that does not give a
3698 fret number less than @code{minimumFret} is selected. The default
3699 value for @code{minimumFret} is 0:
3703 e8 fis gis a b cis' dis' e'
3704 \property TabStaff.minimumFret = #8
3705 e8 fis gis a b cis' dis' e'
3710 e8 fis gis a b cis' dis' e'
3711 \property TabStaff.minimumFret = #8
3712 e8 fis gis a b cis' dis' e'
3715 \context StaffGroup <<
3716 \context Staff { \clef "G_8" \frag }
3717 \context TabStaff { \frag }
3724 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3725 @internalsref{StringNumberEvent}.
3729 Chords are not handled in a special way, and hence the automatic
3730 string selector may easily select the same string to two notes in a
3734 @node Non-guitar tablatures
3735 @subsection Non-guitar tablatures
3736 @cindex Non-guitar tablatures
3738 You can change the number of strings, by setting the number of lines
3739 in the @internalsref{TabStaff}.
3741 You can change the tuning of the strings. A string tuning is given as
3742 a Scheme list with one integer number for each string, the number
3743 being the pitch (measured in semitones relative to central C) of an
3744 open string. The numbers specified for @code{stringTuning} are the
3745 numbers of semitones to subtract or add, starting the specified pitch
3746 by default middle C, in string order. Thus, the notes are e, a, d, and
3749 @lilypond[fragment,verbatim]
3750 \context TabStaff <<
3751 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3754 a,4 c' a e' e c' a e'
3759 It is possible to change the Scheme function to format the tablature
3760 note text. The default is @code{fret-number-tablature-format}, which
3761 uses the fret number. For instruments that do not use this notation,
3762 you can create a special tablature formatting function. This function
3763 takes three argument: string number, string tuning and note pitch.
3767 No guitar special effects have been implemented.
3772 @section Chord names
3775 LilyPond has support for both printing chord names. Chords may be
3776 entered in musical chord notation, i.e. @code{< .. >}, but they can
3777 also be entered by name. Internally, the chords are represented as a
3778 set of pitches, so they can be transposed:
3781 @lilypond[verbatim,singleline]
3782 twoWays = \notes \transpose c c' {
3792 << \context ChordNames \twoWays
3793 \context Voice \twoWays >> }
3796 This example also shows that the chord printing routines do not try to
3797 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3803 * Printing chord names::
3808 @subsection Chords mode
3811 Chord mode is a mode where you can input sets of pitches using common
3812 names. It is introduced by the keyword @code{\chords}.
3813 In chords mode, a chord is entered by the root, which is entered
3814 like a common pitch:
3815 @lilypond[fragment,verbatim,quote, relative=1]
3816 \chords { es4. d8 c2 }
3821 Other chords may be entered by suffixing a colon, and introducing a
3822 modifier, and optionally, a number:
3824 @lilypond[fragment,verbatim,quote]
3825 \chords { e1:m e1:7 e1:m7 }
3827 The first number following the root is taken to be the `type' of the
3828 chord, thirds are added to the root until it reaches the specified
3830 @lilypond[fragment,verbatim]
3831 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3834 @cindex root of chord
3835 @cindex additions, in chords
3836 @cindex removals, in chords
3838 More complex chords may also be constructed adding separate steps
3839 to a chord. Additions are added after the number following
3840 the colon, and are separated by dots:
3842 @lilypond[verbatim,fragment,quote]
3843 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3845 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3847 @lilypond[verbatim,fragment,quote]
3848 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3850 Removals are specified similarly, and are introduced by a caret. They
3851 must come after the additions:
3852 @lilypond[verbatim,fragment]
3853 \chords { c^3 c:7^5 c:9^3.5 }
3856 Modifiers can be used to change pitches. The following modifiers are
3860 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3862 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3865 is the augmented chord. This modifier raises the 5th step.
3867 is the major 7th chord. This modifier raises the 7th step if present.
3869 is the suspended 4th or 2nd. This modifier removes the 3rd
3870 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3873 Modifiers can be mixed with additions:
3874 @lilypond[verbatim,fragment]
3875 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3878 @cindex modifiers, in chords.
3885 Since an unaltered 11 does not sound good when combined with an
3886 unaltered 13, the 11 is removed in this case (unless it is added
3889 @lilypond[fragment,verbatim]
3890 \chords { c:13 c:13.11 c:m13 }
3895 An inversion (putting one pitch of the chord on the bottom), as well
3896 as bass notes, can be specified by appending
3897 @code{/}@var{pitch} to the chord:
3898 @lilypond[fragment,verbatim,center]
3899 \chords { c1 c/g c/f }
3903 A bass note can be added instead of transposed out of the chord,
3904 by using @code{/+}@var{pitch}.
3906 @lilypond[fragment,verbatim,center]
3907 \chords { c1 c/+g c/+f }
3910 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3911 of the commands continue to work, for example, @code{r} and
3912 @code{\skip} can be used to insert rests and spaces, and
3913 @code{\property} may be used to change various settings.
3919 Each step can only be present in a chord once. The following
3920 simply produces the augmented chord, since @code{5+} is interpreted
3923 @lilypond[verbatim,fragment]
3924 \chords { c:5.5-.5+ }
3928 @node Printing chord names
3929 @subsection Printing chord names
3931 @cindex printing chord names
3935 For displaying printed chord names, use the @internalsref{ChordNames} context.
3936 The chords may be entered either using the notation
3937 described above, or directly using @code{<} and @code{>}:
3939 @lilypond[verbatim,singleline]
3941 \chords {a1 b c} <d' f' a'> <e' g' b'>
3945 \context ChordNames \scheme
3946 \context Staff \scheme
3951 You can make the chord changes stand out by setting
3952 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3953 display chord names when there is a change in the chords scheme and at
3954 the start of a new line:
3956 @lilypond[verbatim, linewidth=9cm]
3958 c1:m c:m \break c:m c:m d
3962 \context ChordNames {
3963 \property ChordNames.chordChanges = ##t
3965 \context Staff \transpose c c' \scheme
3970 The default chord name layout is a system for Jazz music, proposed by
3971 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3972 following properties:
3975 @cindex chordNameExceptions
3976 @item chordNameExceptions
3977 This is a list that contains the chords that have special formatting.
3979 @inputfileref{input/regression,chord-name-exceptions.ly}.
3980 @cindex exceptions, chord names.
3983 @cindex majorSevenSymbol
3984 @item majorSevenSymbol
3985 This property contains the markup object used for the 7th step, when
3986 it is major. Predefined options are @code{whiteTriangleMarkup} and
3987 @code{blackTriangleMarkup}. See
3988 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3990 @cindex chordNameSeparator
3991 @item chordNameSeparator
3992 Different parts of a chord name are normally separated by a
3993 slash. By setting @code{chordNameSeparator}, you can specify other
3995 @lilypond[fragment,verbatim]
3996 \context ChordNames \chords {
3998 \property ChordNames.chordNameSeparator
3999 = \markup { \typewriter "|" }
4003 @cindex chordRootNamer
4004 @item chordRootNamer
4005 The root of a chord is usually printed as a letter with an optional
4006 alteration. The transformation from pitch to letter is done by this
4007 function. Special note names (for example, the German ``H'' for a
4008 B-chord) can be produced by storing a new function in this property.
4010 The pre-defined variables @code{\germanChords},
4011 @code{\semiGermanChords} set these variables.
4014 @cindex chordNoteNamer
4015 @item chordNoteNamer
4016 The default is to print single pitch, e.g. the bass note, using the
4017 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4018 to a specialized function to change this behavior. For example, the
4019 base can be printed in lower case.
4024 There are also two other chord name schemes implemented: an alternate
4025 Jazz chord notation, and a systematic scheme called Banter chords. The
4026 alternate jazz notation is also shown on the chart in @ref{Chord name
4027 chart}. Turning on these styles is described in the input file
4028 @inputfileref{input/test,chord-names-jazz.ly}.
4032 @cindex chords, jazz
4037 @cindex @code{\germanChords}
4038 @code{\germanChords},
4039 @cindex @code{\semiGermanChords}
4040 @code{\semiGermanChords}.
4047 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4048 @inputfileref{input/regression,chord-name-exceptions.ly},
4049 @inputfileref{input/test,chord-names-jazz.ly},
4050 @inputfileref{input/test,chord-names-german.ly}.
4052 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4057 Chord names are determined solely from the list of pitches. Chord
4058 inversions are not identified, and neither are added bass notes. This
4059 may result in strange chord names when chords are entered with the
4060 @code{< .. >} syntax.
4065 @node Orchestral music
4066 @section Orchestral music
4068 @cindex Writing parts
4070 Orchestral music involves some special notation, both in the full
4071 score and the individual parts. This section explains how to tackle
4072 some common problems in orchestral music.
4077 * Multiple staff contexts::
4080 * Instrument names::
4082 * Multi measure rests::
4083 * Automatic part combining::
4085 * Different editions from one source::
4086 * Sound output for transposing instruments::
4089 @node Multiple staff contexts
4090 @subsection Multiple staff contexts
4092 Polyphonic scores consist of many staves. These staves can be
4093 constructed in three different ways:
4095 @item The group is started with a brace at the left. This is done with the
4096 @internalsref{GrandStaff} context.
4097 @item The group is started with a bracket. This is done with the
4098 @internalsref{StaffGroup} context
4099 @item The group is started with a vertical line. This is the default
4103 @cindex Staff, multiple
4104 @cindex bracket, vertical
4105 @cindex brace, vertical
4112 @node Rehearsal marks
4113 @subsection Rehearsal marks
4114 @cindex Rehearsal marks
4116 @cindex @code{\mark}
4118 To print a rehearsal mark, use the @code{\mark} command:
4119 @lilypond[fragment,verbatim]
4130 (The letter I is skipped in accordance with engraving traditions.)
4132 The mark is incremented automatically if you use @code{\mark
4133 \default}, but you can also use an integer argument to set the mark
4134 manually. The value to use is stored in the property
4135 @code{rehearsalMark}.
4137 The style is defined by the property @code{markFormatter}. It is a
4138 function taking the current mark (an integer) and the current context
4139 as argument. It should return a markup object. In the following
4140 example, @code{markFormatter} is set to a canned procedure. After a
4141 few measures, it is set to function that produces a boxed number.
4143 @lilypond[verbatim,fragment,relative 1]
4144 \property Score.markFormatter = #format-mark-numbers
4147 \property Score.markFormatter
4148 = #(lambda (mark context)
4149 (make-bold-markup (make-box-markup (number->string mark))))
4154 The file @file{scm/translation-functions.scm} contains the definitions
4155 of @code{format-mark-numbers} (the default format) and
4156 @code{format-mark-letters}. They can be used as inspiration for other
4157 formatting functions.
4160 @cindex coda on bar line
4161 @cindex segno on bar line
4162 @cindex fermata on bar line
4163 @cindex bar lines, symbols on
4165 The @code{\mark} command can also be used to put signs like coda,
4166 segno and fermatas on a barline. Use @code{\markup} to
4167 to access the appropriate symbol:
4169 @lilypond[fragment,verbatim,relative=1]
4170 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4174 In this case, during line breaks, marks must also be printed at the
4175 end of the line, and not at the beginning. Use the following to force
4178 \property Score.RehearsalMark \override
4179 #'break-visibility = #begin-of-line-invisible
4185 @cindex barlines, putting symbols on
4189 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4191 Init files: @file{scm/translation-functions.scm} contains the
4192 definition of @code{format-mark-numbers} and
4193 @code{format-mark-letters}. They can be used as inspiration for other
4194 formatting functions.
4196 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4197 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4201 @subsection Bar numbers
4205 @cindex measure numbers
4206 @cindex currentBarNumber
4208 Bar numbers are printed by default at the start of the line. The
4209 number itself is stored in the
4210 @code{currentBarNumber} property,
4211 which is normally updated automatically for every measure.
4213 Bar numbers can be typeset at regular intervals instead of at the
4214 beginning of each line. This is illustrated in the following example,
4215 whose source is available as
4216 @inputfileref{input/test,bar-number-regular-interval.ly}:
4218 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4223 Internals: @internalsref{BarNumber}.
4225 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4226 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4230 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4231 there is one at the top. To solve this, the
4232 @code{padding} property of @internalsref{BarNumber} can be
4233 used to position the number correctly.
4235 @node Instrument names
4236 @subsection Instrument names
4238 In an orchestral score, instrument names are printed left side of the
4241 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4242 and @internalsref{Staff}.@code{instr}. This will print a string before
4243 the start of the staff. For the first start, @code{instrument} is
4244 used, for the next ones @code{instr} is used:
4247 @lilypond[verbatim,singleline]
4248 \property Staff.instrument = "ploink " { c''4 }
4252 You can also use markup texts to construct more complicated instrument
4256 @lilypond[fragment,verbatim,singleline]
4258 \property Staff.instrument = \markup {
4259 \column < "Clarinetti"
4261 \smaller \musicglyph #"accidentals--1"
4272 Internals: @internalsref{InstrumentName}.
4276 When you put a name on a grand staff or piano staff the width of the
4277 brace is not taken into account. You must add extra spaces to the end of
4278 the name to avoid a collision.
4281 @subsection Transpose
4283 @cindex transposition of pitches
4284 @cindex @code{\transpose}
4286 A music expression can be transposed with @code{\transpose}. The syntax
4289 \transpose @var{from} @var{to} @var{musicexpr}
4292 This means that @var{musicexpr} is transposed by the interval between
4293 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4294 is changed to @code{to}.
4297 For example, consider a piece written in the key of D major. If
4298 this piece is a little too low for its performer, it can be
4299 transposed up to E major with
4301 \tranpose d e @dots{}
4304 Consider a part written for violin (a C instrument). If
4305 this part is to be played on the A clarinet, the following
4306 transposition will produce the appropriate part
4309 \transpose a c @dots{}
4312 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4313 inside a @code{\notes} section. @code{\transpose} distinguishes
4314 between enharmonic pitches: both @code{\transpose c cis} or
4315 @code{\transpose c des} will transpose up half a tone. The first
4316 version will print sharps and the second version will print flats:
4318 @lilypond[singleline, verbatim]
4319 mus =\notes { \key d \major cis d fis g }
4320 \score { \notes \context Staff {
4323 \transpose c g' \mus
4324 \transpose c f' \mus
4331 Internals: @internalsref{TransposedMusic}, and
4332 @internalsref{UntransposableMusic}.
4336 If you want to use both @code{\transpose} and @code{\relative}, then
4337 you must put @code{\transpose} outside of @code{\relative}, since
4338 @code{\relative} will have no effect music that appears inside a
4344 @node Multi measure rests
4345 @subsection Multi measure rests
4346 @cindex multi measure rests
4347 @cindex Rests, multi measure
4351 Multi measure rests are entered using `@code{R}'. It is specifically
4352 meant for full bar rests and for entering parts: the rest can expand
4353 to fill a score with rests, or it can be printed as a single
4354 multimeasure rest. This expansion is controlled by the property
4355 @code{Score.skipBars}. If this is set to true, empty measures will not
4356 be expanded, and the appropriate number is added automatically:
4358 @lilypond[fragment,verbatim]
4359 \time 4/4 r1 | R1 | R1*2
4360 \property Score.skipBars = ##t R1*17 R1*4
4363 The @code{1} in @code{R1} is similar to the duration notation used for
4364 notes. Hence, for time signatures other than 4/4, you must enter other
4365 durations. This can be done with augmentation dots or fractions:
4367 @lilypond[fragment,verbatim]
4368 \property Score.skipBars = ##t
4376 An @code{R} spanning a single measure is printed as either a whole rest
4377 or a breve, centered in the measure regardless of the time signature.
4379 @cindex text on multi-measure rest
4380 @cindex script on multi-measure rest
4381 @cindex fermata on multi-measure rest
4383 Texts can be added to multi-measure rests by using the
4384 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4385 replaced. If you need both texts and the number, you must add the
4386 number by hand. A variable (@code{\fermataMarkup}) is provided for
4390 @lilypond[verbatim,fragment]
4392 R2._\markup { "Ad lib" }
4396 If you want to have a text on the left end of a multi-measure rest,
4397 attach the text to a zero-length skip note, i.e.
4405 @cindex whole rests for a full measure
4409 Internals: @internalsref{MultiMeasureRestEvent},
4410 @internalsref{MultiMeasureTextEvent},
4411 @internalsref{MultiMeasureRestMusicGroup}, and
4412 @internalsref{MultiMeasureRest}.
4414 The layout object @internalsref{MultiMeasureRestNumber} is for the
4415 default number, and @internalsref{MultiMeasureRestText} for user
4420 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4421 over multi-measure rests.
4423 @cindex condensing rests
4425 There is no way to automatically condense multiple rests into a single
4426 multimeasure rest. Multi measure rests do not take part in rest
4429 Be careful when entering multimeasure rests followed by whole
4430 notes. The following will enter two notes lasting four measures each:
4434 When @code{skipBars} is set, then the result will look OK, but the
4435 bar numbering will be off.
4437 @node Automatic part combining
4438 @subsection Automatic part combining
4439 @cindex automatic part combining
4440 @cindex part combiner
4443 Automatic part combining is used to merge two parts of music onto a
4444 staff. It is aimed at typesetting orchestral scores. When the two
4445 parts are identical for a period of time, only one is shown. In
4446 places where the two parts differ, they are typeset as separate
4447 voices, and stem directions are set automatically. Also, solo and
4448 @emph{a due} parts are identified and can be marked.
4452 The syntax for part combining is
4455 \partcombine @var{musicexpr1} @var{musicexpr2}
4458 The music expressions will be interpreted as @internalsref{Voice}
4461 The following example demonstrates the basic functionality of the part
4462 combiner: putting parts on one staff, and setting stem directions and
4465 @lilypond[verbatim,singleline,fragment,relative 1]
4466 \new Staff \partcombine
4475 The first @code{g} appears only once, although it was
4476 specified twice (once in each part). Stem, slur and tie directions are
4477 set automatically, depending whether there is a solo or unisono. The
4478 first part (with context called @code{one}) always gets up stems, and
4479 `solo', while the second (called @code{two}) always gets down stems and
4482 If you just want the merging parts, and not the textual markings, you
4483 may set the property @var{soloADue} to false:
4485 @lilypond[verbatim,singleline,fragment]
4487 \property Staff.soloADue = ##f
4499 Internals: @internalsref{PartCombineMusic},
4500 @internalsref{SoloOneEvent}, and
4501 @internalsref{SoloTwoEvent}, and
4502 @internalsref{UnisonoEvent}.
4506 In @code{soloADue} mode, when the two voices play the same notes on and
4507 off, the part combiner may typeset @code{a2} more than once in a
4513 @subsection Hiding staves
4515 @cindex Frenched scores
4516 @cindex Hiding staves
4518 In orchestral scores, staff lines that only have rests are usually
4519 removed. This saves some space. This style is called `French Score'.
4520 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4521 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4522 switched on by default. When these line of these contexts turn out
4523 empty after the line-breaking process, they are removed.
4525 For normal staves, a specialized @internalsref{Staff} context is
4526 available, which does the same: staves containing nothing (or only
4527 multi measure rests) are removed. The context definition is stored in
4528 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4529 in this example disappears in the second line:
4534 \notes \relative c' <<
4535 \new Staff { e4 f g a \break c1 }
4536 \new Staff { c4 d e f \break R1 }
4540 \translator { \RemoveEmptyStaffContext }
4545 The first page shows all staffs in full. If they should be removed
4546 from the first page too, set @code{remove-first} to false
4547 in @internalsref{RemoveEmptyVerticalGroup}.
4549 @node Different editions from one source
4550 @subsection Different editions from one source
4552 The @code{\tag} command marks music expressions with a name. These
4553 tagged expressions can be filtered out later. With this mechanism it
4554 is possible to make different versions of the same music source.
4556 In the following example, we see two versions of a piece of music, one
4557 for the full score, and one with cue notes for the instrumental part:
4565 \property Voice.fontSize = #-1
4573 The same can be applied to articulations, texts, etc.: they are
4576 -\tag #@var{your-tag}
4578 to an articulation, for example,
4583 This defines a note with a conditional fingering indication.
4585 By applying the @code{remove-tag} function, tagged expressions can be
4586 filtered. For example,
4590 \apply #(remove-tag 'score) @var{the music}
4591 \apply #(remove-tag 'part) @var{the music}
4596 @lilypondfile[notexidoc]{tag-filter.ly}
4598 The argument of the @code{\tag} command should be a symbol, or a list
4599 of symbols, for example,
4601 \tag #'(original-part transposed-part) @dots{}
4606 Examples: @inputfileref{input/regression,tag-filter.ly}
4609 @node Sound output for transposing instruments
4610 @subsection Sound output for transposing instruments
4612 When you want to make a MIDI file from a score containing transposed
4613 and untransposed instruments, you have to instruct LilyPond the pitch
4614 offset (in semitones) for the transposed instruments. This is done
4615 using the @code{transposing} property. It does not affect printed
4618 @cindex @code{transposing}
4621 \property Staff.instrument = #"Cl. in B-flat"
4622 \property Staff.transposing = #-2
4626 @node Ancient notation
4627 @section Ancient notation
4629 @cindex Vaticana, Editio
4630 @cindex Medicaea, Editio
4635 @c [TODO: write more comprehensive introduction on ancient notation]
4637 Support for ancient notation is still under heavy development.
4638 Regardless of all of the current limitations (see the bugs section
4639 below for details), it includes features for mensural
4640 notation and Gregorian Chant notation. There is also limited support
4641 for figured bass notation.
4643 Many graphical objects provide a @code{style} property, see
4644 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4645 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4646 signatures}. By manipulating such a grob property, the typographical
4647 appearance of the affected graphical objects can be accomodated for a
4648 specific notation flavour without need for introducing any new
4652 Other aspects of ancient notation can not that easily be expressed as
4653 in terms of just changing a style property of a graphical object.
4654 Therefore, some notational concepts are introduced specifically for
4655 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4656 @ref{Ligatures}, and @ref{Figured bass}.
4660 * Ancient note heads::
4661 * Ancient accidentals::
4665 * Ancient time signatures::
4670 * Vaticana style contexts::
4673 If this all is way too much of documentation for you, and you just
4674 want to dive into typesetting without worrying too much about the
4675 details on how to customize a context, then you may have a look at the
4676 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4677 set up predefined style-specific voice and staff contexts, and
4678 directly go ahead with the note entry.
4682 Ligatures need special spacing that has not yet been implemented. As
4683 a result, there is too much space between ligatures most of the time,
4684 and line breaking often is unsatisfactory. Also, lyrics do not
4685 correctly align with ligatures.
4687 Accidentals must not be printed within a ligature, but instead need to
4688 be collected and printed in front of it.
4690 Augmentum dots within ligatures are not handled correctly.
4693 @node Ancient note heads
4694 @subsection Ancient note heads
4700 For ancient notation, a note head style other than the @code{default}
4701 style may be chosen. This is accomplished by setting the @code{style}
4702 property of the NoteHead object to the desired value (@code{baroque},
4703 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4704 differs from the @code{default} style only in using a square shape for
4705 @code{\breve} note heads. The @code{neo_mensural} style differs from
4706 the @code{baroque} style in that it uses rhomboidal heads for whole
4707 notes and all smaller durations. Stems are centered on the note
4708 heads. This style is in particular useful when transcribing mensural
4709 music, e.g. for the incipit. The @code{mensural} style finally
4710 produces note heads that mimick the look of note heads in historic
4711 printings of the 16th century.
4713 The following example demonstrates the @code{neo_mensural} style:
4715 @lilypond[fragment,singleline,verbatim]
4716 \property Voice.NoteHead \set #'style = #'neo_mensural
4717 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4720 When typesetting a piece in Gregorian Chant notation, a Gregorian
4721 ligature engraver will automatically select the proper note heads,
4722 such there is no need to explicitly set the note head style. Still,
4723 the note head style can be set e.g. to @code{vaticana_punctum} to
4724 produce punctum neumes. Similarly, a mensural ligature engraver is
4725 used to automatically assemble mensural ligatures. See
4726 @ref{Ligatures} for how ligature engravers work.
4731 @ref{Percussion staves} use note head styles of their own that are
4732 frequently used in contemporary music notation.
4734 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4735 overview over all available note head styles.
4738 @node Ancient accidentals
4739 @subsection Ancient accidentals
4745 Use the @code{style} property of grob @internalsref{Accidental} to
4746 select ancient accidentals. Supported styles are
4747 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4749 @lilypond[singleline,26pt]
4757 { " " \musicglyph #"accidentals-vaticana-1"
4758 " " \musicglyph #"accidentals-vaticana0" }
4762 { " " \musicglyph #"accidentals-medicaea-1" }
4766 { " " \musicglyph #"accidentals-hufnagel-1" }
4770 { " " \musicglyph #"accidentals-mensural-1"
4771 " " \musicglyph #"accidentals-mensural1" }
4780 \remove "Bar_number_engraver"
4784 \remove "Clef_engraver"
4785 \remove "Key_engraver"
4786 \remove "Time_signature_engraver"
4787 \remove "Staff_symbol_engraver"
4788 minimumVerticalExtent = ##f
4794 As shown, not all accidentals are supported by each style. When
4795 trying to access an unsupported accidental, LilyPond will switch to a
4796 different style, as demonstrated in
4797 @inputfileref{input/test,ancient-accidentals.ly}.
4799 Similarly to local accidentals, the style of the key signature can be
4800 controlled by the @code{style} property of the
4801 @internalsref{KeySignature} grob.
4805 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4806 @ref{Accidentals} give a general introduction into the use of
4807 accidentals. @ref{Key signature} gives a general introduction into
4808 the use of key signatures.
4810 Internals: @internalsref{KeySignature}
4812 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4815 @subsection Ancient rests
4821 Use the @code{style} property of grob @internalsref{Rest} to select
4822 ancient accidentals. Supported styles are @code{classical},
4823 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4824 from the @code{default} style only in that the quarter rest looks like
4825 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4826 well for e.g. the incipit of a transcribed mensural piece of music.
4827 The @code{mensural} style finally mimicks the appearance of rests as
4828 in historic prints of the 16th century.
4830 The following example demonstrates the @code{neo_mensural} style:
4832 @lilypond[fragment,singleline,verbatim]
4833 \property Voice.Rest \set #'style = #'neo_mensural
4834 r\longa r\breve r1 r2 r4 r8 r16
4837 There are no 32th and 64th rests specifically for the mensural or
4838 neo-mensural style. Instead, the rests from the default style will be
4839 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4842 There are no rests in Gregorian Chant notation; instead, it uses
4847 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4851 @subsection Ancient clefs
4857 LilyPond supports a variety of clefs, many of them ancient.
4859 The following table shows all ancient clefs that are supported via the
4860 @code{\clef} command. Some of the clefs use the same glyph, but
4861 differ only with respect to the line they are printed on. In such
4862 cases, a trailing number in the name is used to enumerate these clefs.
4863 Still, you can manually force a clef glyph to be typeset on an
4864 arbitrary line, as described in @ref{Clef}. The note printed to the
4865 right side of each clef in the example column denotes the @code{c'}
4866 with respect to that clef.
4868 @multitable @columnfractions .3 .3 .3 .1
4872 @b{Description} @tab
4873 @b{Supported Clefs} @tab
4877 @code{clefs-neo_mensural_c} @tab
4878 modern style mensural C clef @tab
4879 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4880 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4881 @lilypond[relative 0, notime]
4882 \property Staff.TimeSignature \set #'transparent = ##t
4883 \clef "neo_mensural_c2" c
4887 @code{clefs-petrucci_c1}
4888 @code{clefs-petrucci_c2}
4889 @code{clefs-petrucci_c3}
4890 @code{clefs-petrucci_c4}
4891 @code{clefs-petrucci_c5}
4894 petrucci style mensural C clefs, for use on different stafflines
4895 (the examples shows the 2nd staffline C clef).
4905 @lilypond[relative 0, notime]
4906 \property Staff.TimeSignature \set #'transparent = ##t
4907 \clef "petrucci_c2" c
4911 @code{clefs-petrucci_f} @tab
4912 petrucci style mensural F clef @tab
4913 @code{petrucci_f} @tab
4914 @lilypond[relative 0, notime]
4915 \property Staff.TimeSignature \set #'transparent = ##t
4916 \clef "petrucci_f" c
4920 @code{clefs-petrucci_g} @tab
4921 petrucci style mensural G clef @tab
4922 @code{petrucci_g} @tab
4923 @lilypond[relative 0, notime]
4924 \property Staff.TimeSignature \set #'transparent = ##t
4925 \clef "petrucci_g" c
4929 @code{clefs-mensural_c} @tab
4930 historic style mensural C clef @tab
4931 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4932 @code{mensural_c4} @tab
4933 @lilypond[relative 0, notime]
4934 \property Staff.TimeSignature \set #'transparent = ##t
4935 \clef "mensural_c2" c
4939 @code{clefs-mensural_f} @tab
4940 historic style mensural F clef @tab
4941 @code{mensural_f} @tab
4942 @lilypond[relative 0, notime]
4943 \property Staff.TimeSignature \set #'transparent = ##t
4944 \clef "mensural_f" c
4948 @code{clefs-mensural_g} @tab
4949 historic style mensural G clef @tab
4950 @code{mensural_g} @tab
4951 @lilypond[relative 0, notime]
4952 \property Staff.TimeSignature \set #'transparent = ##t
4953 \clef "mensural_g" c
4957 @code{clefs-vaticana_do} @tab
4958 Editio Vaticana style do clef @tab
4959 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4960 @lilypond[relative 0, notime]
4961 \property Staff.StaffSymbol \set #'line-count = #4
4962 \property Staff.TimeSignature \set #'transparent = ##t
4963 \clef "vaticana_do2" c
4967 @code{clefs-vaticana_fa} @tab
4968 Editio Vaticana style fa clef @tab
4969 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4970 @lilypond[relative 0, notime]
4971 \property Staff.StaffSymbol \set #'line-count = #4
4972 \property Staff.TimeSignature \set #'transparent = ##t
4973 \clef "vaticana_fa2" c
4977 @code{clefs-medicaea_do} @tab
4978 Editio Medicaea style do clef @tab
4979 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4980 @lilypond[relative 0, notime]
4981 \property Staff.StaffSymbol \set #'line-count = #4
4982 \property Staff.TimeSignature \set #'transparent = ##t
4983 \clef "medicaea_do2" c
4987 @code{clefs-medicaea_fa} @tab
4988 Editio Medicaea style fa clef @tab
4989 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4990 @lilypond[relative 0, notime]
4991 \property Staff.StaffSymbol \set #'line-count = #4
4992 \property Staff.TimeSignature \set #'transparent = ##t
4993 \clef "medicaea_fa2" c
4997 @code{clefs-hufnagel_do} @tab
4998 historic style hufnagel do clef @tab
4999 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5000 @lilypond[relative 0, notime]
5001 \property Staff.StaffSymbol \set #'line-count = #4
5002 \property Staff.TimeSignature \set #'transparent = ##t
5003 \clef "hufnagel_do2" c
5007 @code{clefs-hufnagel_fa} @tab
5008 historic style hufnagel fa clef @tab
5009 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5010 @lilypond[relative 0, notime]
5011 \property Staff.StaffSymbol \set #'line-count = #4
5012 \property Staff.TimeSignature \set #'transparent = ##t
5013 \clef "hufnagel_fa2" c
5017 @code{clefs-hufnagel_do_fa} @tab
5018 historic style hufnagel combined do/fa clef @tab
5019 @code{hufnagel_do_fa} @tab
5020 @lilypond[relative 0, notime]
5021 \property Staff.TimeSignature \set #'transparent = ##t
5022 \clef "hufnagel_do_fa" c
5027 @c --- This should go somewhere else: ---
5028 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5031 @c @code{percussion}
5033 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5035 @c @item modern style tab clef (glyph: @code{clefs-tab})
5040 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5042 @emph{Modern style} means ``as is typeset in contemporary editions of
5043 transcribed mensural music''.
5045 @emph{Petrucci style} means ``inspired by printings published by the
5046 famous engraver Petrucci (1466-1539)''.
5048 @emph{Historic style} means ``as was typeset or written in historic
5049 editions (other than those of Petrucci)''.
5051 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5053 Petrucci used C clefs with differently balanced left-side vertical
5054 beams, depending on which staffline it is printed.
5058 In this manual: for the percussion clef, see @ref{Percussion staves}.
5059 For the @code{TAB} clef, see @ref{Tablatures}.
5061 Internals: for modern clefs, see @ref{Clef}.
5065 The mensural g clef is temporarily mapped to the Petrucci g clef,
5066 until a new mensural g clef will have been implemented.
5071 @subsection Ancient flags
5077 Use the @code{flag-style} property of grob @internalsref{Stem} to
5078 select ancient flags. Besides the @code{default} flag style,
5079 only @code{mensural} style is supported:
5081 @lilypond[fragment,singleline,verbatim]
5082 \property Voice.Stem \set #'flag-style = #'mensural
5083 \property Voice.Stem \set #'thickness = #1.0
5084 \property Voice.NoteHead \set #'style = #'mensural
5086 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5087 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5090 Note that the innermost flare of each mensural flag always is
5091 vertically aligned with a staff line. If you do not like this
5092 behaviour, you can set the @code{adjust-if-on-staffline} property of
5093 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5094 of the end of each flare is different between notes on staff lines and
5095 notes between staff lines:
5097 @lilypond[fragment,singleline]
5098 \property Voice.Stem \set #'flag-style = #'mensural
5099 \property Voice.Stem \set #'thickness = #1.0
5100 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5101 \property Voice.NoteHead \set #'style = #'mensural
5103 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5104 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5107 There is no particular flag style for neo-mensural notation. Hence,
5108 when typesetting e.g. the incipit of a transcibed piece of mensural
5109 music, the default flag style should be used. There are no flags in
5110 Gregorian Chant notation.
5113 @node Ancient time signatures
5114 @subsection Ancient time signatures
5116 @cindex time signatures
5120 There is limited support for mensural time signatures. The
5121 glyphs are hard-wired to particular time fractions. In other words,
5122 to get a particular mensural signature glyph with the @code{\time n/m}
5123 command, @code{n} and @code{m} have to be chosen according to the
5129 \property Score.timing = ##f
5130 \property Score.barAlways = ##t
5131 s_\markup { "$\\backslash$time 4/4" }
5132 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5134 s_\markup { "$\\backslash$time 2/2" }
5135 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5137 s_\markup { "$\\backslash$time 6/4" }
5138 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5140 s_\markup { "$\\backslash$time 6/8" }
5141 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5143 s_\markup { "$\\backslash$time 3/2" }
5144 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5146 s_\markup { "$\\backslash$time 3/4" }
5147 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5149 s_\markup { "$\\backslash$time 9/4" }
5150 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5152 s_\markup { "$\\backslash$time 9/8" }
5153 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5155 s_\markup { "$\\backslash$time 4/8" }
5156 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5158 s_\markup { "$\\backslash$time 2/4" }
5159 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5167 \remove Staff_symbol_engraver
5168 \remove Clef_engraver
5169 \remove Time_signature_engraver
5175 Use the @code{style} property of grob @internalsref{TimeSignature} to
5176 select ancient time signatures. Supported styles are
5177 @code{neo_mensural} and @code{mensural}. The above table uses the
5178 @code{neo_mensural} style. This style is appropriate e.g. for the
5179 incipit of transcriptions of mensural pieces. The @code{mensural}
5180 style mimicks the look of historical printings of the 16th century.
5182 @inputfileref{input/test,time.ly} gives an overview over all available
5183 ancient and modern styles.
5187 Internals: @ref{Time signature} gives a general introduction into the use of time
5192 Mensural signature glyphs are mapped to time fractions in a
5193 hard-wired way. This mapping is sensible, but still arbitrary: given
5194 a mensural time signature, the time fraction represents a modern meter
5195 that usually will be a good choice when transcribing a mensural piece
5196 of music. For a particular piece of mensural music, however, the
5197 mapping may be unsatisfactory. In particular, the mapping assumes a
5198 fixed transcription of durations (e.g. brevis = half note in 2/2,
5199 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5200 are not at all accessible through the @code{\time} command.
5202 Mensural time signatures are supported typographically, but not yet
5203 musically. The internal representation of durations is
5204 based on a purely binary system; a ternary division such as 1 brevis =
5205 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5206 prolatione maiori) is not correctly handled: event times in ternary
5207 modes will be badly computed, resulting e.g. in horizontally
5208 misaligned note heads, and bar checks are likely to erroneously fail.
5210 The syntax and semantics of the @code{\time} command for mensural
5211 music is subject to change.
5214 @subsection Custodes
5219 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5220 symbol that appears at the end of a staff. It anticipates the pitch
5221 of the first note(s) of the following line and thus helps the player
5222 or singer to manage line breaks during performance, thus enhancing
5223 readability of a score.
5225 Custodes were frequently used in music notation until the 17th
5226 century. Nowadays, they have survived only in a few particular forms
5227 of musical notation such as contemporary editions of Gregorian chant
5228 like the @emph{editio vaticana}. There are different custos glyphs
5229 used in different flavours of notational style.
5233 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5234 @internalsref{Staff} context when declaring the @code{\paper} block,
5235 as shown in the following example:
5241 \consists Custos_engraver
5242 Custos \override #'style = #'mensural
5247 The result looks like this:
5253 \property Staff.Custos \set #'style = #'mensural
5260 \consists Custos_engraver
5267 The custos glyph is selected by the @code{style} property. The styles
5268 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5269 @code{mensural}. They are demonstrated in the following fragment:
5279 { " " \musicglyph #"custodes-vaticana-u0" }
5283 { " " \musicglyph #"custodes-medicaea-u0" }
5287 { " " \musicglyph #"custodes-hufnagel-u0" }
5291 { " " \musicglyph #"custodes-mensural-u0" }
5300 \remove "Bar_number_engraver"
5304 \remove "Clef_engraver"
5305 \remove "Key_engraver"
5306 \remove "Time_signature_engraver"
5307 \remove "Staff_symbol_engraver"
5308 minimumVerticalExtent = ##f
5314 If the boolean property @code{adjust-if-on-staffline} is set to
5315 @code{#t} (which it is by default), lily typesets slightly different
5316 variants of the custos glyph, depending on whether the custos, is
5317 typeset on or between stafflines. The glyph will
5318 optically fit well into the staff, with the appendage on the right of
5319 the custos always ending at the same vertical position between two
5320 stafflines regardless of the pitch. If you set
5321 @code{adjust-if-on-staffline} to @code{#f}, then
5322 a compromise between both forms is used.
5324 Just like stems can be attached to noteheads in two directions
5325 @emph{up} and @emph{down}, each custos glyph is available with its
5326 appendage pointing either up or down. If the pitch of a custos is
5327 above a selectable position, the appendage will point downwards; if
5328 the pitch is below this position, the appendage will point upwards.
5329 Use property @code{neutral-position} to select this position. By
5330 default, it is set to @code{0}, such that the neutral position is the
5331 center of the staff. Use property @code{neutral-direction} to control
5332 what happens if a custos is typeset on the neutral position itself.
5333 By default, this property is set to @code{-1}, such that the appendage
5334 will point downwards. If set to @code{1}, the appendage will point
5335 upwards. Other values such as @code{0} are reserved for future
5336 extensions and should not be used.
5340 Internals: @internalsref{Custos}
5342 Examples: @inputfileref{input/regression,custos.ly}.
5346 @subsection Divisiones
5352 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5353 `division') is a staff context symbol that is used to structure
5354 Gregorian music into phrases and sections. The musical meaning of
5355 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5356 can be characterized as short, medium and long pause, somewhat like
5357 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5358 a chant, but is also frequently used within a single
5359 antiphonal/responsorial chant to mark the end of each section.
5363 To use divisiones, include the file @code{gregorian-init.ly}. It
5364 contains definitions that you can apply by just inserting
5365 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5366 and @code{\finalis} at proper places in the input. Some editions use
5367 @emph{virgula} or @emph{caesura} instead of divisio minima.
5368 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5371 @lilypondfile[notexidoc]{divisiones.ly}
5375 @cindex @code{\virgula}
5377 @cindex @code{\caesura}
5379 @cindex @code{\divisioMinima}
5380 @code{\divisioMinima},
5381 @cindex @code{\divisioMaior}
5382 @code{\divisioMaior},
5383 @cindex @code{\divisioMaxima}
5384 @code{\divisioMaxima},
5385 @cindex @code{\finalis}
5390 In this manual: @ref{Breath marks}.
5392 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5394 Examples: @inputfileref{input/test,divisiones.ly}
5397 @subsection Ligatures
5401 @c TODO: Should double check if I recalled things correctly when I wrote
5402 @c down the following paragraph by heart.
5404 In musical terminology, a ligature is a coherent graphical symbol that
5405 represents at least two distinct notes. Ligatures originally appeared
5406 in the manuscripts of Gregorian chant notation roughly since the 9th
5407 century as an allusion to the accent symbols of greek lyric poetry to
5408 denote ascending or descending sequences of notes. Both, the shape
5409 and the exact meaning of ligatures changed tremendously during the
5410 following centuries: In early notation, ligatures were used for
5411 monophonic tunes (Gregorian chant) and very soon denoted also the way
5412 of performance in the sense of articulation. With upcoming
5413 multiphony, the need for a metric system arised, since multiple voices
5414 of a piece have to be synchronized some way. New notation systems
5415 were invented that used the manifold shapes of ligatures to now denote
5416 rhythmical patterns (e.g. black mensural notation, mannered notation,
5417 ars nova). With the invention of the metric system of the white
5418 mensural notation, the need for ligatures to denote such patterns
5419 disappeared. Nevertheless, ligatures were still in use in the
5420 mensural system for a couple of decades until they finally disappeared
5421 during the late 16th / early 17th century. Still, ligatures have
5422 survived in contemporary editions of Gregorian chant such as the
5423 Editio Vaticana from 1905/08.
5427 Syntactically, ligatures are simply enclosed by @code{\[} and
5428 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5429 additional input syntax specific for this particular type of ligature.
5430 By default, the @internalsref{LigatureBracket} engraver just puts a
5431 square bracket above the ligature:
5433 @lilypond[singleline,verbatim]
5435 \notes \transpose c c' {
5443 To select a specific style of ligatures, a proper ligature engraver
5444 has to be added to the @internalsref{Voice} context, as explained in
5445 the following subsections. Only white mensural ligatures
5446 are supported with certain limitations. Support for Editio Vaticana
5447 will be added in the future.
5450 * White mensural ligatures::
5451 * Gregorian square neumes ligatures::
5454 @node White mensural ligatures
5455 @subsubsection White mensural ligatures
5457 @cindex Mensural ligatures
5458 @cindex White mensural ligatures
5460 There is limited support for white mensural ligatures. The
5461 implementation is still experimental; it may output strange
5462 warnings or even crash in some cases or produce weird results on more
5467 To engrave white mensural ligatures, in the paper block the
5468 @internalsref{Mensural_ligature_engraver} has to be put into the
5469 @internalsref{Voice} context, and remove the
5470 @internalsref{Ligature_bracket_engraver}:
5476 \remove Ligature_bracket_engraver
5477 \consists Mensural_ligature_engraver
5482 There is no additional input language to describe the shape of a
5483 white mensural ligature. The shape is rather determined solely from
5484 the pitch and duration of the enclosed notes. While this approach may
5485 take a new user a while to get accustomed, it has the great advantage
5486 that the full musical information of the ligature is known internally.
5487 This is not only required for correct MIDI output, but also allows for
5488 automatic transcription of the ligatures.
5493 \property Score.timing = ##f
5494 \property Score.defaultBarType = "empty"
5495 \property Voice.NoteHead \set #'style = #'neo_mensural
5496 \property Staff.TimeSignature \set #'style = #'neo_mensural
5498 \[ g\longa c\breve a\breve f\breve d'\longa \]
5500 \[ e1 f1 a\breve g\longa \]
5502 @lilypond[singleline]
5504 \notes \transpose c c' {
5505 \property Score.timing = ##f
5506 \property Score.defaultBarType = "empty"
5507 \property Voice.NoteHead \set #'style = #'neo_mensural
5508 \property Staff.TimeSignature \set #'style = #'neo_mensural
5510 \[ g\longa c\breve a\breve f\breve d'\longa \]
5512 \[ e1 f1 a\breve g\longa \]
5517 \remove Ligature_bracket_engraver
5518 \consists Mensural_ligature_engraver
5524 Without replacing @internalsref{Ligature_bracket_engraver} with
5525 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5528 @lilypond[singleline]
5530 \notes \transpose c c' {
5531 \property Score.timing = ##f
5532 \property Score.defaultBarType = "empty"
5533 \property Voice.NoteHead \set #'style = #'neo_mensural
5534 \property Staff.TimeSignature \set #'style = #'neo_mensural
5536 \[ g\longa c\breve a\breve f\breve d'\longa \]
5538 \[ e1 f1 a\breve g\longa \]
5544 @node Gregorian square neumes ligatures
5545 @subsubsection Gregorian square neumes ligatures
5547 @cindex Square neumes ligatures
5548 @cindex Gregorian square neumes ligatures
5550 Gregorian square neumes notation (following the style of the Editio
5551 Vaticana) is under heavy development, but not yet really usable for
5552 production purposes. Core ligatures can already be typeset, but
5553 essential issues for serious typesetting are still under development,
5554 such as (among others) horizontal alignment of multiple ligatures,
5555 lyrics alignment and proper accidentals handling. Still, this section
5556 gives a sneak preview of what Gregorian chant may look like once it
5559 The following table contains the extended neumes table of the 2nd
5560 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5561 1983 by the monks of Solesmes.
5563 @multitable @columnfractions .4 .2 .2 .2
5566 @b{Neuma aut@*Neumarum Elementa} @tab
5567 @b{Figurae@*Rectae} @tab
5568 @b{Figurae@*Liquescentes Auctae} @tab
5569 @b{Figurae@*Liquescentes Deminutae}
5571 @c TODO: \paper block is identical in all of the below examples.
5572 @c Therefore, it should somehow be included rather than duplicated all
5575 @c why not make identifiers in ly/engraver-init.ly? --hwn
5577 @c Because it's just used to typeset plain notes without
5578 @c a staff for demonstration purposes rather than something
5579 @c special of Gregorian chant notation. --jr
5584 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5585 \include "gregorian-init.ly"
5587 \notes \transpose c c' {
5590 \noBreak s^\markup {"a"} \noBreak
5592 % Punctum Inclinatum
5594 \noBreak s^\markup {"b"}
5600 \remove "Bar_number_engraver"
5604 \remove "Clef_engraver"
5605 \remove "Key_engraver"
5606 StaffSymbol \set #'transparent = ##t
5607 \remove "Time_signature_engraver"
5608 \remove "Bar_engraver"
5609 minimumVerticalExtent = ##f
5613 \remove Ligature_bracket_engraver
5614 \consists Vaticana_ligature_engraver
5615 NoteHead \set #'style = #'vaticana_punctum
5616 Stem \set #'transparent = ##t
5622 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5623 \include "gregorian-init.ly"
5625 \notes \transpose c c' {
5626 % Punctum Auctum Ascendens
5627 \[ \auctum \ascendens b \]
5628 \noBreak s^\markup {"c"} \noBreak
5630 % Punctum Auctum Descendens
5631 \[ \auctum \descendens b \]
5632 \noBreak s^\markup {"d"} \noBreak
5634 % Punctum Inclinatum Auctum
5635 \[ \inclinatum \auctum b \]
5636 \noBreak s^\markup {"e"}
5642 \remove "Bar_number_engraver"
5646 \remove "Clef_engraver"
5647 \remove "Key_engraver"
5648 StaffSymbol \set #'transparent = ##t
5649 \remove "Time_signature_engraver"
5650 \remove "Bar_engraver"
5651 minimumVerticalExtent = ##f
5655 \remove Ligature_bracket_engraver
5656 \consists Vaticana_ligature_engraver
5657 NoteHead \set #'style = #'vaticana_punctum
5658 Stem \set #'transparent = ##t
5664 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5665 \include "gregorian-init.ly"
5667 \notes \transpose c c' {
5668 % Punctum Inclinatum Parvum
5669 \[ \inclinatum \deminutum b \]
5670 \noBreak s^\markup {"f"}
5676 \remove "Bar_number_engraver"
5680 \remove "Clef_engraver"
5681 \remove "Key_engraver"
5682 StaffSymbol \set #'transparent = ##t
5683 \remove "Time_signature_engraver"
5684 \remove "Bar_engraver"
5685 minimumVerticalExtent = ##f
5689 \remove Ligature_bracket_engraver
5690 \consists Vaticana_ligature_engraver
5691 NoteHead \set #'style = #'vaticana_punctum
5692 Stem \set #'transparent = ##t
5701 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5702 \include "gregorian-init.ly"
5704 \notes \transpose c c' {
5707 \noBreak s^\markup {"g"}
5713 \remove "Bar_number_engraver"
5717 \remove "Clef_engraver"
5718 \remove "Key_engraver"
5719 StaffSymbol \set #'transparent = ##t
5720 \remove "Time_signature_engraver"
5721 \remove "Bar_engraver"
5722 minimumVerticalExtent = ##f
5726 \remove Ligature_bracket_engraver
5727 \consists Vaticana_ligature_engraver
5728 NoteHead \set #'style = #'vaticana_punctum
5729 Stem \set #'transparent = ##t
5738 @code{3. Apostropha vel Stropha}
5740 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5741 \include "gregorian-init.ly"
5743 \notes \transpose c c' {
5746 \noBreak s^\markup {"h"}
5752 \remove "Bar_number_engraver"
5756 \remove "Clef_engraver"
5757 \remove "Key_engraver"
5758 StaffSymbol \set #'transparent = ##t
5759 \remove "Time_signature_engraver"
5760 \remove "Bar_engraver"
5761 minimumVerticalExtent = ##f
5765 \remove Ligature_bracket_engraver
5766 \consists Vaticana_ligature_engraver
5767 NoteHead \set #'style = #'vaticana_punctum
5768 Stem \set #'transparent = ##t
5774 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5775 \include "gregorian-init.ly"
5777 \notes \transpose c c' {
5779 \[ \stropha \auctum b \]
5780 \noBreak s^\markup {"i"}
5786 \remove "Bar_number_engraver"
5790 \remove "Clef_engraver"
5791 \remove "Key_engraver"
5792 StaffSymbol \set #'transparent = ##t
5793 \remove "Time_signature_engraver"
5794 \remove "Bar_engraver"
5795 minimumVerticalExtent = ##f
5799 \remove Ligature_bracket_engraver
5800 \consists Vaticana_ligature_engraver
5801 NoteHead \set #'style = #'vaticana_punctum
5802 Stem \set #'transparent = ##t
5812 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5813 \include "gregorian-init.ly"
5815 \notes \transpose c c' {
5818 \noBreak s^\markup {"j"}
5824 \remove "Bar_number_engraver"
5828 \remove "Clef_engraver"
5829 \remove "Key_engraver"
5830 StaffSymbol \set #'transparent = ##t
5831 \remove "Time_signature_engraver"
5832 \remove "Bar_engraver"
5833 minimumVerticalExtent = ##f
5837 \remove Ligature_bracket_engraver
5838 \consists Vaticana_ligature_engraver
5839 NoteHead \set #'style = #'vaticana_punctum
5840 Stem \set #'transparent = ##t
5849 @code{5. Clivis vel Flexa}
5851 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5852 \include "gregorian-init.ly"
5854 \notes \transpose c c' {
5863 \remove "Bar_number_engraver"
5867 \remove "Clef_engraver"
5868 \remove "Key_engraver"
5869 StaffSymbol \set #'transparent = ##t
5870 \remove "Time_signature_engraver"
5871 \remove "Bar_engraver"
5872 minimumVerticalExtent = ##f
5876 \remove Ligature_bracket_engraver
5877 \consists Vaticana_ligature_engraver
5878 NoteHead \set #'style = #'vaticana_punctum
5879 Stem \set #'transparent = ##t
5885 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5886 \include "gregorian-init.ly"
5888 \notes \transpose c c' {
5889 % Clivis Aucta Descendens
5890 \[ b \flexa \auctum \descendens g \]
5891 \noBreak s^\markup {"l"} \noBreak
5893 % Clivis Aucta Ascendens
5894 \[ b \flexa \auctum \ascendens g \]
5895 \noBreak s^\markup {"m"}
5901 \remove "Bar_number_engraver"
5905 \remove "Clef_engraver"
5906 \remove "Key_engraver"
5907 StaffSymbol \set #'transparent = ##t
5908 \remove "Time_signature_engraver"
5909 \remove "Bar_engraver"
5910 minimumVerticalExtent = ##f
5914 \remove Ligature_bracket_engraver
5915 \consists Vaticana_ligature_engraver
5916 NoteHead \set #'style = #'vaticana_punctum
5917 Stem \set #'transparent = ##t
5923 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5924 \include "gregorian-init.ly"
5926 \notes \transpose c c' {
5928 \[ b \flexa \deminutum g \]
5935 \remove "Bar_number_engraver"
5939 \remove "Clef_engraver"
5940 \remove "Key_engraver"
5941 StaffSymbol \set #'transparent = ##t
5942 \remove "Time_signature_engraver"
5943 \remove "Bar_engraver"
5944 minimumVerticalExtent = ##f
5948 \remove Ligature_bracket_engraver
5949 \consists Vaticana_ligature_engraver
5950 NoteHead \set #'style = #'vaticana_punctum
5951 Stem \set #'transparent = ##t
5958 @code{6. Podatus vel Pes}
5960 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5961 \include "gregorian-init.ly"
5963 \notes \transpose c c' {
5972 \remove "Bar_number_engraver"
5976 \remove "Clef_engraver"
5977 \remove "Key_engraver"
5978 StaffSymbol \set #'transparent = ##t
5979 \remove "Time_signature_engraver"
5980 \remove "Bar_engraver"
5981 minimumVerticalExtent = ##f
5985 \remove Ligature_bracket_engraver
5986 \consists Vaticana_ligature_engraver
5987 NoteHead \set #'style = #'vaticana_punctum
5988 Stem \set #'transparent = ##t
5994 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5995 \include "gregorian-init.ly"
5997 \notes \transpose c c' {
5998 % Pes Auctus Descendens
5999 \[ g \pes \auctum \descendens b \]
6000 \noBreak s^\markup {"p"} \noBreak
6002 % Pes Auctus Ascendens
6003 \[ g \pes \auctum \ascendens b \]
6004 \noBreak s^\markup {"q"}
6010 \remove "Bar_number_engraver"
6014 \remove "Clef_engraver"
6015 \remove "Key_engraver"
6016 StaffSymbol \set #'transparent = ##t
6017 \remove "Time_signature_engraver"
6018 \remove "Bar_engraver"
6019 minimumVerticalExtent = ##f
6023 \remove Ligature_bracket_engraver
6024 \consists Vaticana_ligature_engraver
6025 NoteHead \set #'style = #'vaticana_punctum
6026 Stem \set #'transparent = ##t
6032 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6033 \include "gregorian-init.ly"
6035 \notes \transpose c c' {
6037 \[ g \pes \deminutum b \]
6044 \remove "Bar_number_engraver"
6048 \remove "Clef_engraver"
6049 \remove "Key_engraver"
6050 StaffSymbol \set #'transparent = ##t
6051 \remove "Time_signature_engraver"
6052 \remove "Bar_engraver"
6053 minimumVerticalExtent = ##f
6057 \remove Ligature_bracket_engraver
6058 \consists Vaticana_ligature_engraver
6059 NoteHead \set #'style = #'vaticana_punctum
6060 Stem \set #'transparent = ##t
6067 @code{7. Pes Quassus}
6069 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6070 \include "gregorian-init.ly"
6072 \notes \transpose c c' {
6074 \[ \oriscus g \pes \virga b \]
6081 \remove "Bar_number_engraver"
6085 \remove "Clef_engraver"
6086 \remove "Key_engraver"
6087 StaffSymbol \set #'transparent = ##t
6088 \remove "Time_signature_engraver"
6089 \remove "Bar_engraver"
6090 minimumVerticalExtent = ##f
6094 \remove Ligature_bracket_engraver
6095 \consists Vaticana_ligature_engraver
6096 NoteHead \set #'style = #'vaticana_punctum
6097 Stem \set #'transparent = ##t
6103 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6104 \include "gregorian-init.ly"
6106 \notes \transpose c c' {
6107 % Pes Quassus Auctus Descendens
6108 \[ \oriscus g \pes \auctum \descendens b \]
6115 \remove "Bar_number_engraver"
6119 \remove "Clef_engraver"
6120 \remove "Key_engraver"
6121 StaffSymbol \set #'transparent = ##t
6122 \remove "Time_signature_engraver"
6123 \remove "Bar_engraver"
6124 minimumVerticalExtent = ##f
6128 \remove Ligature_bracket_engraver
6129 \consists Vaticana_ligature_engraver
6130 NoteHead \set #'style = #'vaticana_punctum
6131 Stem \set #'transparent = ##t
6139 @code{8. Quilisma Pes}
6141 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6142 \include "gregorian-init.ly"
6144 \notes \transpose c c' {
6146 \[ \quilisma g \pes b \]
6153 \remove "Bar_number_engraver"
6157 \remove "Clef_engraver"
6158 \remove "Key_engraver"
6159 StaffSymbol \set #'transparent = ##t
6160 \remove "Time_signature_engraver"
6161 \remove "Bar_engraver"
6162 minimumVerticalExtent = ##f
6166 \remove Ligature_bracket_engraver
6167 \consists Vaticana_ligature_engraver
6168 NoteHead \set #'style = #'vaticana_punctum
6169 Stem \set #'transparent = ##t
6175 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6176 \include "gregorian-init.ly"
6178 \notes \transpose c c' {
6179 % Quilisma Pes Auctus Descendens
6180 \[ \quilisma g \pes \auctum \descendens b \]
6187 \remove "Bar_number_engraver"
6191 \remove "Clef_engraver"
6192 \remove "Key_engraver"
6193 StaffSymbol \set #'transparent = ##t
6194 \remove "Time_signature_engraver"
6195 \remove "Bar_engraver"
6196 minimumVerticalExtent = ##f
6200 \remove Ligature_bracket_engraver
6201 \consists Vaticana_ligature_engraver
6202 NoteHead \set #'style = #'vaticana_punctum
6203 Stem \set #'transparent = ##t
6211 @code{9. Podatus Initio Debilis}
6213 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6214 \include "gregorian-init.ly"
6216 \notes \transpose c c' {
6217 % Pes Initio Debilis
6218 \[ \deminutum g \pes b \]
6225 \remove "Bar_number_engraver"
6229 \remove "Clef_engraver"
6230 \remove "Key_engraver"
6231 StaffSymbol \set #'transparent = ##t
6232 \remove "Time_signature_engraver"
6233 \remove "Bar_engraver"
6234 minimumVerticalExtent = ##f
6238 \remove Ligature_bracket_engraver
6239 \consists Vaticana_ligature_engraver
6240 NoteHead \set #'style = #'vaticana_punctum
6241 Stem \set #'transparent = ##t
6247 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6248 \include "gregorian-init.ly"
6250 \notes \transpose c c' {
6251 % Pes Auctus Descendens Initio Debilis
6252 \[ \deminutum g \pes \auctum \descendens b \]
6259 \remove "Bar_number_engraver"
6263 \remove "Clef_engraver"
6264 \remove "Key_engraver"
6265 StaffSymbol \set #'transparent = ##t
6266 \remove "Time_signature_engraver"
6267 \remove "Bar_engraver"
6268 minimumVerticalExtent = ##f
6272 \remove Ligature_bracket_engraver
6273 \consists Vaticana_ligature_engraver
6274 NoteHead \set #'style = #'vaticana_punctum
6275 Stem \set #'transparent = ##t
6285 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6286 \include "gregorian-init.ly"
6288 \notes \transpose c c' {
6290 \[ a \pes b \flexa g \]
6297 \remove "Bar_number_engraver"
6301 \remove "Clef_engraver"
6302 \remove "Key_engraver"
6303 StaffSymbol \set #'transparent = ##t
6304 \remove "Time_signature_engraver"
6305 \remove "Bar_engraver"
6306 minimumVerticalExtent = ##f
6310 \remove Ligature_bracket_engraver
6311 \consists Vaticana_ligature_engraver
6312 NoteHead \set #'style = #'vaticana_punctum
6313 Stem \set #'transparent = ##t
6319 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6320 \include "gregorian-init.ly"
6322 \notes \transpose c c' {
6323 % Torculus Auctus Descendens
6324 \[ a \pes b \flexa \auctum \descendens g \]
6331 \remove "Bar_number_engraver"
6335 \remove "Clef_engraver"
6336 \remove "Key_engraver"
6337 StaffSymbol \set #'transparent = ##t
6338 \remove "Time_signature_engraver"
6339 \remove "Bar_engraver"
6340 minimumVerticalExtent = ##f
6344 \remove Ligature_bracket_engraver
6345 \consists Vaticana_ligature_engraver
6346 NoteHead \set #'style = #'vaticana_punctum
6347 Stem \set #'transparent = ##t
6353 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6354 \include "gregorian-init.ly"
6356 \notes \transpose c c' {
6357 % Torculus Deminutus
6358 \[ a \pes b \flexa \deminutum g \]
6365 \remove "Bar_number_engraver"
6369 \remove "Clef_engraver"
6370 \remove "Key_engraver"
6371 StaffSymbol \set #'transparent = ##t
6372 \remove "Time_signature_engraver"
6373 \remove "Bar_engraver"
6374 minimumVerticalExtent = ##f
6378 \remove Ligature_bracket_engraver
6379 \consists Vaticana_ligature_engraver
6380 NoteHead \set #'style = #'vaticana_punctum
6381 Stem \set #'transparent = ##t
6388 @code{11. Torculus Initio Debilis}
6390 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6391 \include "gregorian-init.ly"
6393 \notes \transpose c c' {
6394 % Torculus Initio Debilis
6395 \[ \deminutum a \pes b \flexa g \]
6402 \remove "Bar_number_engraver"
6406 \remove "Clef_engraver"
6407 \remove "Key_engraver"
6408 StaffSymbol \set #'transparent = ##t
6409 \remove "Time_signature_engraver"
6410 \remove "Bar_engraver"
6411 minimumVerticalExtent = ##f
6415 \remove Ligature_bracket_engraver
6416 \consists Vaticana_ligature_engraver
6417 NoteHead \set #'style = #'vaticana_punctum
6418 Stem \set #'transparent = ##t
6424 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6425 \include "gregorian-init.ly"
6427 \notes \transpose c c' {
6428 % Torculus Auctus Descendens Initio Debilis
6429 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6436 \remove "Bar_number_engraver"
6440 \remove "Clef_engraver"
6441 \remove "Key_engraver"
6442 StaffSymbol \set #'transparent = ##t
6443 \remove "Time_signature_engraver"
6444 \remove "Bar_engraver"
6445 minimumVerticalExtent = ##f
6449 \remove Ligature_bracket_engraver
6450 \consists Vaticana_ligature_engraver
6451 NoteHead \set #'style = #'vaticana_punctum
6452 Stem \set #'transparent = ##t
6458 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6459 \include "gregorian-init.ly"
6461 \notes \transpose c c' {
6462 % Torculus Deminutus Initio Debilis
6463 \[ \deminutum a \pes b \flexa \deminutum g \]
6470 \remove "Bar_number_engraver"
6474 \remove "Clef_engraver"
6475 \remove "Key_engraver"
6476 StaffSymbol \set #'transparent = ##t
6477 \remove "Time_signature_engraver"
6478 \remove "Bar_engraver"
6479 minimumVerticalExtent = ##f
6483 \remove Ligature_bracket_engraver
6484 \consists Vaticana_ligature_engraver
6485 NoteHead \set #'style = #'vaticana_punctum
6486 Stem \set #'transparent = ##t
6493 @code{12. Porrectus}
6495 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6496 \include "gregorian-init.ly"
6498 \notes \transpose c c' {
6500 \[ a \flexa g \pes b \]
6507 \remove "Bar_number_engraver"
6511 \remove "Clef_engraver"
6512 \remove "Key_engraver"
6513 StaffSymbol \set #'transparent = ##t
6514 \remove "Time_signature_engraver"
6515 \remove "Bar_engraver"
6516 minimumVerticalExtent = ##f
6520 \remove Ligature_bracket_engraver
6521 \consists Vaticana_ligature_engraver
6522 NoteHead \set #'style = #'vaticana_punctum
6523 Stem \set #'transparent = ##t
6529 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6530 \include "gregorian-init.ly"
6532 \notes \transpose c c' {
6533 % Porrectus Auctus Descendens
6534 \[ a \flexa g \pes \auctum \descendens b \]
6541 \remove "Bar_number_engraver"
6545 \remove "Clef_engraver"
6546 \remove "Key_engraver"
6547 StaffSymbol \set #'transparent = ##t
6548 \remove "Time_signature_engraver"
6549 \remove "Bar_engraver"
6550 minimumVerticalExtent = ##f
6554 \remove Ligature_bracket_engraver
6555 \consists Vaticana_ligature_engraver
6556 NoteHead \set #'style = #'vaticana_punctum
6557 Stem \set #'transparent = ##t
6563 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6564 \include "gregorian-init.ly"
6566 \notes \transpose c c' {
6567 % Porrectus Deminutus
6568 \[ a \flexa g \pes \deminutum b \]
6575 \remove "Bar_number_engraver"
6579 \remove "Clef_engraver"
6580 \remove "Key_engraver"
6581 StaffSymbol \set #'transparent = ##t
6582 \remove "Time_signature_engraver"
6583 \remove "Bar_engraver"
6584 minimumVerticalExtent = ##f
6588 \remove Ligature_bracket_engraver
6589 \consists Vaticana_ligature_engraver
6590 NoteHead \set #'style = #'vaticana_punctum
6591 Stem \set #'transparent = ##t
6600 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6601 \include "gregorian-init.ly"
6603 \notes \transpose c c' {
6605 \[ \virga b \inclinatum a \inclinatum g \]
6612 \remove "Bar_number_engraver"
6616 \remove "Clef_engraver"
6617 \remove "Key_engraver"
6618 StaffSymbol \set #'transparent = ##t
6619 \remove "Time_signature_engraver"
6620 \remove "Bar_engraver"
6621 minimumVerticalExtent = ##f
6625 \remove Ligature_bracket_engraver
6626 \consists Vaticana_ligature_engraver
6627 NoteHead \set #'style = #'vaticana_punctum
6628 Stem \set #'transparent = ##t
6634 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6635 \include "gregorian-init.ly"
6637 \notes \transpose c c' {
6639 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6646 \remove "Bar_number_engraver"
6650 \remove "Clef_engraver"
6651 \remove "Key_engraver"
6652 StaffSymbol \set #'transparent = ##t
6653 \remove "Time_signature_engraver"
6654 \remove "Bar_engraver"
6655 minimumVerticalExtent = ##f
6659 \remove Ligature_bracket_engraver
6660 \consists Vaticana_ligature_engraver
6661 NoteHead \set #'style = #'vaticana_punctum
6662 Stem \set #'transparent = ##t
6668 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6669 \include "gregorian-init.ly"
6671 \notes \transpose c c' {
6672 % Climacus Deminutus
6673 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6680 \remove "Bar_number_engraver"
6684 \remove "Clef_engraver"
6685 \remove "Key_engraver"
6686 StaffSymbol \set #'transparent = ##t
6687 \remove "Time_signature_engraver"
6688 \remove "Bar_engraver"
6689 minimumVerticalExtent = ##f
6693 \remove Ligature_bracket_engraver
6694 \consists Vaticana_ligature_engraver
6695 NoteHead \set #'style = #'vaticana_punctum
6696 Stem \set #'transparent = ##t
6703 @code{14. Scandicus}
6705 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6706 \include "gregorian-init.ly"
6708 \notes \transpose c c' {
6710 \[ g \pes a \virga b \]
6717 \remove "Bar_number_engraver"
6721 \remove "Clef_engraver"
6722 \remove "Key_engraver"
6723 StaffSymbol \set #'transparent = ##t
6724 \remove "Time_signature_engraver"
6725 \remove "Bar_engraver"
6726 minimumVerticalExtent = ##f
6730 \remove Ligature_bracket_engraver
6731 \consists Vaticana_ligature_engraver
6732 NoteHead \set #'style = #'vaticana_punctum
6733 Stem \set #'transparent = ##t
6739 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6740 \include "gregorian-init.ly"
6742 \notes \transpose c c' {
6743 % Scandicus Auctus Descendens
6744 \[ g \pes a \pes \auctum \descendens b \]
6751 \remove "Bar_number_engraver"
6755 \remove "Clef_engraver"
6756 \remove "Key_engraver"
6757 StaffSymbol \set #'transparent = ##t
6758 \remove "Time_signature_engraver"
6759 \remove "Bar_engraver"
6760 minimumVerticalExtent = ##f
6764 \remove Ligature_bracket_engraver
6765 \consists Vaticana_ligature_engraver
6766 NoteHead \set #'style = #'vaticana_punctum
6767 Stem \set #'transparent = ##t
6773 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6774 \include "gregorian-init.ly"
6776 \notes \transpose c c' {
6777 % Scandicus Deminutus
6778 \[ g \pes a \pes \deminutum b \]
6785 \remove "Bar_number_engraver"
6789 \remove "Clef_engraver"
6790 \remove "Key_engraver"
6791 StaffSymbol \set #'transparent = ##t
6792 \remove "Time_signature_engraver"
6793 \remove "Bar_engraver"
6794 minimumVerticalExtent = ##f
6798 \remove Ligature_bracket_engraver
6799 \consists Vaticana_ligature_engraver
6800 NoteHead \set #'style = #'vaticana_punctum
6801 Stem \set #'transparent = ##t
6810 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6811 \include "gregorian-init.ly"
6813 \notes \transpose c c' {
6815 \[ g \oriscus a \pes \virga b \]
6822 \remove "Bar_number_engraver"
6826 \remove "Clef_engraver"
6827 \remove "Key_engraver"
6828 StaffSymbol \set #'transparent = ##t
6829 \remove "Time_signature_engraver"
6830 \remove "Bar_engraver"
6831 minimumVerticalExtent = ##f
6835 \remove Ligature_bracket_engraver
6836 \consists Vaticana_ligature_engraver
6837 NoteHead \set #'style = #'vaticana_punctum
6838 Stem \set #'transparent = ##t
6844 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6845 \include "gregorian-init.ly"
6847 \notes \transpose c c' {
6848 % Salicus Auctus Descendens
6849 \[ g \oriscus a \pes \auctum \descendens b \]
6856 \remove "Bar_number_engraver"
6860 \remove "Clef_engraver"
6861 \remove "Key_engraver"
6862 StaffSymbol \set #'transparent = ##t
6863 \remove "Time_signature_engraver"
6864 \remove "Bar_engraver"
6865 minimumVerticalExtent = ##f
6869 \remove Ligature_bracket_engraver
6870 \consists Vaticana_ligature_engraver
6871 NoteHead \set #'style = #'vaticana_punctum
6872 Stem \set #'transparent = ##t
6882 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6883 \include "gregorian-init.ly"
6885 \notes \transpose c c' {
6887 \[ \stropha b \stropha b \stropha a \]
6894 \remove "Bar_number_engraver"
6898 \remove "Clef_engraver"
6899 \remove "Key_engraver"
6900 StaffSymbol \set #'transparent = ##t
6901 \remove "Time_signature_engraver"
6902 \remove "Bar_engraver"
6903 minimumVerticalExtent = ##f
6907 \remove Ligature_bracket_engraver
6908 \consists Vaticana_ligature_engraver
6909 NoteHead \set #'style = #'vaticana_punctum
6910 Stem \set #'transparent = ##t
6922 Unlike most other neumes notation systems, the input language for
6923 neumes does not necessarily reflect directly the typographical
6924 appearance, but is designed to solely focuse on musical meaning. For
6925 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6926 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6927 a Porrectus with a curved flexa shape and only a single Punctum head.
6928 There is no command to explicitly typeset the curved flexa shape; the
6929 decision of when to typeset a curved flexa shape is purely taken from
6930 the musical input. The idea of this approach is to separate the
6931 musical aspects of the input from the notation style of the output.
6932 This way, the same input can be reused to typeset the same music in a
6933 different style of Gregorian chant notation such as Hufnagel (also
6934 known as German gothic neumes) or Medicaea (kind of a very simple
6935 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6936 engraver and Medicaea ligature engraver will have been implemented, it
6937 will be as simple as replacing the ligature engraver in the
6938 @internalsref{Voice} context to get the desired notation style from
6941 The following table shows the code fragments that produce the
6942 ligatures in the above neumes table. The letter in the first column
6943 in each line of the below table indicates to which ligature in the
6944 above table it refers. The second column gives the name of the
6945 ligature. The third column shows the code fragment that produces this
6946 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6948 @multitable @columnfractions .1 .4 .5
6962 Punctum Inclinatum @tab
6963 @code{\[ \inclinatum b \]}
6967 Punctum Auctum Ascendens @tab
6968 @code{\[ \auctum \ascendens b \]}
6972 Punctum Auctum Descendens @tab
6973 @code{\[ \auctum \descendens b \]}
6977 Punctum Inclinatum Auctum @tab
6978 @code{\[ \inclinatum \auctum b \]}
6982 Punctum Inclinatum Parvum @tab
6983 @code{\[ \inclinatum \deminutum b \]}
6988 @code{\[ \virga b \]}
6993 @code{\[ \stropha b \]}
6998 @code{\[ \stropha \auctum b \]}
7003 @code{\[ \oriscus b \]}
7007 Clivis vel Flexa @tab
7008 @code{\[ b \flexa g \]}
7012 Clivis Aucta Descendens @tab
7013 @code{\[ b \flexa \auctum \descendens g \]}
7017 Clivis Aucta Ascendens @tab
7018 @code{\[ b \flexa \auctum \ascendens g \]}
7023 @code{\[ b \flexa \deminutum g \]}
7027 Podatus vel Pes @tab
7028 @code{\[ g \pes b \]}
7032 Pes Auctus Descendens @tab
7033 @code{\[ g \pes \auctum \descendens b \]}
7037 Pes Auctus Ascendens @tab
7038 @code{\[ g \pes \auctum \ascendens b \]}
7043 @code{\[ g \pes \deminutum b \]}
7048 @code{\[ \oriscus g \pes \virga b \]}
7052 Pes Quassus Auctus Descendens @tab
7053 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7058 @code{\[ \quilisma g \pes b \]}
7062 Quilisma Pes Auctus Descendens @tab
7063 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7067 Pes Initio Debilis @tab
7068 @code{\[ \deminutum g \pes b \]}
7072 Pes Auctus Descendens Initio Debilis @tab
7073 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7078 @code{\[ a \pes b \flexa g \]}
7082 Torculus Auctus Descendens @tab
7083 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7087 Torculus Deminutus @tab
7088 @code{\[ a \pes b \flexa \deminutum g \]}
7092 Torculus Initio Debilis @tab
7093 @code{\[ \deminutum a \pes b \flexa g \]}
7097 Torculus Auctus Descendens Initio Debilis @tab
7098 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7102 Torculus Deminutus Initio Debilis @tab
7103 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7108 @code{\[ a \flexa g \pes b \]}
7112 Porrectus Auctus Descendens @tab
7113 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7117 Porrectus Deminutus @tab
7118 @code{\[ a \flexa g \pes \deminutum b \]}
7123 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7127 Climacus Auctus @tab
7128 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7132 Climacus Deminutus @tab
7133 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7138 @code{\[ g \pes a \virga b \]}
7142 Scandicus Auctus Descendens @tab
7143 @code{\[ g \pes a \pes \auctum \descendens b \]}
7147 Scandicus Deminutus @tab
7148 @code{\[ g \pes a \pes \deminutum b \]}
7153 @code{\[ g \oriscus a \pes \virga b \]}
7157 Salicus Auctus Descendens @tab
7158 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7163 @code{\[ \stropha b \stropha b \stropha a \]}
7169 The following head prefixes are supported:
7171 @cindex @code{\virga}
7173 @cindex @code{\stropha}
7175 @cindex @code{\inclinatum}
7177 @cindex @code{\auctum}
7179 @cindex @code{\descendens}
7181 @cindex @code{\ascendens}
7183 @cindex @code{\oriscus}
7185 @cindex @code{\quilisma}
7187 @cindex @code{\deminutum}
7190 Head prefixes can be accumulated, though restrictions apply. For
7191 example, either @code{\descendens} or @code{\ascendens} can be applied
7192 to a head, but not both to the same head.
7195 @cindex @code{\flexa}
7196 Two adjacent heads can be tied together with the @code{\pes} and
7197 @code{\flexa} infix commands for a rising and falling line of melody,
7202 Trigonus: apply equal spacing, regardless of pitch.
7205 @subsection Figured bass
7207 @cindex Basso continuo
7209 @c TODO: musicological blurb about FB
7213 LilyPond has limited support for figured bass:
7215 @lilypond[verbatim,fragment]
7217 \context Voice \notes { \clef bass dis4 c d ais}
7218 \context FiguredBass
7220 < 6 >4 < 7 >8 < 6+ [_!] >
7226 The support for figured bass consists of two parts: there is an input
7227 mode, introduced by @code{\figures}, where you can enter bass figures
7228 as numbers, and there is a context called @internalsref{FiguredBass} that
7229 takes care of making @internalsref{BassFigure} objects.
7231 In figures input mode, a group of bass figures is delimited by
7232 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7237 \context FiguredBass
7241 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7248 \context FiguredBass
7249 \figures { <4- 6+ 7!> }
7252 Spaces or dashes may be inserted by using @code{_}. Brackets are
7253 introduced with @code{[} and @code{]}:
7259 \context FiguredBass
7260 \figures { < [4 6] 8 [_! 12]> }
7263 Although the support for figured bass may superficially resemble chord
7264 support, it works much simpler. The @code{\figures} mode simply
7265 stores the numbers , and @internalsref{FiguredBass} context prints
7266 them as entered. There is no conversion to pitches, and no
7267 realizations of the bass are played in the MIDI file.
7269 Internally, the code produces markup texts. You can use any of the
7270 markup text properties to override formatting. For example, the
7271 vertical spacing of the figures may be set with @code{baseline-skip}.
7275 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7276 and @internalsref{FiguredBass} context.
7280 Slash notation for alterations is not supported.
7283 @node Vaticana style contexts
7284 @subsection Vaticana style contexts
7286 @cindex VaticanaVoiceContext
7287 @cindex VaticanaStaffContext
7289 The predefined @code{VaticanaVoiceContext} and
7290 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7291 Gregorian Chant in the style of the Editio Vaticana. These contexts
7292 initialize all relevant context properties and grob properties to
7293 proper values. With these contexts, you can immediately go ahead
7294 entering the chant, as the following short excerpt demonstrates:
7296 @lilypond[raggedright,verbatim,noindent]
7297 \include "gregorian-init.ly"
7300 \context VaticanaVoice = "cantus" {
7301 \property Score.BarNumber \set #'transparent = ##t
7303 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7304 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7305 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7308 \lyricsto "cantus" \new LyricsVoice \lyrics {
7309 San- ctus, San- ctus, San- ctus
7315 @node Contemporary notation
7316 @section Contemporary notation
7318 In the 20th century, composers have greatly expanded the musical
7319 vocabulary. With this expansion, many innovations in musical notation
7320 have been tried. The book by Stone (1980) gives a comprehensive
7321 overview (see @ref{Literature list}). In general, the use of new,
7322 innovative notation makes a piece harder to understand and perform and
7323 its use should therefore be avoided if possible. For this reason,
7324 support for contemporary notation in LilyPond is limited.
7333 @subsection Clusters
7337 In musical terminology, a @emph{cluster} denotes a range of
7338 simultaneously sounding pitches that may change over time. The set of
7339 available pitches to apply usually depends on the accoustic source.
7340 Thus, in piano music, a cluster typically consists of a continous range
7341 of the semitones as provided by the piano's fixed set of a chromatic
7342 scale. In choral music, each singer of the choir typically may sing an
7343 arbitrary pitch within the cluster's range that is not bound to any
7344 diatonic, chromatic or other scale. In electronic music, a cluster
7345 (theoretically) may even cover a continuous range of pitches, thus
7346 resulting in coloured noise, such as pink noise.
7348 Clusters can be denoted in the context of ordinary staff notation by
7349 engraving simple geometrical shapes that replace ordinary notation of
7350 notes. Ordinary notes as musical events specify starting time and
7351 duration of pitches; however, the duration of a note is expressed by the
7352 shape of the note head rather than by the horizontal graphical extent of
7353 the note symbol. In contrast, the shape of a cluster geometrically
7354 describes the development of a range of pitches (vertical extent) over
7355 time (horizontal extent). Still, the geometrical shape of a cluster
7356 covers the area in wich any single pitch contained in the cluster would
7357 be notated as an ordinary note. From this point of view, it is
7358 reasonable to specify a cluster as the envelope of a set of notes.
7362 A cluster is engraved as the envelope of a set of
7363 cluster-notes. Cluster notes are created by applying the function
7364 @code{notes-to-clusters} to a sequence of chords, e.g.
7366 @lilypond[relative 1,verbatim]
7367 \apply #notes-to-clusters { <c e > <b f'> }
7370 The following example (from
7371 @inputfileref{input/regression,cluster.ly}) shows what the result
7374 @lilypondfile[notexidoc]{cluster.ly}
7376 By default, @internalsref{Cluster_spanner_engraver} is in the
7377 @internalsref{Voice} context. This allows putting ordinary notes and
7378 clusters together in the same staff, even simultaneously. In such a
7379 case no attempt is made to automatically avoid collisions between
7380 ordinary notes and clusters.
7384 Internals: @internalsref{ClusterSpanner},
7385 @internalsref{ClusterSpannerBeacon},
7386 @internalsref{Cluster_spanner_engraver}, and
7387 @internalsref{ClusterNoteEvent}.
7389 Examples: @inputfileref{input/regression,cluster.ly}.
7393 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7394 accurately. Use @code{<g a>8 <e a>8} instead.
7399 @subsection Fermatas
7405 Contemporary music notation frequently uses special fermata symbols to
7406 indicate fermatas of differing lengths.
7410 The following are supported
7412 @lilypond[singleline]
7414 << \addlyrics \notes {
7434 \context Lyrics \lyrics {
7435 "shortfermata" "fermata" "longfermata" "verylongfermata"
7440 See @ref{Articulations} for general instructions how to apply scripts
7441 such as fermatas to a @code{\notes@{@}} block.
7444 @node Special notation
7445 @section Special notation
7449 * Easy Notation note heads::
7453 @subsection Balloon help
7455 Elements of notation can be marked and named with the help of a square
7456 balloon. The primary purpose of this feature is to explain notation.
7458 The following example demonstrates its use.
7460 @lilypond[verbatim,fragment,singleline,relative 1]
7463 #(add-balloon-text 'NoteHead "heads, or tails?"
7469 The function @code{add-balloon-text} takes the name of a grob, the
7470 label to print and where to put the label relative to the object. In
7471 the above example, the text ``heads or tails?'' ends 3 spaces below
7475 @cindex notation, explaining
7479 Internals: @internalsref{text-balloon-interface}
7481 Examples: @inputfileref{input/regression,balloon.ly}
7483 @node Easy Notation note heads
7484 @subsection Easy Notation note heads
7486 @cindex easy notation
7489 The `easy play' note head includes a note name inside the head. It is
7490 used in music aimed at beginners:
7492 @lilypond[singleline,verbatim,26pt]
7494 \notes { c'2 e'4 f' | g'1 }
7495 \paper { \translator { \EasyNotation } }
7499 The @code{EasyNotation} variable overrides a @internalsref{Score}
7500 context. To make the letters readable, it has to be printed in a
7501 large font size. To print with a larger font, see @ref{Font Size}.
7506 If you view the result with Xdvi, then staff lines may show through
7507 the letters. Printing the PostScript file obtained does produce the
7513 @section Tuning output
7515 There are situations where default layout decisions are not
7516 sufficient. In this section we discuss ways to override these
7519 Formatting is internally done by manipulating so called objects
7520 (graphic objects). Each object carries with it a set of properties
7521 (object or layout properties) specific to that object. For example, a
7522 stem object has properties that specify its direction, length and
7525 The most direct way of tuning the output is by altering the values of
7526 these properties. There are two ways of doing that: first, you can
7527 temporarily change the definition of one type of object, thus
7528 affecting a whole set of objects. Second, you can select one specific
7529 object, and set a layout property in that object.
7531 Do not confuse layout properties with translation
7532 properties. Translation properties always use a mixed caps style
7533 naming, and are manipulated using @code{\property}:
7535 \property Context.propertyName = @var{value}
7538 Layout properties are use Scheme style variable naming, i.e. lower
7539 case words separated with dashes. They are symbols, and should always
7540 be quoted using @code{#'}. For example, this could be an imaginary
7541 layout property name:
7543 #'layout-property-name
7548 The introduction of the @ref{Technical manual} gives a more in-depth
7549 treatment of the difference between translation and layout.
7553 * Constructing a tweak::
7561 @node Tuning objects
7562 @subsection Tuning objects
7564 @cindex object description
7566 The definition of an object is a list of default object
7567 properties. For example, the definition of the Stem object (available
7568 in @file{scm/define-grobs.scm}), includes the following definitions
7569 for @internalsref{Stem}:
7573 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7574 (Y-extent-callback . ,Stem::height)
7579 Adding variables on top of this existing definition overrides the
7580 system default, and alters the resulting appearance of the layout
7586 Changing a variable for only one object is commonly achieved with
7590 \once \property @var{context}.@var{objectname}
7591 \override @var{symbol} = @var{value}
7593 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7594 and @var{objectname} is a string and @var{value} is a Scheme expression.
7595 This command applies a setting only during one moment in the score.
7597 In the following example, only one @internalsref{Stem} object is
7598 changed from its original setting:
7600 @lilypond[verbatim, fragment, relative=1]
7602 \once \property Voice.Stem \set #'thickness = #4
7606 @cindex @code{\once}
7608 For changing more objects, the same command, without @code{\once} can
7611 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7613 This command adds @code{@var{symbol} = @var{value}} to the definition
7614 of @var{objectname} in the context @var{context}, and this definition
7615 stays in place until it is removed.
7617 An existing definition may be removed by the following command:
7620 \property @var{context}.@var{objectname} \revert @var{symbol}
7623 All @code{\override} and @code{\revert} commands should be balanced.
7624 The @code{\set} shorthand performs a revert followed by an override,
7625 and is often more convenient to use
7628 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7632 @lilypond[verbatim,quote]
7633 c'4 \property Voice.Stem \override #'thickness = #4.0
7635 c'4 \property Voice.Stem \revert #'thickness
7639 The following example gives exactly the same result as the previous
7640 one (assuming the system default for stem thickness is 1.3):
7642 @lilypond[verbatim,quote]
7643 c'4 \property Voice.Stem \set #'thickness = #4.0
7645 c'4 \property Voice.Stem \set #'thickness = #1.3
7649 Reverting a setting which was not set in the first place has no
7650 effect. However, if the setting was set as a system default, this may
7651 remove the default value, and this may give surprising results,
7652 including crashes. In other words, @code{\override} and
7653 @code{\revert} must be carefully balanced. The following are examples
7654 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7658 a clumsy but correct form:
7660 \override \revert \override \revert \override \revert
7664 shorter version of the same:
7666 \override \set \set \revert
7670 a short form, using only @code{\set}. This requires you to know the
7673 \set \set \set \set @var{to default value}
7677 if there is no default (i.e. by default, the object property is unset),
7680 \set \set \set \revert
7684 The object description is an Scheme association list. Since a Scheme
7685 list is a singly linked list, we can treat it as a stack, and
7686 @code{\override} and @code{\revert} are push and pop operations. The
7687 association list is stored in a normal context property, hence
7689 \property Voice.NoteHead = #'()
7691 will effectively erase @internalsref{NoteHead}s from the current
7692 @internalsref{Voice}. Typically, this will blank the object. However,
7693 this mechanism should not be used: it may cause crashes or other
7698 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7699 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7700 @internalsref{All-layout-objects}.
7705 The backend is not very strict in type-checking object properties.
7706 Cyclic references in Scheme values for properties cause hangs and/or
7707 crashes. Reverting properties that are system defaults may also lead
7710 A property tweak of modifies a local copy of the object definition.
7711 After such a tweak, the definition is independent of the objects in
7712 enclosing contexts. For example
7714 @lilypond[verbatim,fragment]
7715 \property Voice.Stem \set #'direction = #UP
7717 \property Staff.Stem \set #'thickness = #4.0
7722 In this fragment, @code{direction} is tweaked. As a result, the
7723 current @internalsref{Voice} gets a private version of the
7724 @internalsref{Stem} object. The following tweak modifies the
7725 definition at @internalsref{Staff} level. Since it a different
7726 definition, the thickness of the first @code{d'} is unaffected. For
7727 the third note, a new Voice is created, which inherits the new
7728 definition, including the changed thickness, but excluding the new
7734 * Constructing a tweak::
7740 @node Constructing a tweak
7741 @subsection Constructing a tweak
7744 @cindex internal documentation
7745 @cindex finding graphical objects
7746 @cindex graphical object descriptions
7748 @cindex @code{\override}
7750 @cindex internal documentation
7754 Three pieces of information are required to use @code{\override} and
7755 @code{\set}: the name of the layout object, the context and the name
7756 of the property. We demonstrate how to glean this information from
7757 the notation manual and the generated documentation.
7759 The generated documentation is a set of HTML pages which should be
7760 included if you installed a binary distribution, typically in
7761 @file{/usr/share/doc/lilypond}. They are also available on the web:
7762 go to the @uref{http://lilypond.org,LilyPond website}, click
7763 ``Documentation'', select the correct version, and click then
7764 ``Program reference.'' It is advisable to bookmark the local HTML
7765 files. They will load faster than the ones on the web. If you use the
7766 version from the web, you must check whether the documentation matches
7767 the program version: it is generated from the definitions that the
7768 program uses, and therefore it is strongly tied to the LilyPond
7772 @c [TODO: revise for new site.]
7774 Suppose we want to move the fingering indication in the fragment below:
7776 @lilypond[relative=2,verbatim]
7782 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7783 instructions}), you will notice that there is written:
7788 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7795 In other words, the fingerings once entered, are internally stored as
7796 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7797 layout object is created for every @code{FingerEvent}.
7799 The Fingering object has a number of different functions, and each of
7800 those is captured in an interface. The interfaces are listed under
7801 @internalsref{Fingering} in the program reference.
7805 The @code{Fingering} object has a fixed size
7806 (@internalsref{item-interface}), the symbol is a piece of text
7807 (@internalsref{text-interface}), whose font can be set
7808 (@internalsref{font-interface}). It is centered horizontally
7809 (@internalsref{self-alignment-interface}), it is placed next to other
7810 objects (@internalsref{side-position-interface}) vertically, and its
7811 placement is coordinated with other scripts
7812 (@internalsref{text-script-interface}). It also has the standard
7813 @internalsref{grob-interface} (grob stands for Graphical object)
7815 @cindex graphical object
7816 @cindex layout object
7817 @cindex object, layout
7818 with all the variables that come with
7819 it. Finally, it denotes a fingering instruction, so it has
7820 @internalsref{finger-interface}.
7822 For the vertical placement, we have to look under
7823 @code{side-position-interface}:
7825 @code{side-position-interface}
7827 Position a victim object (this one) next to other objects (the
7828 support). In this case, the property @code{direction} signifies where to put the
7829 victim object relative to the support (left or right, up or down?)
7834 below this description, the variable @code{padding} is described as
7838 (dimension, in staff space)
7840 add this much extra space between objects that are next to each
7841 other. Default value: @code{0.6}
7845 By increasing the value of @code{padding}, we can move away the
7846 fingering. The following command inserts 3 staff spaces of white
7847 between the note and the fingering:
7849 \once \property Voice.Fingering \set #'padding = #3
7852 Inserting this command before the Fingering object is created,
7853 i.e. before @code{c2}, yields the following result:
7855 @lilypond[relative=2,fragment,verbatim]
7856 \once \property Voice.Fingering
7863 The context name @code{Voice} in the example above can be determined
7864 as follows. In the documentation for @internalsref{Fingering}, it says
7866 Fingering grobs are created by: @internalsref{Fingering_engraver}
7869 Clicking @code{Fingering_engraver} shows the documentation of
7870 the module responsible for interpreting the fingering instructions and
7871 translating them to a @code{Fingering} object. Such a module is called
7872 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7875 Fingering_engraver is part of contexts: Voice
7877 so tuning the settings for Fingering should be done with
7879 \property Voice.Fingering \set @dots{}
7882 Of course, the tweak may also done in a larger context than
7883 @code{Voice}, for example, @internalsref{Staff} or
7884 @internalsref{Score}.
7888 Internals: the program reference also contains alphabetical lists of
7889 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7890 @internalsref{Music-expressions}, so you can also find which objects
7891 to tweak by browsing the internals document.
7895 @subsection Applyoutput
7897 The most versatile way of tuning an object is @code{\applyoutput}. Its
7900 \applyoutput @var{proc}
7904 where @var{proc} is a Scheme function, taking three arguments.
7906 When interpreted, the function @var{proc} is called for every layout
7907 object found in the context, with the following arguments:
7909 @item the layout object itself,
7910 @item the context where the layout object was created, and
7911 @item the context where @code{\applyoutput} is processed.
7915 In addition, the cause of the layout object, i.e. the music
7916 expression or object that was responsible for creating it, is in the
7917 object property @code{cause}. For example, for a note head, this is a
7918 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7919 this is a @internalsref{NoteHead} object.
7921 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7924 (define (blanker grob grob-origin context)
7925 (if (and (memq (ly:get-grob-property grob 'interfaces)
7926 note-head-interface)
7927 (eq? (ly:get-grob-property grob 'staff-position) 0))
7929 (ly:set-grob-property! grob 'transparent #t)))
7934 @node Font selection
7935 @subsection Font selection
7937 The most common thing to change about the appearance of fonts is their
7938 size. The font size of any context can be easily changed by setting
7939 the @code{fontSize} property for that context. Its value is a number:
7940 negative numbers make the font smaller, positive numbers larger. An
7941 example is given below:
7943 @lilypond[fragment,relative=1,verbatim,quote]
7944 c4 c4 \property Voice.fontSize = #-1
7947 This command will set @code{font-size} (see below), and does
7948 not change the size of variable symbols, such as beams or slurs.
7950 One of the uses of @code{fontSize} is to get smaller symbols for cue
7951 notes. An elaborate example of those is in
7952 @inputfileref{input/test,cue-notes.ly}.
7954 @cindex magnification
7957 The font used for printing a object can be selected by setting
7958 @code{font-name}, e.g.
7960 \property Staff.TimeSignature
7961 \set #'font-name = #"cmr17"
7965 Any font can be used, as long as it is available to @TeX{}. Possible
7966 fonts include foreign fonts or fonts that do not belong to the
7967 Computer Modern font family. The size of fonts selected in this way
7968 can be changed with the @code{font-magnification} property. For
7969 example, @code{2.0} blows up all letters by a factor 2 in both
7973 @cindex font magnification
7975 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7976 can also be adjusted with a more fine-grained mechanism. By setting
7977 the object properties described below, you can select a different font;
7978 all three mechanisms work for every object that supports
7979 @code{font-interface}:
7984 is a symbol indicating the general class of the typeface. Supported are
7985 @code{roman} (Computer Modern), @code{braces} (for piano staff
7986 braces), @code{music} (the standard music font, including ancient
7987 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7990 is a symbol indicating the shape of the font, there are typically several
7991 font shapes available for each font family. Choices are @code{italic},
7992 @code{caps} and @code{upright}.
7995 is a symbol indicating the series of the font. There are typically several
7996 font series for each font family and shape. Choices are @code{medium}
8001 For any of these properties, the value @code{*} (i.e. the symbol
8002 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
8003 to override default setting, which are always present. For example:
8005 \property Lyrics . LyricText \override #'font-series = #'bold
8006 \property Lyrics . LyricText \override #'font-family = #'typewriter
8007 \property Lyrics . LyricText \override #'font-shape = #'*
8010 @cindex @code{font-style}
8012 The font size is set by modifying the @code{font-size} property. Its
8013 value is a number indicating the size relative to the standard size.
8014 Each step up is an increase of approximately 12% of the font size. Six
8015 steps is exactly a factor two. The Scheme function @code{magstep}
8016 converts a @code{font-size} number to a scaling factor.
8018 LilyPond has fonts in different design sizes: the music fonts for
8019 smaller sizes are chubbier, while the text fonts are relatively wider.
8020 Font size changes are achieved by scaling the design size that is
8021 closest to the desired size.
8023 The @code{font-size} mechanism does not work for fonts selected
8024 through @code{font-name}. These may be scaled with
8025 @code{font-magnification}.
8029 The following commands set @code{fontSize} for the current voice.
8031 @cindex @code{\tiny}
8033 @cindex @code{\small}
8035 @cindex @code{\normalsize}
8040 Init files: @file{ly/declarations-init.ly} contains hints how new
8041 fonts may be added to LilyPond.
8045 There is no style sheet provided for other fonts besides the @TeX{}
8046 Computer Modern family.
8048 @cindex font selection
8049 @cindex font magnification
8050 @cindex @code{font-interface}
8054 @subsection Text markup
8059 @cindex typeset text
8061 LilyPond has an internal mechanism to typeset texts. You can access it
8062 with the keyword @code{\markup}. Within markup mode, you can enter texts
8063 similar to lyrics: simply enter them, surrounded by spaces:
8066 @lilypond[verbatim,fragment,relative=1]
8067 c1^\markup { hello }
8068 c1_\markup { hi there }
8069 c1^\markup { hi \bold there, is \italic anyone home? }
8072 @cindex font switching
8074 The markup in the example demonstrates font switching commands. The
8075 command @code{\bold} and @code{\italic} only apply to the first
8076 following word; enclose a set of texts with braces to apply a command
8079 \markup @{ \bold @{ hi there @} @}
8083 For clarity, you can also do this for single arguments, e.g.
8085 \markup @{ is \italic @{ anyone @} home @}
8088 @cindex font size, texts
8090 The following size commands set absolute sizes:
8092 @cindex @code{\teeny}
8093 @cindex @code{\tiny}
8094 @cindex @code{\small}
8095 @cindex @code{\large}
8096 @cindex @code{\huge}
8106 You can also make letter larger or smaller relative to their neighbors,
8107 with the commands @code{\larger} and @code{\smaller}.
8111 @cindex font style, for texts
8112 @cindex @code{\bold}
8113 @cindex @code{\dynamic}
8114 @cindex @code{\number}
8115 @cindex @code{\italic}
8117 The following font change commands are defined:
8120 changes to the font used in dynamic signs. This font does not
8121 contain all characters of the alphabet, so when producing ``piu f'',
8122 the ``piu'' should be done in a different font.
8126 changes to the font used in time signatures. It only contains
8127 numbers and a few punctuation marks.
8129 changes @code{font-shape} to @code{italic}.
8131 changes @code{font-series} to @code{bold}.
8134 @cindex raising text
8135 @cindex lowering text
8137 @cindex translating text
8140 @cindex @code{\super}
8142 Raising and lowering texts can be done with @code{\super} and
8145 @lilypond[verbatim,fragment,relative=1]
8146 c1^\markup { E "=" mc \super "2" }
8149 @cindex @code{\raise}
8151 If you want to give an explicit amount for lowering or raising, use
8152 @code{\raise}. This command takes a Scheme valued first argument, and
8153 a markup object as second argument:
8155 @lilypond[verbatim,fragment,relative=1,quote]
8156 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8158 The argument to @code{\raise} is the vertical displacement amount,
8159 measured in (global) staff spaces. @code{\raise} and @code{\super}
8160 raise objects in relation to their surrounding markups. They cannot be
8161 used to move a single text up or down, when it is above or below a
8162 note, since the mechanism that positions it next to the note cancels
8163 any vertical shift. For vertical positioning, use the @code{padding}
8164 and/or @code{extra-offset} properties.
8166 Other commands taking single arguments include
8169 @item \bracket, \hbracket
8170 Bracket the argument markup with normal and horizontal brackets
8174 @cindex @code{\musicglyph}
8175 This is converted to a musical symbol, e.g. @code{\musicglyph
8176 #"accidentals-0"} will select the natural sign from the music font.
8177 See @ref{The Feta font} for a complete listing of the possible glyphs.
8180 This produces a single character, e.g. @code{\char #65} produces the
8183 @item \note @var{duration} @var{dir}
8184 @cindex @code{\note}
8186 This produces a note with a stem pointing in @var{dir} direction, with
8187 the @var{duration} for the note head type and augmentation dots. For
8188 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8189 a shortened down stem.
8191 @item \hspace #@var{amount}
8192 @cindex @code{\hspace}
8193 This produces a invisible object taking horizontal space.
8195 \markup @{ A \hspace #2.0 B @}
8197 will put extra space between A and B, on top of the space that is
8198 normally inserted before elements on a line.
8200 @item \fontsize #@var{size}
8201 @cindex @code{\fontsize}
8202 This sets the relative font size, eg.
8204 A \fontsize #2 @{ B C @} D
8208 This will enlarge the B and the C by two steps.
8209 @item \translate #(cons @var{x} @var{y})
8211 This translates an object. Its first argument is a cons of numbers
8213 A \translate #(cons 2 -3) @{ B C @} D
8215 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8216 surroundings. This command cannot be used to move isolated scripts
8217 vertically, for the same reason that @code{\raise} cannot be used for
8220 @item \magnify #@var{mag}
8221 @cindex @code{\magnify}
8222 This sets the font magnification for the its argument. In the following
8223 example, the middle A will be 10% larger:
8225 A \magnify #1.1 @{ A @} A
8229 @item \override #(@var{key} . @var{value})
8230 @cindex @code{\override}
8231 This overrides a formatting property for its argument. The argument
8232 should be a key/value pair, e.g.
8234 m \override #'(font-family . math) m m
8238 In markup mode you can compose expressions, similar to mathematical
8239 expressions, XML documents and music expressions. The braces group
8240 notes into horizontal lines. Other types of lists also exist: you can
8241 stack expressions grouped with @code{<}, and @code{>} vertically with
8242 the command @code{\column}. Similarly, @code{\center} aligns texts by
8245 @lilypond[verbatim,fragment,relative=1]
8246 c1^\markup { \column < a bbbb c > }
8247 c1^\markup { \center < a bbbb c > }
8248 c1^\markup { \line < a b c > }
8252 Markups can be stored in variables, and these variables
8253 may be attached to notes, like
8255 allegro = \markup { \bold \large { Allegro } }
8256 \notes { a^\allegro b c d }
8259 The markup mechanism is extensible. Refer to
8260 @file{scm/new-markup.scm} for more information.
8263 Some objects have alignment procedures of their own, which cancel out
8264 any effects of alignments applied to their markup arguments as a
8265 whole. For example, the @internalsref{RehearsalMark} is horizontally
8266 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8267 effect. Similarly, whole texts over notes cannot be moved vertically
8268 with @code{\raise}. For moving and aligning complete objects, grob
8269 properties should be used.
8273 Internals: @internalsref{Markup-functions} contains a complete list of
8274 all markup commands.
8276 Init files: @file{scm/new-markup.scm}.
8283 Text layout is ultimately done by @TeX{}, which does kerning of
8284 letters. LilyPond does not account for kerning, so texts will be
8285 spaced slightly too wide.
8287 Syntax errors for markup mode are confusing.
8289 Markup texts cannot be used in the titling of the @code{\header}
8290 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8299 @section Global layout
8301 The global layout determined by three factors: the page layout, the
8302 line breaks and the spacing. These all influence each other. The
8303 choice of spacing determines how densely each system of music is set,
8304 which influences where line breaks breaks are chosen, and thus
8305 ultimately how many pages a piece of music takes. This section
8306 explains how to tune the algorithm for spacing.
8308 Globally spoken, this procedure happens in three steps: first,
8309 flexible distances (``springs'') are chosen, based on durations. All
8310 possible line breaking combination are tried, and the one with the
8311 best results---a layout that has uniform density and requires as
8312 little stretching or cramping as possible---is chosen. When the score
8313 is processed by @TeX{}, each page is filled with systems, and page breaks
8314 are chosen whenever the page gets full.
8319 * Vertical spacing::
8320 * Horizontal spacing::
8327 @node Vertical spacing
8328 @subsection Vertical spacing
8330 @cindex vertical spacing
8331 @cindex distance between staves
8332 @cindex staff distance
8333 @cindex between staves, distance
8334 @cindex staffs per page
8335 @cindex space between staves
8337 The height of each system is determined automatically by LilyPond, to
8338 keep systems from bumping into each other, some minimum distances are
8339 set. By changing these, you can put staves closer together, and thus
8340 put more systems onto one page.
8342 Normally staves are stacked vertically. To make
8343 staves maintain a distance, their vertical size is padded. This is
8344 done with the property @code{minimumVerticalExtent}. It takes a pair
8345 of numbers, so if you want to make it smaller from its, then you could
8348 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8350 This sets the vertical size of the current staff to 4 staff spaces on
8351 either side of the center staff line. The argument of
8352 @code{minimumVerticalExtent} is interpreted as an interval, where the
8353 center line is the 0, so the first number is generally negative. The
8354 staff can be made larger at the bottom by setting it to @code{(-6
8357 The piano staves are handled a little differently: to make cross-staff
8358 beaming work correctly, it is necessary that the distance between staves
8359 is fixed beforehand. This is also done with a
8360 @internalsref{VerticalAlignment} object, created in
8361 @internalsref{PianoStaff}. In this object the distance between the
8362 staves is fixed by setting @code{forced-distance}. If you want to
8363 override this, use a @code{\translator} block as follows:
8367 VerticalAlignment \override #'forced-distance = #9
8370 This would bring the staves together at a distance of 9 staff spaces,
8371 measured from the center line of each staff.
8375 Internals: Vertical alignment of staves is handled by the
8376 @internalsref{VerticalAlignment} object.
8380 @node Horizontal spacing
8381 @subsection Horizontal Spacing
8383 The spacing engine translates differences in durations into
8384 stretchable distances (``springs'') of differing lengths. Longer
8385 durations get more space, shorter durations get less. The shortest
8386 durations get a fixed amount of space (which is controlled by
8387 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8388 The longer the duration, the more space it gets: doubling a
8389 duration adds a fixed amount (this amount is controlled by
8390 @code{spacing-increment}) of space to the note.
8392 For example, the following piece contains lots of half, quarter and
8393 8th notes, the eighth note is followed by 1 note head width (NHW).
8394 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8395 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8399 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8400 width of a note head, and @code{shortest-duration-space} is set to
8401 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8402 @code{shortest-duration-space}) of space. For normal notes, this space
8403 is always counted from the left edge of the symbol, so the shortest
8404 notes are generally followed by one NHW of space.
8406 If one would follow the above procedure exactly, then adding a single
8407 32th note to a score that uses 8th and 16th notes, would widen up the
8408 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8409 thus adding 1 NHW to every note. To prevent this, the
8410 shortest duration for spacing is not the shortest note in the score,
8411 but the most commonly found shortest note. Notes that are even
8412 shorter this are followed by a space that is proportional to their
8413 duration relative to the common shortest note. So if we were to add
8414 only a few 16th notes to the example above, they would be followed by
8417 @lilypond[fragment, verbatim, relative=2]
8418 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8421 The most common shortest duration is determined as follows: in every
8422 measure, the shortest duration is determined. The most common short
8423 duration, is taken as the basis for the spacing, with the stipulation
8424 that this shortest duration should always be equal to or shorter than
8425 1/8th note. The shortest duration is printed when you run lilypond
8426 with @code{--verbose}. These durations may also be customized. If you
8427 set the @code{common-shortest-duration} in
8428 @internalsref{SpacingSpanner}, then this sets the base duration for
8429 spacing. The maximum duration for this base (normally 1/8th), is set
8430 through @code{base-shortest-duration}.
8432 @cindex @code{common-shortest-duration}
8433 @cindex @code{base-shortest-duration}
8434 @cindex @code{stem-spacing-correction}
8435 @cindex @code{spacing}
8437 In the introduction it was explained that stem directions influence
8438 spacing. This is controlled with @code{stem-spacing-correction}
8439 property in @internalsref{NoteSpacing}, which are generated for every
8440 @internalsref{Voice} context. The @code{StaffSpacing} object
8441 (generated at @internalsref{Staff} context) contains the same property
8442 for controlling the stem/barline spacing. The following example
8443 shows these corrections, once with default settings, and once with
8444 exaggerated corrections:
8450 \property Staff.NoteSpacing \override #'stem-spacing-correction
8452 \property Staff.StaffSpacing \override #'stem-spacing-correction
8457 \paper { raggedright = ##t } }
8460 @cindex SpacingSpanner, overriding properties
8462 Properties of the @internalsref{SpacingSpanner} must be overridden
8463 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8464 created before any @code{\property} statements are interpreted.
8466 \paper @{ \translator @{
8468 SpacingSpanner \override #'spacing-increment = #3.0
8475 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8476 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8477 @internalsref{SeparatingGroupSpanner}.
8481 Spacing is determined on a score wide basis. If you have a score that
8482 changes its character (measured in durations) halfway during the
8483 score, the part containing the longer durations will be spaced too
8486 There is no convenient mechanism to manually override spacing.
8491 @subsection Font size
8492 @cindex font size, setting
8493 @cindex staff size, setting
8494 @cindex @code{paper} file
8496 The Feta font provides musical symbols at eight seven different
8497 sizes. Each font is tuned for a different staff size: at smaller sizes
8498 the font gets heavier, to match the relatively heavier staff lines.
8499 The recommended font sizes are listed in the following table:
8501 @multitable @columnfractions .25 .25 .25 .25
8504 @tab @b{staff height (pt)}
8505 @tab @b{staff height (mm)}
8547 @c modern rental material ?
8551 These fonts are available in any sizes. The context property
8552 @code{fontSize} and the layout property @code{staff-space} (in
8553 @internalsref{StaffSymbol}) can be used to tune size for individual
8554 staffs. The size of individual staffs are relative to the global size,
8555 which can be set in the following manner:
8558 #(set-global-staff-size 14)
8561 This sets the global default size to 14pt staff height, and scales all
8567 @subsection Line breaking
8570 @cindex breaking lines
8572 Line breaks are normally computed automatically. They are chosen such
8573 that lines look neither cramped nor loose, and that consecutive lines
8574 have similar density.
8576 Occasionally you might want to override the automatic breaks; you can
8577 do this by specifying @code{\break}. This will force a line break at
8578 this point. Line breaks can only occur at places where there are bar
8579 lines. If you want to have a line break where there is no bar line,
8580 you can force an invisible bar line by entering @code{\bar
8581 ""}. Similarly, @code{\noBreak} forbids a line break at a
8585 @cindex regular line breaks
8586 @cindex four bar music.
8588 For linebreaks at regular intervals use @code{\break} separated by
8589 skips and repeated with @code{\repeat}:
8591 << \repeat unfold 7 @{
8592 s1 \noBreak s1 \noBreak
8593 s1 \noBreak s1 \break @}
8594 @emph{the real music}
8599 This makes the following 28 measures (assuming 4/4 time) be broken every
8600 4 measures, and only there.
8604 @code{\break}, @code{\noBreak}
8605 @cindex @code{\break}
8606 @cindex @code{\noBreak}
8610 Internals: @internalsref{BreakEvent}.
8614 @subsection Page layout
8617 @cindex breaking pages
8619 @cindex @code{indent}
8620 @cindex @code{linewidth}
8622 The most basic settings influencing the spacing are @code{indent} and
8623 @code{linewidth}. They are set in the @code{\paper} block. They
8624 control the indentation of the first line of music, and the lengths of
8627 If @code{raggedright} is set to true in the @code{\paper}
8628 block, then the lines are justified at their natural length. This
8629 useful for short fragments, and for checking how tight the natural
8633 @cindex vertical spacing
8635 The page layout process happens outside the LilyPond formatting
8636 engine: variables controlling page layout are passed to the output,
8637 and are further interpreted by @code{lilypond} wrapper program. It
8638 responds to the following variables in the @code{\paper} block. The
8639 variable @code{textheight} sets the total height of the music on each
8640 page. The spacing between systems is controlled with
8641 @code{interscoreline}, its default is 16pt. The distance between the
8642 score lines will stretch in order to fill the full page
8643 @code{interscorelinefill} is set to a positive number. In that case
8644 @code{interscoreline} specifies the minimum spacing.
8646 @cindex @code{textheight}
8647 @cindex @code{interscoreline}
8648 @cindex @code{interscorelinefill}
8650 If the variable @code{lastpagefill} is defined,
8651 @c fixme: this should only be done if lastpagefill == #t
8652 systems are evenly distributed vertically on the last page. This
8653 might produce ugly results in case there are not enough systems on the
8654 last page. The @command{lilypond-book} command ignores
8655 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8658 @cindex @code{lastpagefill}
8660 Page breaks are normally computed by @TeX{}, so they are not under
8661 direct control of LilyPond. However, you can insert a commands into
8662 the @file{.tex} output to instruct @TeX{} where to break pages. This
8663 is done by setting the @code{between-systems-strings} on the
8664 @internalsref{NonMusicalPaperColumn} where the system is broken.
8665 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8666 The predefined command @code{\newpage} also does this.
8670 @cindex @code{papersize}
8672 To change the paper size, use the following Scheme code:
8675 #(set-paper-size "a4")
8682 @cindex @code{\newpage}
8688 In this manual @ref{Invoking lilypond}
8690 Examples: @inputfileref{input/regression,between-systems.ly}
8692 Internals: @internalsref{NonMusicalPaperColumn}.
8696 LilyPond has no concept of page layout, which makes it difficult to
8697 reliably choose page breaks in longer pieces.
8706 Entered music can also be converted to MIDI output. The performance
8707 is good enough for proof-hearing the music for errors.
8709 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8710 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8711 marks translate to a fixed fraction of the available MIDI volume
8712 range, crescendi and decrescendi make the volume vary linearly between
8713 their two extremities. The fractions can be adjusted by
8714 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8715 For each type of MIDI instrument, a volume range can be defined. This
8716 gives a basic equalizer control, which can enhance the quality of
8717 the MIDI output remarkably. The equalizer can be controlled by
8718 setting @code{instrumentEqualizer}.
8722 Many musically interesting effects, such as swing, articulation,
8723 slurring, etc., are not translated to MIDI.
8725 Since slurs are not interpreted, @code{\lyricsto} and
8726 @code{\addlyrics} sections will be interpreted wrongly.
8731 * MIDI instrument names::
8736 @subsection MIDI block
8740 The MIDI block is analogous to the paper block, but it is somewhat
8741 simpler. The @code{\midi} block can contain:
8745 @item a @code{\tempo} definition, and
8746 @item context definitions.
8749 Assignments in the @code{\midi} block are not allowed.
8751 A number followed by a period is interpreted as a real number, so
8752 for setting the tempo for dotted notes, an extra space should be
8753 inserted, for example:
8756 \midi @{ \tempo 4 . = 120 @}
8760 @cindex context definition
8762 Context definitions follow precisely the same syntax as within the
8763 \paper block. Translation modules for sound are called performers.
8764 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8767 @node MIDI instrument names
8768 @subsection MIDI instrument names
8770 @cindex instrument names
8771 @cindex @code{Staff.midiInstrument}
8773 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8774 property. The instrument name should be chosen from the list in
8775 @ref{MIDI instruments}.
8779 If the selected string does not exactly match, then the default is
8780 used, which is the Grand Piano.