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}:
718 \paper @{ \translator @{
720 \remove "Note_heads_engraver"
721 \consists "Completion_heads_engraver"
725 which will make long notes tied in the following example:
728 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
735 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 \paper { \translator {
739 \remove "Note_heads_engraver"
740 \consists "Completion_heads_engraver"
745 This engraver splits all running notes at the bar line, and inserts
746 ties. One of its uses is to debug complex scores: if the measures are
747 not entirely filled, then the ties exactly show how much each measure
752 Not all durations (especially those containing tuplets) can be
753 represented exactly; the engraver will not insert tuplets.
759 @section Staff notation
761 This section describes music notation that occurs on staff level,
762 such as keys, clefs and time signatures.
764 @cindex Staff notation
778 @subsection Staff symbol
780 @cindex adjusting staff symbol
781 @cindex StaffSymbol, using \property
783 Notes, dynamic signs, etc. are grouped
784 with a set of horizontal lines, into a staff (plural `staves'). In our
785 system, these lines are drawn using a separate layout object called
789 @cindex staff lines, setting number of
790 @cindex staff lines, setting thickness of
791 @cindex thickness of staff lines, setting
792 @cindex number of staff lines, setting
796 Internals: @internalsref{StaffSymbol},
798 Examples: @inputfileref{input/test,staff-lines.ly},
799 @inputfileref{input/test,staff-size.ly}
803 If a staff is ended halfway a piece, the staff symbol may not end
804 exactly on the barline.
808 @subsection Key signature
809 @cindex Key signature
813 The key signature indicates the scale in which a piece is played. It
814 is denoted by a set of alterations (flats or sharps) at the start of
819 Setting or changing the key signature is done with the @code{\key}
822 @code{\key} @var{pitch} @var{type}
825 @cindex @code{\minor}
826 @cindex @code{\major}
827 @cindex @code{\minor}
828 @cindex @code{\ionian}
829 @cindex @code{\locrian}
830 @cindex @code{\aeolian}
831 @cindex @code{\mixolydian}
832 @cindex @code{\lydian}
833 @cindex @code{\phrygian}
834 @cindex @code{\dorian}
836 Here, @var{type} should be @code{\major} or @code{\minor} to get
837 @var{pitch}-major or @var{pitch}-minor, respectively.
838 The standard mode names @code{\ionian},
839 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
840 @code{\phrygian}, and @code{\dorian} are also defined.
842 This command sets the context property
843 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
844 can be specified by setting this property directly.
846 Accidentals and key signatures often confuse new users, because
847 unaltered notes get natural signs depending on the keysignature. The
848 tutorial explains why this is so in @ref{More about pitches}.
852 The ordering of a key cancellation is wrong when it is combined with
853 repeat bar lines. The cancellation is also printed after a line break.
857 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
859 @cindex @code{keySignature}
866 The clef indicates which lines of the staff correspond to which
871 The clef can be set or changed with the @code{\clef} command:
872 @lilypond[fragment,verbatim]
873 \key f\major c''2 \clef alto g'2
876 Supported clef-names include:
877 @c Moved standard clefs to the top /MB
881 @item treble, violin, G, G2
894 G clef on 1st line, so-called French violin clef
899 @cindex mezzosoprano clef
902 @cindex baritone clef
905 @cindex varbaritone clef
914 By adding @code{_8} or @code{^8} to the clef name, the clef is
915 transposed one octave down or up, respectively, and @code{_15} and
916 @code{^15} transposes by two octaves. The argument @var{clefname}
917 must be enclosed in quotes when it contains underscores or digits. For
921 @cindex choral tenor clef
922 @lilypond[verbatim,fragment,relative]
926 This command is equivalent to setting @code{clefGlyph},
927 @code{clefPosition} (which controls the Y position of the clef),
928 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
929 when any of these properties are changed.
933 Internals: the object for this symbol is @internalsref{Clef}.
937 @node Ottava brackets
938 @subsection Ottava brackets
940 ``Ottava'' brackets introduce an extra transposition of an octave for
941 the staff. They are created by invoking the function
942 @code{set-octavation}:
948 @lilypond[verbatim,fragment]
957 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
958 (for 15ma) as arguments. Internally the function sets the properties
959 @code{ottavation} (eg. to @code{"8va"}) and
960 @code{centralCPosition}. For overriding the text of the bracket, set
961 @code{ottavation} after invoking @code{set-octavation}, i.e.,
965 \property Staff.ottavation = #"8"
970 Internals: @internalsref{OttavaBracket}.
972 Examples: @inputfileref{input/regression,ottava.ly},
973 @inputfileref{input/regression,ottava-broken.ly}.
977 @code{set-octavation} will get confused when clef changes happen
978 during an octavation bracket.
981 @subsection Time signature
982 @cindex Time signature
986 Time signature indicates the metrum of a piece: a regular pattern of
987 strong and weak beats. It is denoted by a fraction at the start of the
992 The time signature is set or changed by the @code{\time}
994 @lilypond[fragment,verbatim]
995 \time 2/4 c'2 \time 3/4 c'2.
998 The symbol that is printed can be customized with the @code{style}
999 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1000 2/2 time. There are many more options for its layout. See
1001 @inputfileref{input/test,time.ly} for more examples.
1004 This command sets the property @code{timeSignatureFraction},
1005 @code{beatLength} and @code{measureLength} in the @code{Timing}
1006 context, which is normally aliased to @internalsref{Score}. The
1007 property @code{measureLength} determines where bar lines should be
1008 inserted, and how automatic beams should be generated. Changing the
1009 value of @code{timeSignatureFraction} also causes the symbol to be
1012 More options are available through the Scheme function
1013 @code{set-time-signature}. In combination with the
1014 @internalsref{Measure_grouping_engraver}, it will create
1015 @internalsref{MeasureGrouping} signs. Such signs ease reading
1016 rhythmically complex modern music. In the following example, the 9/8
1017 measure is subdivided in 2, 2, 2 and 3. This is passed to
1018 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1021 \score { \notes \relative c'' {
1022 #(set-time-signature 9 8 '(2 2 2 3))
1023 g8[ g] d[ d] g[ g] a8[( bes g]) |
1024 #(set-time-signature 5 8 '(3 2))
1029 \translator { \StaffContext
1030 \consists "Measure_grouping_engraver"
1036 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1041 Automatic beaming does not use measure grouping specified with
1042 @code{set-time-signature}.
1044 @node Partial measures
1045 @subsection Partial measures
1048 @cindex partial measure
1049 @cindex measure, partial
1050 @cindex shorten measures
1051 @cindex @code{\partial}
1053 Partial measures, for example in upsteps, are entered using the
1054 @code{\partial} command:
1055 @lilypond[fragment,verbatim,relative 1]
1056 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1059 The syntax for this command is
1061 \partial @var{duration}
1063 This is internally translated into
1065 \property Timing.measurePosition = -@var{length of duration}
1068 The property @code{measurePosition} contains a rational number
1069 indicating how much of the measure has passed at this point.
1071 @node Unmetered music
1072 @subsection Unmetered music
1074 Bar lines and bar numbers are calculated automatically. For unmetered
1075 music (e.g. cadenzas), this is not desirable. By setting
1076 @code{Score.timing} to false, this automatic timing can be switched
1082 @cindex @code{\cadenzaOn}
1084 @cindex @code{\cadenzaOff}
1088 @subsection Bar lines
1092 @cindex measure lines
1096 Bar lines delimit measures, but are also used to indicate repeats.
1097 Normally, they are inserted automatically. Line breaks may only
1103 of barlines can be forced with the @code{\bar} command:
1105 @lilypond[relative=1,fragment,verbatim]
1109 The following bar types are available:
1110 @lilypond[fragment, relative, singleline, verbatim]
1123 For allowing linebreaks, there is a special command,
1127 This will insert an invisible barline, and allow linebreaks at this
1130 In scores with many staves, a @code{\bar} command in one staff is
1131 automatically applied to all staves. The resulting bar lines are
1132 connected between different staves of a @internalsref{StaffGroup}:
1134 @lilypond[fragment, verbatim]
1135 << \context StaffGroup <<
1139 \new Staff { \clef bass c4 g e g } >>
1140 \new Staff { \clef bass c2 c2 } >>
1144 The command @code{\bar @var{bartype}} is a short cut for doing
1145 @code{\property Score.whichBar = @var{bartype}} Whenever
1146 @code{whichBar} is set to a string, a bar line of that type is
1147 created. At the start of a measure it is set to
1148 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1149 to override default measure bars.
1151 Property @code{whichBar} can also be set directly, using @code{\property}
1152 or @code{\bar}. These settings take precedence over the automatic
1153 @code{whichBar} settings.
1156 @cindex repeatCommands
1157 @cindex defaultBarType
1159 You are encouraged to use @code{\repeat} for repetitions. See
1166 In this manual: @ref{Repeats}.
1169 Internals: the bar line objects that are created at
1170 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1171 lines that span staves are @internalsref{SpanBar}s.
1173 @cindex bar lines at start of system
1174 @cindex start of system
1176 The barlines at the start of each system are
1177 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1178 @internalsref{SystemStartBracket}. Only one of these types is created
1179 in every context, and that type is determined by the property
1180 @code{systemStartDelimiter}.
1182 Examples: @inputfileref{input/test,bar-lines.ly},
1188 The easiest way to enter fragments with more than one voice on a staff
1189 is to split chords using the separator @code{\\}. You can use it for
1190 small, short-lived voices or for single chords:
1192 @lilypond[verbatim,fragment]
1193 \context Staff \relative c'' {
1194 c4 << { f d e } \\ { b c2 } >>
1195 c4 << g' \\ b, \\ f' \\ d >>
1199 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1200 voices are sometimes called "layers" other notation packages}
1202 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1203 each of these contexts, vertical direction of slurs, stems, etc. is set
1206 @cindex @code{\voiceOne}
1207 @cindex @code{\voiceFour}
1209 This can also be done by instantiating @internalsref{Voice} contexts
1210 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1211 a stem directions and horizontal shift for each part:
1214 @lilypond[singleline, verbatim]
1216 \context Staff << \new Voice { \voiceOne cis2 b }
1217 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1218 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1222 The command @code{\oneVoice} will revert back to the normal setting.
1223 @cindex @code{\oneVoice}
1226 Normally, note heads with a different number of dots are not merged, but
1227 when the object property @code{merge-differently-dotted} is set in
1228 the @internalsref{NoteCollision} object, they are merged:
1229 @lilypond[verbatim,fragment,singleline]
1230 \relative c'' \context Voice << {
1232 \property Staff.NoteCollision \override
1233 #'merge-differently-dotted = ##t
1235 } \\ { g8.[ f16] g8.[ f16] }
1239 Similarly, you can merge half note heads with eighth notes, by setting
1240 @code{merge-differently-headed}:
1241 @lilypond[fragment, relative=2,verbatim]
1244 \property Staff.NoteCollision
1245 \override #'merge-differently-headed = ##t
1246 c8 c4. } \\ { c2 c2 } >>
1249 LilyPond also vertically shifts rests that are opposite of a stem:
1252 @lilypond[singleline,fragment,verbatim]
1253 \context Voice << c''4 \\ r4 >>
1261 @cindex @code{\oneVoice}
1263 @cindex @code{\voiceOne}
1265 @cindex @code{\voiceTwo}
1267 @cindex @code{\voiceThree}
1269 @cindex @code{\voiceFour}
1273 The following commands specify in what chords of the current voice
1274 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1275 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1278 @cindex @code{\shiftOn}
1280 @cindex @code{\shiftOnn}
1282 @cindex @code{\shiftOnnn}
1284 @cindex @code{\shiftOff}
1291 Internals: the objects responsible for resolving collisions are
1292 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1294 Examples: See also example files
1295 @inputfileref{input/regression,collision-dots.ly},
1296 @inputfileref{input/regression,collision-head-chords.ly},
1297 @inputfileref{input/regression,collision-heads.ly},
1298 @inputfileref{input/regression,collision-mesh.ly}, and
1299 @inputfileref{input/regression,collisions.ly}.
1304 Resolving collisions is a intricate subject, and only a few situations
1305 are handled. When LilyPond cannot cope, the @code{force-hshift}
1306 property of the @internalsref{NoteColumn} object and pitched rests can
1307 be used to override typesetting decisions.
1309 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1310 note, and a downstem half note, the 8th note gets the wrong offset.
1312 There is no support for clusters where the same note occurs with
1313 different accidentals in the same chord. In this case, it is
1314 recommended to use enharmonic transcription, or to use special cluster
1315 notation (see @ref{Clusters}).
1320 Beams are used to group short notes into chunks that are aligned with
1321 the metrum. They are inserted automatically in most cases:
1323 @lilypond[fragment,verbatim, relative=2]
1324 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1327 When these automatic decisions are not good enough, beaming can be
1328 entered explicitly. It is also possible to define beaming patterns
1329 that differ from the defaults.
1333 Internals: @internalsref{Beam}.
1336 @cindex Automatic beams
1339 * Setting automatic beam behavior::
1343 @subsection Manual beams
1344 @cindex beams, manual
1348 In some cases it may be necessary to override the automatic beaming
1349 algorithm. For example, the auto beamer will not put beams over rests
1350 or bar lines. Such beams are specified by manually: the begin and end
1351 point are marked with @code{[} and @code{]}:
1353 @lilypond[fragment,relative,verbatim]
1355 r4 r8[ g' a r8] r8 g[ | a] r8
1359 @cindex @code{stemLeftBeamCount}
1361 Normally, beaming patterns within a beam are determined automatically.
1362 When this mechanism fouls up, the properties
1363 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1364 be used to control the beam subdivision on a stem. If either property
1365 is set, its value will be used only once, and then it is erased.
1367 @lilypond[fragment,relative,verbatim]
1370 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1373 @cindex @code{stemRightBeamCount}
1376 The property @code{subdivideBeams} can be set in order to subdivide
1377 all 16th or shorter beams at beat positions, as defined by the
1378 @code{beatLength} property . This accomplishes the same effect as
1379 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1380 but it take less typing:
1383 @lilypond[relative=1,verbatim,noindent]
1385 \property Voice.subdivideBeams = ##t
1387 \property Score.beatLength = #(ly:make-moment 1 8)
1390 @cindex subdivideBeams
1392 Kneed beams are inserted automatically, when a large gap is detected
1393 between the note heads. This behavior can be tuned through the object
1394 property @code{auto-knee-gap}.
1396 Normally, line breaks are forbidden when beams cross bar lines. This
1397 behavior can be changed by setting @code{allowBeamBreak}.
1399 @cindex @code{allowBeamBreak}
1400 @cindex beams and line breaks
1402 @cindex beams, kneed
1404 @cindex auto-knee-gap
1410 @cindex Frenched staves
1412 Automatically kneed beams cannot be used together with hidden staves.
1417 @node Setting automatic beam behavior
1418 @subsection Setting automatic beam behavior
1420 @cindex @code{autoBeamSettings}
1421 @cindex @code{(end * * * *)}
1422 @cindex @code{(begin * * * *)}
1423 @cindex automatic beams, tuning
1424 @cindex tuning automatic beaming
1426 @c [TODO: use \applycontext]
1428 In normal time signatures, automatic beams can start on any note but can
1429 only end in a few positions within the measure: beams can end on a beat,
1430 or at durations specified by the properties in
1431 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1432 are defined in @file{scm/auto-beam.scm}.
1434 The value of @code{autoBeamSettings} is changed using
1435 @code{\override} and restored with @code{\revert}:
1437 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1438 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1440 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1441 whether the rule applies to begin or end-points. The quantity
1442 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1443 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1444 signature (wildcards `@code{* *}' may be entered to designate all time
1447 For example, if automatic beams should end on every quarter note, use
1450 \property Voice.autoBeamSettings \override
1451 #'(end * * * *) = #(ly:make-moment 1 4)
1453 Since the duration of a quarter note is 1/4 of a whole note, it is
1454 entered as @code{(ly:make-moment 1 4)}.
1456 The same syntax can be used to specify beam starting points. In this
1457 example, automatic beams can only end on a dotted quarter note:
1459 \property Voice.autoBeamSettings \override
1460 #'(end * * * *) = #(ly:make-moment 3 8)
1462 In 4/4 time signature, this means that automatic beams could end only on
1463 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1464 3/8, has passed within the measure).
1466 Rules can also be restricted to specific time signatures. A rule that
1467 should only be applied in @var{N}/@var{M} time signature is formed by
1468 replacing the second asterisks by @var{N} and @var{M}. For example, a
1469 rule for 6/8 time exclusively looks like
1471 \property Voice.autoBeamSettings \override
1472 #'(begin * * 6 8) = ...
1475 If a rule should be to applied only to certain types of beams, use the
1476 first pair of asterisks. Beams are classified according to the
1477 shortest note they contain. For a beam ending rule that only applies
1478 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1481 If a score ends while an automatic beam has not been ended and is still
1482 accepting notes, this last beam will not be typeset at all.
1484 @cindex automatic beam generation
1486 @cindex @code{Voice.autoBeaming}
1489 For melodies that have lyrics, you may want to switch off
1490 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1495 @cindex @code{\autoBeamOff}
1496 @code{\autoBeamOff},
1497 @cindex @code{\autoBeamOn}
1503 The rules for ending a beam depend on the shortest note in a beam.
1504 So, while it is possible to have different ending rules for eight
1505 beams and sixteenth beams, a beam that contains both eight and
1506 sixteenth notes will use the rules for the sixteenth beam.
1508 In the example below, the autobeamer makes eight beams and sixteenth
1509 end at 3 eights; the third beam can only be corrected by specifying
1512 @lilypond[singleline,fragment,relative,noverbatim,quote]
1513 \property Voice.autoBeamSettings
1514 \override #'(end * * * *) = #(ly:make-moment 3 8)
1515 % rather show case where it goes wrong
1516 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1517 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1519 It is not possible to specify beaming parameters that act differently in
1520 different parts of a measure. This means that it is not possible to use
1521 automatic beaming in irregular meters such as @code{5/8}.
1524 @section Accidentals
1527 This section describes how to change the way that accidentals are
1528 inserted automatically before the running notes.
1532 * Using the predefined accidental variables::
1533 * Customized accidental rules::
1536 @node Using the predefined accidental variables
1537 @subsection Using the predefined accidental variables
1539 The constructs for describing the accidental typesetting rules are
1540 quite hairy, so non-experts should stick to the variables
1541 defined in @file{ly/property-init.ly}.
1542 @cindex @file{property-init.ly}
1544 The variables set properties in the ``@code{Current}'' context (see
1545 @ref{Context properties}). This means that the variables should
1546 normally be added right after the creation of the context in which the
1547 accidental typesetting described by the variable is to take
1548 effect. For example, if you want to use piano-accidentals in a piano
1549 staff then issue @code{\pianoAccidentals} first thing after the
1550 creation of the piano staff:
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 @}
1564 @lilypond[singleline]
1566 \notes \relative c'' <<
1567 \new Staff { cis4 d e2 }
1568 \context GrandStaff <<
1570 \new Staff { cis4 d e2 }
1571 \new Staff { es2 c }
1573 \new Staff { es2 c }
1578 minimumVerticalExtent = #'(-4.0 . 4.0)
1586 @item \defaultAccidentals
1587 @cindex @code{\defaultAccidentals}
1588 This is the default typesetting behaviour. It should correspond
1589 to 18th century common practice: Accidentals are
1590 remembered to the end of the measure in which they occur and
1591 only on their own octave.
1593 @item \voiceAccidentals
1594 @cindex @code{\voiceAccidentals}
1596 The normal behaviour is to
1597 remember the accidentals on Staff-level. This variable, however,
1598 typesets accidentals individually for each voice. Apart from that the
1599 rule is similar to @code{\defaultAccidentals}.
1601 This leads to some weird and often unwanted results
1602 because accidentals from one voice do not get cancelled in other
1604 @lilypond[singleline,relative,fragment,verbatim,quote]
1612 Hence you should only use @code{\voiceAccidentals} if the voices
1613 are to be read solely by individual musicians. If the staff is to be
1614 used by one musician (e.g. a conductor) then you use
1615 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1618 @item \modernAccidentals
1619 @cindex @code{\modernAccidentals}
1620 This rule corresponds to the common practice in the 20th
1622 The rule is more complex than @code{\defaultAccidentals}.
1623 You get all the same accidentals, but temporary
1624 accidentals also get cancelled in other octaves. Furthermore,
1625 in the same octave, they also get cancelled in the following measure:
1626 @lilypond[singleline,fragment,verbatim]
1628 cis' c'' cis'2 | c'' c'
1631 @item \modernCautionaries
1632 @cindex @code{\modernCautionaries}
1633 This rule is similar to @code{\modernAccidentals}, but the
1634 ``extra'' accidentals (the ones not typeset by
1635 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1636 They are printed in reduced size or with parentheses:
1637 @lilypond[singleline,fragment,verbatim]
1639 cis' c'' cis'2 | c'' c'
1642 @cindex @code{\modernVoiceAccidentals}
1643 @item \modernVoiceAccidentals
1644 is used for multivoice accidentals to be read both by musicians
1645 playing one voice and musicians playing all voices. Accidentals are
1646 typeset for each voice, but they @emph{are} cancelled across voices in
1647 the same @internalsref{Staff}.
1649 @cindex @code{\modernVoiceCautionaries}
1650 @item \modernVoiceCautionaries
1651 is the same as @code{\modernVoiceAccidentals}, but with the extra
1652 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1653 as cautionaries. Even though all accidentals typeset by
1654 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1655 some of them are typeset as cautionaries.
1657 @item \pianoAccidentals
1658 @cindex @code{\pianoAccidentals}
1659 20th century practice for piano notation. Very similar to
1660 @code{\modernAccidentals} but accidentals also get cancelled
1661 across the staves in the same @internalsref{GrandStaff} or
1662 @internalsref{PianoStaff}.
1664 @item \pianoCautionaries
1665 @cindex @code{\pianoCautionaries}
1666 As @code{\pianoAccidentals} but with the extra accidentals
1667 typeset as cautionaries.
1670 @cindex @code{\noResetKey}
1671 Same as @code{\defaultAccidentals} but with accidentals lasting
1672 ``forever'' and not only until the next measure:
1673 @lilypond[singleline,fragment,verbatim,relative]
1678 @item \forgetAccidentals
1679 @cindex @code{\forgetAccidentals}
1680 This is sort of the opposite of @code{\noResetKey}: Accidentals
1681 are not remembered at all---and hence all accidentals are
1682 typeset relative to the key signature, regardless of what was
1683 before in the music:
1684 @lilypond[singleline,fragment,verbatim,relative]
1686 \key d\major c4 c cis cis d d dis dis
1690 @node Customized accidental rules
1691 @subsection Customized accidental rules
1693 For determining when to print an accidental, several different rules
1694 are tried. The rule that gives the highest number of accidentals is
1695 used. Each rule consists of
1698 In which context is the rule applied. For example, if
1699 @var{context} is @internalsref{Score} then all staves share
1700 accidentals, and if @var{context} is @internalsref{Staff} then all
1701 voices in the same staff share accidentals, but staves do not.
1703 Whether the accidental changes all octaves or only the current
1706 Over how many barlines the accidental lasts.
1707 If @var{lazyness} is @code{-1} then the accidental is forget
1708 immediately, and if @var{lazyness} is @code{#t} then the accidental
1711 @c [TODO: should use +infinity for this case?]
1717 @cindex @code{\defaultAccidentals}
1718 @code{\defaultAccidentals},
1719 @cindex @code{\voiceAccidentals}
1720 @code{\voiceAccidentals},
1721 @cindex @code{\modernAccidentals}
1722 @code{\modernAccidentals},
1723 @cindex @code{\modernCautionaries}
1724 @code{\modernCautionaries},
1725 @cindex @code{\modernVoiceAccidentals}
1726 @code{\modernVoiceAccidentals},
1727 @cindex @code{\modernVoiceCautionaries}
1728 @code{\modernVoiceCautionaries},
1729 @cindex @code{\pianoAccidentals}
1730 @code{\pianoAccidentals},
1731 @cindex @code{\pianoCautionaries}
1732 @code{\pianoCautionaries},
1733 @cindex @code{\noResetKey}
1735 @cindex @code{\forgetAccidentals}
1736 @code{\forgetAccidentals}.
1740 Internals: @internalsref{Accidental_engraver},
1741 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1746 Currently the simultaneous notes are considered to be entered in
1747 sequential mode. This means that in a chord the accidentals are
1748 typeset as if the notes in the chord happened once at a time - in the
1749 order in which they appear in the input file.
1751 This is only a problem when there are simultaneous notes whose
1752 accidentals depend on each other. The problem only occurs when using
1753 non-default accidentals. In the default scheme, accidentals only
1754 depend on other accidentals with the same pitch on the same staff, so
1755 no conflicts possible.
1757 This example shows two examples of the same music giving different
1758 accidentals depending on the order in which the notes occur in the
1761 @lilypond[singleline,fragment,verbatim]
1762 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1763 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1764 | <cis' c''> r | <c'' cis'> r |
1767 This problem can be solved by manually inserting @code{!} and @code{?}
1768 for the problematic notes.
1770 @node Expressive marks
1771 @section Expressive marks
1774 @c todo: should change ordering
1775 @c where to put text spanners, metronome marks,
1784 * Analysis brackets::
1786 * Fingering instructions::
1797 A slur indicates that notes are to be played bound or @emph{legato}.
1801 They are entered using parentheses:
1802 @lilypond[relative 1,fragment,verbatim,center]
1803 f( g)( a) a8 b( a4 g2 f4)
1808 @c TODO: should explain that ^( and _( set directions
1809 @c should set attachments with ^ and _ ?
1811 Slurs avoid crossing stems, and are generally attached to note heads.
1812 However, in some situations with beams, slurs may be attached to stem
1813 ends. If you want to override this layout you can do this through the
1814 object property @code{attachment} of @internalsref{Slur} in
1815 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1816 the attachment type of the left and right end points:
1818 @lilypond[fragment,relative,verbatim]
1820 \property Voice.Stem \set #'length = #5.5
1822 \property Voice.Slur \set #'attachment = #'(stem . stem)
1826 If a slur would strike through a stem or beam, the slur will be moved
1827 away upward or downward. If this happens, attaching the slur to the
1828 stems might look better:
1830 @lilypond[fragment,relative,verbatim]
1833 \property Voice.Slur \set #'attachment = #'(stem . stem)
1840 @cindex @code{\slurUp}
1842 @cindex @code{\slurDown}
1844 @cindex @code{\slurBoth}
1846 @cindex @code{\slurDotted}
1848 @cindex @code{\slurSolid}
1853 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1858 Producing nice slurs is a difficult problem, and LilyPond currently
1859 uses a simple, empiric method to produce slurs. In some cases, its
1863 @cindex Adjusting slurs
1865 @node Phrasing slurs
1866 @subsection Phrasing slurs
1868 @cindex phrasing slurs
1869 @cindex phrasing marks
1871 A phrasing slur (or phrasing mark) connects chords and is used to
1872 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1875 @lilypond[fragment,verbatim,center,relative]
1876 \time 6/4 c'\( d( e) f( e) d\)
1879 Typographically, the phrasing slur behaves almost exactly like a
1880 normal slur. However, they are treated as different objects. A
1881 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1882 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1883 @code{\phrasingSlurBoth}.
1885 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1886 will only affect normal slurs and not phrasing slurs.
1890 @cindex @code{\phrasingSlurUp}
1891 @code{\phrasingSlurUp},
1892 @cindex @code{\phrasingSlurDown}
1893 @code{\phrasingSlurDown},
1894 @cindex @code{\phrasingSlurBoth}
1895 @code{\phrasingSlurBoth},
1899 Internals: see also @internalsref{PhrasingSlur}, and
1900 @internalsref{PhrasingSlurEvent}.
1904 Phrasing slurs have the same limitations in their formatting as normal
1905 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1908 @subsection Breath marks
1910 Breath marks are entered using @code{\breathe}:
1913 @lilypond[fragment,relative,verbatim]
1917 The glyph of the breath mark can be tweaked by overriding the
1918 @code{text} property of the @code{BreathingSign} layout object with
1919 any markup text. For example,
1920 @lilypond[fragment,verbatim,relative]
1922 \property Voice.BreathingSign \override #'text
1923 = #(make-musicglyph-markup "scripts-rvarcomma")
1930 Internals: @internalsref{BreathingSign},
1931 @internalsref{BreathingSignEvent}
1933 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1936 @node Metronome marks
1937 @subsection Metronome marks
1940 @cindex beats per minute
1941 @cindex metronome marking
1943 Metronome settings can be entered as follows:
1945 \tempo @var{duration} = @var{perminute}
1948 In the MIDI output, they are interpreted as a tempo change, and in the
1949 paper output, a metronome marking is printed:
1950 @cindex @code{\tempo}
1951 @lilypond[fragment,verbatim]
1957 Internals: @internalsref{MetronomeChangeEvent}.
1962 @subsection Text spanners
1963 @cindex Text spanners
1965 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1966 are written as texts, and extended over many measures with dotted
1967 lines. You can create such texts using text spanners: attach
1968 @code{\startTextSpan} and @code{\stopTextSpan} to the
1969 start and ending note of the spanner.
1971 The string to be printed, as well as the style, is set through object
1974 @lilypond[fragment,relative,verbatim]
1976 \property Voice.TextSpanner \set #'direction = #-1
1977 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1978 c2\startTextSpan b c\stopTextSpan a }
1984 Internals @internalsref{TextSpanEvent},
1985 @internalsref{TextSpanner}.
1987 Examples: @inputfileref{input/regression,text-spanner.ly}.
1990 @node Analysis brackets
1991 @subsection Analysis brackets
1993 @cindex phrasing brackets
1994 @cindex musicological analysis
1995 @cindex note grouping bracket
1997 Brackets are used in musical analysis to indicate structure in musical
1998 pieces. LilyPond supports a simple form of nested horizontal brackets.
1999 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2000 @internalsref{Staff} context. A bracket is started with
2001 @code{\startGroup} and closed with @code{\stopGroup}:
2003 @lilypond[singleline,verbatim]
2004 \score { \notes \relative c'' {
2005 c4\startGroup\startGroup
2008 c4\stopGroup\stopGroup
2010 \paper { \translator {
2011 \StaffContext \consists "Horizontal_bracket_engraver"
2017 Internals: @internalsref{HorizontalBracket},
2018 @internalsref{NoteGroupingEvent}
2020 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2024 @subsection Articulations
2025 @cindex Articulations
2027 @cindex articulations
2031 A variety of symbols can appear above and below notes to indicate
2032 different characteristics of the performance. They are added to a note
2033 by adding a dash and the character signifying the
2034 articulation. They are demonstrated here:
2036 @lilypondfile[notexidoc]{script-abbreviations.ly}
2038 The meanings of these shorthands can be changed: see
2039 @file{ly/script-init.ly} for examples.
2042 The script is automatically placed, but if you need to force
2043 directions, you can use @code{_} to force them down, or @code{^} to
2045 @lilypond[fragment, verbatim]
2049 Other symbols can be added using the syntax
2050 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2051 can be forced up or down using @code{^} and @code{_},
2054 @lilypond[verbatim,fragment,relative 2]
2055 c\fermata c^\fermata c_\fermata
2062 @cindex staccatissimo
2071 @cindex organ pedal marks
2080 @cindex prallmordent
2084 @cindex thumb marking
2089 @lilypondfile[notexidoc]{script-chart.ly}
2094 @cindex @code{\scriptUp}
2096 @cindex @code{\scriptDown}
2098 @cindex @code{\scriptBoth}
2103 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2107 These note ornaments appear in the printed output but have no
2108 effect on the MIDI rendering of the music.
2111 @node Fingering instructions
2112 @subsection Fingering instructions
2116 Fingering instructions can be entered using
2118 @var{note}-@var{digit}
2120 For finger changes, use markup texts:
2122 @lilypond[verbatim, singleline, fragment]
2123 c'4-1 c'4-2 c'4-3 c'4-4
2124 c'^\markup { \fontsize #-3 \number "2-3" }
2127 @cindex finger change
2132 You can use the thumb-script to indicate that a note should be
2133 played with the thumb (e.g. in cello music):
2135 @lilypond[verbatim, singleline, fragment]
2136 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2137 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2140 Fingerings for chords can also be added to individual notes
2141 of the chord by adding them after the pitches:
2142 @lilypond[verbatim,singleline,fragment,relative=1]
2143 < c-1 e-2 g-3 b-5 > 4
2147 In this case, setting @code{fingeringOrientations} will put fingerings next
2150 @lilypond[verbatim,singleline,fragment,relative=1]
2151 \property Voice.fingeringOrientations = #'(left down)
2152 <c-1 es-2 g-4 bes-5 > 4
2153 \property Voice.fingeringOrientations = #'(up right down)
2154 <c-1 es-2 g-4 bes-5 > 4
2157 By using single note chords, fingering instructions can be put close
2158 to note heads in monophonic music.
2162 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2164 Examples: @inputfileref{input/regression,finger-chords.ly}
2167 @subsection Text scripts
2168 @cindex Text scripts
2170 @cindex text items, non-empty
2171 @cindex non-empty texts
2173 It is possible to place arbitrary strings of text or markup text (see
2174 @ref{Text markup}) above or below notes by using a string:
2175 @code{c^"text"}. By default, these indications do not influence the
2176 note spacing, but by using the command @code{\fatText}, the widths
2177 will be taken into account:
2179 @lilypond[fragment,singleline,verbatim] \relative c' {
2180 c4^"longtext" \fatText c4_"longlongtext" c4 }
2183 It is possible to use @TeX{} commands in the strings, but this should
2184 be avoided because the exact dimensions of the string can then no
2189 @refcommand{fatText}, @refcommand{emptyText}.
2194 In this manual: @ref{Text markup}.
2196 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2202 @subsection Grace notes
2205 @c should have blurb about accaciatura / appogiatura
2207 @cindex @code{\grace}
2211 Grace notes are ornaments that are written out. The most common ones
2212 are acciaccatura, which should be played as very short. It is denoted
2213 by a slurred small note with a slashed stem. The appoggiatura is a
2214 grace note that takes a fixed fraction of the main note, is and
2215 denoted as a slurred note in small print without a slash.
2216 They are entered with the commands @code{\acciaccatura} and
2217 @code{\appoggiatura}, as demonstrated in the following example:
2220 @cindex appoggiatura
2221 @cindex acciaccatura
2223 @lilypond[relative=2,verbatim,fragment]
2224 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2225 \acciaccatura { g16[ f] } e4
2228 Both are special forms of the @code{\grace} command. By prefixing this
2229 keyword to a music expression, a new one is formed, which will be
2230 printed in a smaller font and takes up no logical time in a measure.
2231 @lilypond[relative=2,verbatim,fragment]
2233 \grace { c16[ d16] } c2 c4
2237 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2238 @code{\grace} command does not start a slur.
2240 Internally, timing for grace notes is done using a second, `grace'
2241 time. Every point in time consists of two rational numbers: one
2242 denotes the logical time, one denotes the grace timing. The above
2243 example is shown here with timing tuples:
2245 @lilypond[singleline]
2248 c4 \grace c16 c4 \grace {
2251 \new Lyrics \lyrics {
2254 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2255 \markup { (\fraction 1 4 , 0 ) } 4
2257 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2258 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2260 \markup { ( \fraction 2 4 , 0 ) }
2265 The placement of grace notes is synchronized between different staves.
2266 In the following example, there are two sixteenth graces notes for
2267 every eighth grace note:
2269 @lilypond[relative=2,verbatim,fragment]
2270 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2271 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2276 If you want to end a note with a grace, then the standard trick
2277 is to put the grace notes after a ``space note'', e.g.
2278 @lilypond[fragment,verbatim, relative=2]
2281 { s2 \grace { c16[ d] } } >>
2287 By adjusting the duration of the skip note (here it is a half-note),
2288 the space between the main-note and the grace is adjusted.
2291 A @code{\grace} section will introduce special typesetting settings,
2292 for example, to produce smaller type, and set directions. Hence, when
2293 introducing layout tweaks, they should be inside the grace section,
2295 @lilypond[fragment,verbatim,relative 1]
2298 \property Voice.Stem \override #'direction = #-1
2300 \property Voice.Stem \revert #'direction
2307 The overrides should also be reverted inside the grace section.
2309 If the layout of grace sections must be changed throughout the music,
2310 then this can be accomplished through the function
2311 @code{add-grace-property}. The following example
2312 undefines the Stem direction grace section, so stems do not always
2317 #(add-grace-property "Voice" Stem direction '())
2323 Another option is to change the variables @code{startGraceMusic},
2324 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2325 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2326 @code{stopAppoggiaturaMstuic}. More information is in the file
2327 @file{ly/grace-init.ly}
2332 Internals: @internalsref{GraceMusic}.
2336 A score that starts with an @code{\grace} section needs an explicit
2337 @code{\context Voice} declaration, otherwise the main note and grace
2338 note end up on different staves.
2340 Grace note synchronization can also lead to surprises. Staff notation,
2341 such as key signatures, barlines, etc. are also synchronized. Take
2342 care when you mix staves with grace notes and staves without, for example,
2344 @lilypond[relative=2,verbatim,fragment]
2345 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2346 \new Staff { c4 \bar "|:" d4 } >>
2349 Grace sections should only be used within sequential music
2350 expressions. Nesting or juxtaposing grace sections is not supported,
2351 and might produce crashes or other errors.
2355 @subsection Glissando
2358 @cindex @code{\glissando}
2360 A glissando is a smooth change in pitch. It is denoted by a line or a
2361 wavy line between two notes.
2365 A glissando line can be requested by attaching a @code{\glissando} to
2368 @lilypond[fragment,relative,verbatim]
2374 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2379 Adding additional texts (such as @emph{gliss.}) is not supported.
2383 @subsection Dynamics
2396 @cindex @code{\ffff}
2406 Absolute dynamic marks are specified using an variable after a
2407 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2408 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2409 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2410 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2412 @lilypond[verbatim,singleline,fragment,relative]
2413 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2419 @cindex @code{\decr}
2420 @cindex @code{\rced}
2427 A crescendo mark is started with @code{\<} and terminated with
2428 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2429 with @code{\!}. Because these marks are bound to notes, if you must
2430 use spacer notes if multiple marks during one note are needed:
2432 @lilypond[fragment,verbatim,center,quote]
2433 c''\< c''\! d''\decr e''\rced
2434 << f''1 { s4 s4\< s4\! \> s4\! } >>
2436 This may give rise to very short hairpins. Use @code{minimum-length}
2437 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2441 \property Staff.Hairpin \override #'minimum-length = #5
2444 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2445 is an example how to do it:
2447 @lilypond[fragment,relative=2,verbatim]
2448 c4 \cresc c4 c c c \endcresc c4
2454 You can also supply your own texts:
2455 @lilypond[fragment,relative,verbatim]
2457 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2458 \property Voice.crescendoSpanner = #'dashed-line
2468 @cindex @code{\dynamicUp}
2470 @cindex @code{\dynamicDown}
2471 @code{\dynamicDown},
2472 @cindex @code{\dynamicBoth}
2473 @code{\dynamicBoth}.
2475 @cindex direction, of dynamics
2479 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2480 @internalsref{AbsoluteDynamicEvent}.
2482 Dynamics are objects of @internalsref{DynamicText} and
2483 @internalsref{Hairpin}. Vertical positioning of these symbols is
2484 handled by the @internalsref{DynamicLineSpanner} object.
2486 If you want to adjust padding or vertical direction of the dynamics, you
2487 must set properties for the @internalsref{DynamicLineSpanner} object.
2495 @cindex @code{\repeat}
2498 Repetition is a central concept in music, and multiple notations exist
2499 for repetitions. In LilyPond, most of these notations can be captured
2500 in a uniform syntax. One of the advantages is that they can be
2501 rendered in MIDI accurately.
2503 The following types of repetition are supported:
2507 Repeated music is fully written (played) out. Useful for MIDI
2508 output, and entering repetitive music.
2511 This is the normal notation: Repeats are not written out, but
2512 alternative endings (voltas) are printed, left to right.
2516 Alternative endings are written stacked. This has limited use but may be
2517 used to typeset two lines of lyrics in songs with repeats, see
2518 @inputfileref{input,star-spangled-banner.ly}.
2526 Make beat or measure repeats. These look like percent signs.
2532 * Repeats and MIDI::
2533 * Manual repeat commands::
2535 * Tremolo subdivisions::
2540 @subsection Repeat syntax
2544 LilyPond has one syntactic construct for specifying different types of
2545 repeats. The syntax is
2548 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2551 If you have alternative endings, you may add
2552 @cindex @code{\alternative}
2554 \alternative @code{@{} @var{alternative1}
2556 @var{alternative3} @dots{} @code{@}}
2558 where each @var{alternative} is a music expression. If you do not
2559 give enough alternatives for all of the repeats, then the first
2560 alternative is assumed to be played more than once.
2562 Normal notation repeats are used like this:
2563 @lilypond[fragment,verbatim,relative 1]
2565 \repeat volta 2 { c4 d e f }
2566 \repeat volta 2 { f e d c }
2569 With alternative endings:
2570 @lilypond[fragment,verbatim,relative 1]
2572 \repeat volta 2 {c4 d e f}
2573 \alternative { {d2 d} {f f,} }
2577 @lilypond[fragment,verbatim,relative 1]
2580 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2581 \alternative { { g4 g g } { a | a a a a | b2. } }
2587 If you do a nested repeat like
2596 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2597 belongs. This ambiguity is resolved by always having the
2598 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2599 it is advisable to use braces in such situations.
2602 @node Repeats and MIDI
2603 @subsection Repeats and MIDI
2605 @cindex expanding repeats
2607 For instructions on how to unfold repeats for MIDI output, see the
2608 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2613 Timing information is not remembered at the start of an alternative,
2614 so after a repeat timing information must be reset by hand, for
2615 example by setting @code{Score.measurePosition} or entering
2616 @code{\partial}. Similarly, slurs or ties are also not repeated.
2619 @node Manual repeat commands
2620 @subsection Manual repeat commands
2622 @cindex @code{repeatCommands}
2624 The property @code{repeatCommands} can be used to control the layout of
2625 repeats. Its value is a Scheme list of repeat commands, where each repeat
2629 @item the symbol @code{start-repeat},
2630 which prints a @code{|:} bar line,
2631 @item the symbol @code{end-repeat},
2632 which prints a @code{:|} bar line,
2633 @item the list @code{(volta @var{text})},
2634 which prints a volta bracket saying @var{text}: The text can be specified as
2635 a text string or as a markup text, see @ref{Text markup}. Do not
2636 forget to change the font, as the default number font does not contain
2637 alphabetic characters. Or,
2638 @item the list @code{(volta #f)}, which
2639 stops a running volta bracket:
2642 @lilypond[verbatim, fragment,relative 2]
2644 \property Score.repeatCommands = #'((volta "93") end-repeat)
2646 \property Score.repeatCommands = #'((volta #f))
2653 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2654 @internalsref{VoltaRepeatedMusic},
2655 @internalsref{UnfoldedRepeatedMusic}, and
2656 @internalsref{FoldedRepeatedMusic}.
2658 @node Tremolo repeats
2659 @subsection Tremolo repeats
2660 @cindex tremolo beams
2662 To place tremolo marks between notes, use @code{\repeat} with tremolo
2664 @lilypond[verbatim,singleline]
2666 \context Voice \notes\relative c' {
2667 \repeat "tremolo" 8 { c16 d16 }
2668 \repeat "tremolo" 4 { c16 d16 }
2669 \repeat "tremolo" 2 { c16 d16 }
2674 Tremolo marks can also be put on a single note. In this case, the
2675 note should not be surrounded by braces.
2676 @lilypond[verbatim,singleline]
2677 \repeat "tremolo" 4 c16
2680 A similar mechanism is the tremolo subdivision, described in
2681 @ref{Tremolo subdivisions}.
2685 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2687 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2688 tremolos are @internalsref{StemTremolo}s. The music expression is
2689 @internalsref{TremoloEvent},
2691 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2692 @inputfileref{input/regression,stem-tremolo.ly}.
2694 @node Tremolo subdivisions
2695 @subsection Tremolo subdivisions
2696 @cindex tremolo marks
2697 @cindex @code{tremoloFlags}
2699 Tremolo marks can be printed on a single note by adding
2700 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2701 A @var{length} value of 8 gives one line across the note stem. If the
2702 length is omitted, then then the last value (stored in
2703 @code{Voice.tremoloFlags}) is used:
2705 @lilypond[verbatim,fragment,center]
2706 c'2:8 c':32 | c': c': |
2709 @c [TODO : stok is te kort bij 32en]
2713 Tremolos in this style do not carry over into the MIDI output.
2717 In this manual: @ref{Tremolo repeats}.
2719 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2721 @node Measure repeats
2722 @subsection Measure repeats
2724 @cindex percent repeats
2725 @cindex measure repeats
2727 In the @code{percent} style, a note pattern can be repeated. It is
2728 printed once, and then the pattern is replaced with a special sign.
2729 Patterns of a one and two measures are replaced by percent-like signs,
2730 patterns that divide the measure length are replaced by slashes:
2732 @lilypond[verbatim,singleline]
2733 \context Voice { \repeat "percent" 4 { c'4 }
2734 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2740 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2741 @internalsref{PercentRepeatedMusic}, and
2742 @internalsref{DoublePercentRepeat}.
2746 @node Rhythmic music
2747 @section Rhythmic music
2749 Sometimes you might want to show only the rhythm of a melody. This
2750 can be done with the rhythmic staff. All pitches of notes on such a
2751 staff are squashed, and the staff itself has a single line:
2753 @lilypond[fragment,relative,verbatim]
2754 \context RhythmicStaff {
2756 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2762 Internals: @internalsref{RhythmicStaff}.
2764 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2768 * Percussion staves::
2769 * Percussion MIDI output::
2772 @node Percussion staves
2773 @subsection Percussion staves
2777 A percussion part for more than one instrument typically uses a
2778 multiline staff where each position in the staff refers to one piece
2783 Percussion notes may be entered in @code{\drums} mode, which is
2784 similar to @code{notes}. Each piece of percussion has a full name and
2785 an abbreviated name, and both be used in input files:
2787 @lilypond[singleline]
2788 \drums { hihat4 hh4 }
2791 To typeset the music, the notes must be interpreted in a
2792 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2795 @lilypond[singleline,verbatim,quote]
2796 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2797 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2800 << \new DrumVoice { \voiceOne \up }
2801 \new DrumVoice { \voiceTwo \down }
2805 There are also other layout possibilities. To use these, set the
2806 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2807 The following variables have been predefined:
2811 is the default. It typesets a typical drum kit on a five-line staff
2814 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2815 bd sn ss tomh tommh tomml toml tomfh tomfl }
2816 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2817 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2819 << \new DrumStaff\with {
2820 \remove Bar_engraver
2821 \remove Time_signature_engraver
2822 Stem \set #'transparent = ##t
2823 Stem \set #'Y-extent-callback = ##f
2824 minimumVerticalExtent = #'(-4.0 . 5.0)
2826 \context Lyrics \nam
2829 %% need to do this, because of indented @itemize
2831 \translator { \ScoreContext
2832 BarNumber \set #'transparent =##T
2836 The drum scheme supports six different toms. When there fewer toms, simply
2837 select the toms that produce the desired result, i.e. to get toms on
2838 the three middle lines you use @code{tommh}, @code{tomml} and
2841 @item timbales-style
2842 to typeset timbales on a two line staff:
2844 @lilypond[singleline]
2845 nam = \lyrics { timh ssh timl ssl cb }
2846 mus = \drums { timh ssh timl ssl cb s16 }
2849 \context DrumStaff \with {
2850 \remove Bar_engraver
2851 \remove Time_signature_engraver
2852 Stem \set #'transparent = ##t
2853 Stem \set #'Y-extent-callback = ##f
2854 StaffSymbol \override #'line-count = #2
2855 StaffSymbol \override #'staff-space = #2
2856 minimumVerticalExtent = #'(-3.0 . 4.0)
2857 drumStyleTable = #timbales-style
2859 \context Lyrics \nam
2864 to typeset congas on a two line staff:
2866 @lilypond[singleline]
2867 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2868 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2871 \context DrumStaff\with {
2872 \remove Bar_engraver
2873 \remove Time_signature_engraver
2874 drumStyleTable = #congas-style
2875 StaffSymbol \override #'line-count = #2
2877 %% this sucks; it will lengthen stems.
2878 StaffSymbol \override #'staff-space = #2
2879 Stem \set #'transparent = ##t
2880 Stem \set #'Y-extent-callback = ##f
2882 \context Lyrics \nam
2887 to typeset bongos on a two line staff:
2889 @lilypond[singleline]
2890 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2891 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2894 \context DrumStaff\with {
2895 \remove Bar_engraver
2896 \remove Time_signature_engraver
2897 StaffSymbol \override #'line-count = #2
2898 drumStyleTable = #bongos-style
2900 %% this sucks; it will lengthen stems.
2901 StaffSymbol \override #'staff-space = #2
2902 Stem \set #'transparent = ##t
2903 Stem \set #'Y-extent-callback = ##f
2905 \context Lyrics \nam
2910 @item percussion-style
2911 to typeset all kinds of simple percussion on one line staves:
2912 @lilypond[singleline]
2913 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2914 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2917 \context DrumStaff\with{
2918 \remove Bar_engraver
2919 drumStyleTable = #percussion-style
2920 StaffSymbol \override #'line-count = #1
2921 \remove Time_signature_engraver
2922 Stem \set #'transparent = ##t
2923 Stem \set #'Y-extent-callback = ##f
2925 \context LyricsVoice \nam
2931 If you do not like any of the predefined lists you can define your own
2932 list at the top of your file:
2934 @lilypond[singleline, verbatim]
2936 (bassdrum default #f -1)
2937 (snare default #f 0)
2939 (pedalhihat xcircle "stopped" 2)
2940 (lowtom diamond #f 3)
2942 up = \drums { hh8 hh hh hh hhp4 hhp }
2943 down = \drums { bd4 sn bd toml8 toml }
2946 \property DrumStaff.drumStyleTable
2947 = #(alist->hash-table mydrums)
2948 \new DrumVoice { \voiceOne \up }
2949 \new DrumVoice { \voiceTwo \down }
2957 Init files: @file{ly/drumpitch-init.ly}
2961 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2962 work for @internalsref{DrumVoices}.
2966 @node Percussion MIDI output
2967 @subsection Percussion MIDI output
2971 In order to produce correct MIDI output you need to produce two score
2972 blocks---one for the paper and one for the MIDI output. To use the
2973 percussion channel you set the property @code{instrument} to
2974 @code{'drums}. Because the drum-pitches themselves are similar to the
2975 general MIDI pitches all you have to do is to insert the voices with
2976 none of the scheme functions to get the correct MIDI output:
2980 \apply #(drums->paper 'mydrums) \context Staff <<
2989 \property Staff.instrument = #'drums
2996 Because general MIDI does not contain rimshots the sidestick is used
2997 for this purpose instead.
3004 MIDI output for drums is temporarily broken.
3007 @section Piano music
3009 Piano staves are two normal staves coupled with a brace. The staves
3010 are largely independent, but sometimes voices can cross between the
3011 two staves. The same notation is also used for harps and other key
3012 instruments. The @internalsref{PianoStaff} is especially built to
3013 handle this cross-staffing behavior. In this section we discuss the
3014 @internalsref{PianoStaff} and some other pianistic peculiarities.
3018 * Automatic staff changes::
3019 * Manual staff switches::
3022 * Staff switch lines::
3027 There is no support for putting chords across staves. You can get
3028 this result by increasing the length of the stem in the lower stave so
3029 it reaches the stem in the upper stave, or vice versa. An example is
3030 included with the distribution as
3031 @inputfileref{input/test,stem-cross-staff.ly}.
3033 Dynamics are not centered, but kludges do exist. See
3034 @inputfileref{input/template,piano-dynamics.ly}.
3036 @cindex cross staff stem
3037 @cindex stem, cross staff
3040 @c fixme: should have hyperlinks as well.
3046 @node Automatic staff changes
3047 @subsection Automatic staff changes
3048 @cindex Automatic staff changes
3050 Voices can switch automatically between the top and the bottom
3051 staff. The syntax for this is
3053 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3055 The two staffs of the piano staff must be named @code{up} and
3058 The autochanger switches on basis of pitch (central C is the turning
3059 point), and it looks ahead skipping over rests to switch in
3060 advance. Here is a practical example:
3062 @lilypond[verbatim,singleline,quote]
3063 \score { \notes \context PianoStaff <<
3064 \context Staff = "up" {
3065 \autochange \new Voice \relative c' {
3066 g4 a b c d r4 a g } }
3067 \context Staff = "down" {
3074 In this example, spacer rests are used to prevent the bottom staff from
3075 terminating too soon.
3080 In this manual: @ref{Manual staff switches}
3082 Internals: @internalsref{AutoChangeMusic}.
3088 The staff switches often do not end up in optimal places. For high
3089 quality output, staff switches should be specified manually.
3093 @node Manual staff switches
3094 @subsection Manual staff switches
3096 @cindex manual staff switches
3097 @cindex staff switch, manual
3099 Voices can be switched between staves manually, using the following command:
3101 \change Staff = @var{staffname} @var{music}
3105 The string @var{staffname} is the name of the staff. It switches the
3106 current voice from its current staff to the Staff called
3107 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3116 Pianos have pedals that alter the way sound are produced. Generally, a
3117 piano has three pedals, sustain, una corda, and sostenuto.
3121 Piano pedal instruction can be expressed by attaching
3122 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3123 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3126 @lilypond[fragment,verbatim]
3127 c'4\sustainDown c'4\sustainUp
3130 What is printed can be modified by setting @code{pedal@var{X}Strings},
3131 where @var{X} is one of the pedal types: @code{Sustain},
3132 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3133 documentation of @internalsref{SustainPedal} for more information.
3135 Pedals can also be indicated by a sequence of brackets, by setting the
3136 @code{pedalSustainStyle} property to @code{bracket} objects:
3138 @lilypond[fragment,verbatim]
3139 \property Staff.pedalSustainStyle = #'bracket
3140 c''4\sustainDown d''4 e''4
3141 a'4\sustainUp\sustainDown
3142 f'4 g'4 a'4\sustainUp
3145 A third style of pedal notation is a mixture of text and brackets,
3146 obtained by setting the @code{pedalSustainStyle} style property to
3149 @lilypond[fragment,verbatim]
3150 \property Staff.pedalSustainStyle = #'mixed
3151 c''4\sustainDown d''4 e''4
3152 c'4\sustainUp\sustainDown
3153 f'4 g'4 a'4\sustainUp
3156 The default `*Ped' style for sustain and damper pedals corresponds to
3157 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3160 @lilypond[fragment,verbatim]
3161 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3164 For fine-tuning of the appearance of a pedal bracket, the properties
3165 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3166 @code{PianoPedalBracket} objects (see
3167 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3168 bracket may be extended to the end of the note head:
3170 @lilypond[fragment,verbatim]
3171 \property Staff.PianoPedalBracket \override
3172 #'shorten-pair = #'(0 . -1.0)
3173 c''4\sostenutoDown d''4 e''4 c'4
3174 f'4 g'4 a'4\sostenutoUp
3178 @subsection Arpeggio
3181 @cindex broken arpeggio
3182 @cindex @code{\arpeggio}
3184 You can specify an arpeggio sign on a chord by attaching an
3185 @code{\arpeggio} to a chord:
3188 @lilypond[fragment,relative,verbatim]
3192 When an arpeggio crosses staves, you attach an arpeggio to the chords
3193 in both staves, and set
3194 @internalsref{PianoStaff}.@code{connectArpeggios}:
3196 @lilypond[fragment,relative,verbatim]
3197 \context PianoStaff <<
3198 \property PianoStaff.connectArpeggios = ##t
3199 \new Staff { <c' e g c>\arpeggio }
3200 \new Staff { \clef bass <c,, e g>\arpeggio }
3204 The direction of the arpeggio is sometimes denoted by adding an
3205 arrowhead to the wiggly line. This can be typeset by setting
3206 @code{arpeggio-direction}:
3208 @lilypond[fragment,relative,verbatim]
3210 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3212 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3217 A square bracket on the left indicates that the player should not
3218 arpeggiate the chord. To draw these brackets, set the
3219 @code{molecule-callback} property of @code{Arpeggio} or
3220 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3221 @code{\arpeggio} statements within the chords as before:
3223 @lilypond[fragment,relative,verbatim]
3224 \property PianoStaff.Arpeggio \override
3225 #'molecule-callback = \arpeggioBracket
3231 @cindex @code{\arpeggioBracket}
3232 @code{\arpeggioBracket},
3233 @cindex @code{\arpeggio}
3238 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3239 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3240 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3244 It is not possible to mix connected arpeggios and unconnected
3245 arpeggios in one @internalsref{PianoStaff} at the same time.
3247 @node Staff switch lines
3248 @subsection Staff switch lines
3251 @cindex follow voice
3252 @cindex staff switching
3255 @cindex @code{followVoice}
3257 Whenever a voice switches to another staff a line connecting the notes
3258 can be printed automatically. This is enabled if the property
3259 @code{PianoStaff.followVoice} is set to true:
3261 @lilypond[fragment,relative,verbatim]
3262 \context PianoStaff <<
3263 \property PianoStaff.followVoice = ##t
3264 \context Staff \context Voice {
3269 \context Staff=two { \clef bass \skip 1*2 }
3273 The associated object is @internalsref{VoiceFollower}.
3277 @cindex @code{\showStaffSwitch}
3278 @code{\showStaffSwitch},
3279 @cindex @code{\hideStaffSwitch}
3280 @code{\hideStaffSwitch}.
3284 @section Vocal music
3286 This section discusses how to enter and print lyrics.
3290 * The Lyrics context::
3295 @node Entering lyrics
3296 @subsection Entering lyrics
3300 @cindex @code{\lyrics}
3303 Lyrics are entered in a special input mode. This mode is is introduced
3304 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3305 punctuation and accents without any hassle. Syllables are entered like
3306 notes, but with pitches replaced by text. For example,
3308 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3311 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3312 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3313 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3314 any 8-bit character with ASCII code over 127, or a two-character
3315 combination of a backslash followed by one of @code{`}, @code{'},
3316 @code{"}, or @code{^}.
3318 Subsequent characters of a word can be any character that is not a digit
3319 and not white space. One important consequence of this is that a word
3320 can end with @code{@}}. The following example is usually a bug. The
3321 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3323 \lyrics @{ twinkle@}
3326 @cindex @code{\property}, in @code{\lyrics}
3327 Similarly, a period following a alphabetic sequence, is included in the
3328 resulting string. As a consequence, spaces must be inserted around
3329 @code{\property} commands:
3331 \property Lyrics . LyricText \set #'font-shape = #'italic
3335 @cindex spaces, in lyrics
3336 @cindex quotes, in lyrics
3338 Any @code{_} character which appears in an unquoted word is converted
3339 to a space. This provides a mechanism for introducing spaces into words
3340 without using quotes. Quoted words can also be used in Lyrics mode to
3341 specify words that cannot be written with the above rules:
3344 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3348 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3353 These will be attached to the end of the first syllable.
3355 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3356 as a separate word between syllables. The hyphen will have variable
3357 length depending on the space between the syllables and it will be
3358 centered between the syllables.
3363 When a lyric is sung over many notes (this is called a melisma), this is
3364 indicated with a horizontal line centered between a syllable and the
3365 next one. Such a line is called an extender line, and it is entered as
3370 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3371 @internalsref{ExtenderEvent}.
3375 The definition of lyrics mode is too complex.
3379 @node The Lyrics context
3380 @subsection The Lyrics context
3382 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3384 \context LyricsVoice \lyrics @dots{}
3387 @cindex automatic syllable durations
3388 @cindex @code{\lyricsto}
3389 @cindex lyrics and melodies
3391 This will place the lyrics according to the durations that were
3392 entered. The lyrics can also be aligned under a given melody
3393 automatically. In this case, it is no longer necessary to enter the
3394 correct duration for each syllable. This is achieved by combining the
3395 melody and the lyrics with the @code{\lyricsto} expression:
3397 \lyricsto @var{name} \new LyricsVoice @dots{}
3400 This aligns the lyrics to the
3402 notes of the @internalsref{Voice} context called @var{name}, which has
3403 to exist. Therefore, normally the @code{Voice} is specified first, and
3404 then the lyrics are specified with @code{\lyricsto}.
3406 For different or more complex orderings, the best way is to setup the
3407 hierarchy of staves and lyrics first, e.g.
3409 \context ChoirStaff \notes <<
3410 \context LyricsVoice = sopranoLyrics @{ s1 @}
3411 \context Voice = soprano @{ @emph{music} @}
3412 \context LyricsVoice = tenor @{ s1 @}
3413 \context Voice = tenorLyrics @{ @emph{music} @}
3416 and then combine the appropriate melodies and lyric lines:
3418 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3422 The final input would resemble
3425 << \context ChoirStaff \notes << @emph{setup the music} >>
3426 \lyricsto "soprano" @emph{etc}
3427 \lyricsto "alto" @emph{etc}
3433 The @code{\lyricsto} command detects melismata: it only puts one
3434 syllable under a tied or slurred group of notes. If you want to force
3435 an unslurred group of notes to be a melisma, then insert
3436 @code{\melisma} after the first note of the group, and
3437 @code{\melismaEnd} after the last one, e.g.
3439 @lilypond[relative 1, singleline, fragment,verbatim]
3440 << \context Voice = "lala" { \time 3/4
3446 \lyricsto "lala" \new LyricsVoice \lyrics {
3451 In addition, notes are considered a melisma if they are manually
3452 beamed, and automatic beaming (see @ref{Setting automatic beam
3453 behavior}) is switched off. The criteria for deciding melismata
3454 can be tuned with the property @code{melismaBusyProperties}. See
3455 @internalsref{Melisma_engraver} for more information.
3457 When multiple stanzas are put on the same melody, it can happen that
3458 two stanzas have melismata in different locations. This can be
3459 remedied by switching off melismata for one
3460 @internalsref{LyricsVoice}. This is achieved by setting
3461 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3462 in @inputfileref{input/regression,lyric-combine-new.ly}.
3465 @cindex choral score
3467 A complete example of a SATB score setup is in the file
3468 @inputfileref{input/template,satb.ly}.
3472 @code{\melisma}, @code{\melismaEnd}
3473 @cindex @code{\melismaEnd}
3474 @cindex @code{\melisma}
3478 Internals: Music expressions: @internalsref{LyricCombineMusic},
3479 Contexts: @internalsref{LyricsVoice}, @internalsref{Melisma_engraver}.
3481 Examples: @inputfileref{input/template,satb.ly},
3482 @inputfileref{input/regression,lyric-combine-new.ly}.
3486 Melismata are not detected automatically, and extender lines must be
3490 For proper processing of extender lines, the
3491 @internalsref{LyricsVoice} and @internalsref{Voice} should be
3492 linked. This can be achieved either by using @code{\lyricsto} or by
3493 setting corresponding names for both contexts. The latter is explained
3494 in @ref{More stanzas}.
3497 @subsection More stanzas
3499 @cindex phrasing, in lyrics
3502 The lyrics should be aligned with the note heads of the melody. To
3503 achieve this, each line of lyrics should be marked to correspond with
3504 the melodic line. This is done automatically when @code{\lyricsto},
3505 but it can also be done manually.
3507 To this end, give the @internalsref{Voice} context an identity:
3509 \context Voice = duet @{
3514 Then set the @internalsref{LyricsVoice} contexts to names starting with
3515 that identity followed by a dash. In the preceding example, the
3516 @internalsref{Voice} identity is @code{duet}, so the identities of the
3517 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3519 \context LyricsVoice = "duet-1" @{
3520 Hi, my name is bert. @}
3521 \context LyricsVoice = "duet-2" @{
3522 Ooooo, ch\'e -- ri, je t'aime. @}
3525 The complete example is shown here:
3526 @lilypond[singleline,verbatim]
3528 << \notes \relative c'' \context Voice = duet { \time 3/4
3530 \lyrics << \lyricsto "duet" \new LyricsVoice {
3531 \property LyricsVoice . stanza = "1"
3532 Hi, my name is bert. }
3533 \lyricsto "duet" \new LyricsVoice {
3534 \property LyricsVoice . stanza = "2"
3535 Ooooo, ch\'e -- ri, je t'aime. }
3540 @cindex stanza number
3541 @cindex singer's names
3542 @cindex name of singer
3544 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3547 \property LyricsVoice . stanza = "Bert"
3549 \property LyricsVoice . stanza = "Ernie"
3552 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3553 prevent @code{LyricsVoice.stanza} being interpreted as a single
3556 Names of the singers should be added using @code{LyricsVoice
3557 . vocalName} and @code{LyricsVoice . vocNam}, analogous to instrument
3558 annotations for staves.
3560 To make empty spaces in lyrics, use @code{\skip}.
3565 Internals: Layout objects @internalsref{LyricText}
3566 @internalsref{VocalName}. Music expressions:
3567 @internalsref{LyricEvent}.
3573 Input for lyrics introduces a syntactical ambiguity:
3580 is interpreted as assigning a string identifier @code{\foo} such that
3581 it contains @code{"bar"}. However, it could also be interpreted as
3582 making or a music identifier @code{\foo} containing the syllable
3583 `bar'. The force the latter interpretation, use
3595 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3596 for a given voice in a part of music. It also may denote the pitch
3597 range that a musical instrument is capable of playing. Most musical
3598 instruments have their ambitus standardized (or at least there is
3599 agreement upon the minimal ambitus of a particular type of
3600 instrument), such that a composer or arranger of a piece of music can
3601 easily meet the ambitus constraints of the targeted instrument.
3602 However, the ambitus of the human voice depends on individual
3603 physiological state, including education and training of the voice.
3604 Therefore, a singer potentially has to check for each piece of music
3605 if the ambitus of that piece meets his individual capabilities. This
3606 is why the ambitus of a piece may be of particular value to vocal
3609 The ambitus is typically notated on a per-voice basis at the very
3610 beginning of a piece, e.g. nearby the initial clef or time signature of
3611 each staff. The range is graphically specified by two noteheads, that
3612 represent the minimum and maximum pitch. Some publishers use a textual
3613 notation: they put the range in words in front of the corresponding
3614 staff. LilyPond only supports the graphical ambitus notation.
3616 To apply, add the @internalsref{Ambitus_engraver} to the
3617 @internalsref{Voice} context, i.e.
3623 \consists Ambitus_engraver
3628 This results in the following output:
3629 @lilypond[singleline]
3630 upper = \notes \relative c {
3633 as'' c e2 bes f cis d4 e f2 g
3635 lower = \notes \relative c {
3638 e'4 b g a c es fis a cis b a g f e d2
3641 \context ChoirStaff {
3643 \new Staff { \upper }
3644 \new Staff { \lower }
3650 \consists Ambitus_engraver
3656 If you have multiple voices in a single staff, and you want a single
3657 ambitus per staff rather than per each voice, then add the
3658 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3659 rather than to the @internalsref{Voice} context.
3661 It is possible to tune individual ambituses for multiple voices on a
3662 single staff, for example by erasing or shifting them horizontally. An
3663 example is in @inputfileref{input/test,ambitus-mixed.ly}
3667 Internals: @internalsref{Ambitus}
3669 Examples: @inputfileref{input/regression,ambitus.ly},
3670 @inputfileref{input/test,ambitus-mixed.ly}.
3674 There is no collision handling in the case of multiple per-voice
3680 Tablature notation is used for notating music for plucked string
3681 instruments. It notates pitches not by using note heads, but by
3682 indicating on which string and fret a note must be played. LilyPond
3683 offers limited support for tablature.
3686 * Tablatures basic::
3687 * Non-guitar tablatures::
3690 @node Tablatures basic
3691 @subsection Tablatures basic
3692 @cindex Tablatures basic
3694 The string number associated to a note is given as a backslash
3695 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3696 string. By default, string 1 is the highest one, and the tuning
3697 defaults to the standard guitar tuning (with 6 strings). The notes
3698 are printed as tablature, by using @internalsref{TabStaff} and
3699 @internalsref{TabVoice} contexts:
3701 @lilypond[fragment,verbatim]
3702 \notes \context TabStaff {
3710 When no string is specified, the first string that does not give a
3711 fret number less than @code{minimumFret} is selected. The default
3712 value for @code{minimumFret} is 0:
3716 e8 fis gis a b cis' dis' e'
3717 \property TabStaff.minimumFret = #8
3718 e8 fis gis a b cis' dis' e'
3723 e8 fis gis a b cis' dis' e'
3724 \property TabStaff.minimumFret = #8
3725 e8 fis gis a b cis' dis' e'
3728 \context StaffGroup <<
3729 \context Staff { \clef "G_8" \frag }
3730 \context TabStaff { \frag }
3737 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3738 @internalsref{StringNumberEvent}.
3742 Chords are not handled in a special way, and hence the automatic
3743 string selector may easily select the same string to two notes in a
3747 @node Non-guitar tablatures
3748 @subsection Non-guitar tablatures
3749 @cindex Non-guitar tablatures
3751 You can change the number of strings, by setting the number of lines
3752 in the @internalsref{TabStaff}.
3754 You can change the tuning of the strings. A string tuning is given as
3755 a Scheme list with one integer number for each string, the number
3756 being the pitch (measured in semitones relative to central C) of an
3757 open string. The numbers specified for @code{stringTuning} are the
3758 numbers of semitones to subtract or add, starting the specified pitch
3759 by default middle C, in string order. Thus, the notes are e, a, d, and
3762 @lilypond[fragment,verbatim]
3763 \context TabStaff <<
3764 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3767 a,4 c' a e' e c' a e'
3772 It is possible to change the Scheme function to format the tablature
3773 note text. The default is @code{fret-number-tablature-format}, which
3774 uses the fret number. For instruments that do not use this notation,
3775 you can create a special tablature formatting function. This function
3776 takes three argument: string number, string tuning and note pitch.
3780 No guitar special effects have been implemented.
3785 @section Chord names
3788 LilyPond has support for both printing chord names. Chords may be
3789 entered in musical chord notation, i.e. @code{< .. >}, but they can
3790 also be entered by name. Internally, the chords are represented as a
3791 set of pitches, so they can be transposed:
3794 @lilypond[verbatim,singleline]
3795 twoWays = \notes \transpose c c' {
3805 << \context ChordNames \twoWays
3806 \context Voice \twoWays >> }
3809 This example also shows that the chord printing routines do not try to
3810 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3816 * Printing chord names::
3821 @subsection Chords mode
3824 Chord mode is a mode where you can input sets of pitches using common
3825 names. It is introduced by the keyword @code{\chords}.
3826 In chords mode, a chord is entered by the root, which is entered
3827 like a common pitch:
3828 @lilypond[fragment,verbatim,quote, relative=1]
3829 \chords { es4. d8 c2 }
3834 Other chords may be entered by suffixing a colon, and introducing a
3835 modifier, and optionally, a number:
3837 @lilypond[fragment,verbatim,quote]
3838 \chords { e1:m e1:7 e1:m7 }
3840 The first number following the root is taken to be the `type' of the
3841 chord, thirds are added to the root until it reaches the specified
3843 @lilypond[fragment,verbatim]
3844 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3847 @cindex root of chord
3848 @cindex additions, in chords
3849 @cindex removals, in chords
3851 More complex chords may also be constructed adding separate steps
3852 to a chord. Additions are added after the number following
3853 the colon, and are separated by dots:
3855 @lilypond[verbatim,fragment,quote]
3856 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3858 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3860 @lilypond[verbatim,fragment,quote]
3861 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3863 Removals are specified similarly, and are introduced by a caret. They
3864 must come after the additions:
3865 @lilypond[verbatim,fragment]
3866 \chords { c^3 c:7^5 c:9^3.5 }
3869 Modifiers can be used to change pitches. The following modifiers are
3873 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3875 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3878 is the augmented chord. This modifier raises the 5th step.
3880 is the major 7th chord. This modifier raises the 7th step if present.
3882 is the suspended 4th or 2nd. This modifier removes the 3rd
3883 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3886 Modifiers can be mixed with additions:
3887 @lilypond[verbatim,fragment]
3888 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3891 @cindex modifiers, in chords.
3898 Since an unaltered 11 does not sound good when combined with an
3899 unaltered 13, the 11 is removed in this case (unless it is added
3902 @lilypond[fragment,verbatim]
3903 \chords { c:13 c:13.11 c:m13 }
3908 An inversion (putting one pitch of the chord on the bottom), as well
3909 as bass notes, can be specified by appending
3910 @code{/}@var{pitch} to the chord:
3911 @lilypond[fragment,verbatim,center]
3912 \chords { c1 c/g c/f }
3916 A bass note can be added instead of transposed out of the chord,
3917 by using @code{/+}@var{pitch}.
3919 @lilypond[fragment,verbatim,center]
3920 \chords { c1 c/+g c/+f }
3923 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3924 of the commands continue to work, for example, @code{r} and
3925 @code{\skip} can be used to insert rests and spaces, and
3926 @code{\property} may be used to change various settings.
3932 Each step can only be present in a chord once. The following
3933 simply produces the augmented chord, since @code{5+} is interpreted
3936 @lilypond[verbatim,fragment]
3937 \chords { c:5.5-.5+ }
3941 @node Printing chord names
3942 @subsection Printing chord names
3944 @cindex printing chord names
3948 For displaying printed chord names, use the @internalsref{ChordNames} context.
3949 The chords may be entered either using the notation
3950 described above, or directly using @code{<} and @code{>}:
3952 @lilypond[verbatim,singleline]
3954 \chords {a1 b c} <d' f' a'> <e' g' b'>
3958 \context ChordNames \scheme
3959 \context Staff \scheme
3964 You can make the chord changes stand out by setting
3965 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3966 display chord names when there is a change in the chords scheme and at
3967 the start of a new line:
3969 @lilypond[verbatim, linewidth=9cm]
3971 c1:m c:m \break c:m c:m d
3975 \context ChordNames {
3976 \property ChordNames.chordChanges = ##t
3978 \context Staff \transpose c c' \scheme
3983 The default chord name layout is a system for Jazz music, proposed by
3984 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3985 following properties:
3988 @cindex chordNameExceptions
3989 @item chordNameExceptions
3990 This is a list that contains the chords that have special formatting.
3992 @inputfileref{input/regression,chord-name-exceptions.ly}.
3993 @cindex exceptions, chord names.
3996 @cindex majorSevenSymbol
3997 @item majorSevenSymbol
3998 This property contains the markup object used for the 7th step, when
3999 it is major. Predefined options are @code{whiteTriangleMarkup} and
4000 @code{blackTriangleMarkup}. See
4001 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4003 @cindex chordNameSeparator
4004 @item chordNameSeparator
4005 Different parts of a chord name are normally separated by a
4006 slash. By setting @code{chordNameSeparator}, you can specify other
4008 @lilypond[fragment,verbatim]
4009 \context ChordNames \chords {
4011 \property ChordNames.chordNameSeparator
4012 = \markup { \typewriter "|" }
4016 @cindex chordRootNamer
4017 @item chordRootNamer
4018 The root of a chord is usually printed as a letter with an optional
4019 alteration. The transformation from pitch to letter is done by this
4020 function. Special note names (for example, the German ``H'' for a
4021 B-chord) can be produced by storing a new function in this property.
4023 The pre-defined variables @code{\germanChords},
4024 @code{\semiGermanChords} set these variables.
4027 @cindex chordNoteNamer
4028 @item chordNoteNamer
4029 The default is to print single pitch, e.g. the bass note, using the
4030 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4031 to a specialized function to change this behavior. For example, the
4032 base can be printed in lower case.
4037 There are also two other chord name schemes implemented: an alternate
4038 Jazz chord notation, and a systematic scheme called Banter chords. The
4039 alternate jazz notation is also shown on the chart in @ref{Chord name
4040 chart}. Turning on these styles is described in the input file
4041 @inputfileref{input/test,chord-names-jazz.ly}.
4045 @cindex chords, jazz
4050 @cindex @code{\germanChords}
4051 @code{\germanChords},
4052 @cindex @code{\semiGermanChords}
4053 @code{\semiGermanChords}.
4060 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4061 @inputfileref{input/regression,chord-name-exceptions.ly},
4062 @inputfileref{input/test,chord-names-jazz.ly},
4063 @inputfileref{input/test,chord-names-german.ly}.
4065 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4070 Chord names are determined solely from the list of pitches. Chord
4071 inversions are not identified, and neither are added bass notes. This
4072 may result in strange chord names when chords are entered with the
4073 @code{< .. >} syntax.
4078 @node Orchestral music
4079 @section Orchestral music
4081 @cindex Writing parts
4083 Orchestral music involves some special notation, both in the full
4084 score and the individual parts. This section explains how to tackle
4085 some common problems in orchestral music.
4090 * Multiple staff contexts::
4093 * Instrument names::
4095 * Multi measure rests::
4096 * Automatic part combining::
4098 * Different editions from one source::
4099 * Sound output for transposing instruments::
4102 @node Multiple staff contexts
4103 @subsection Multiple staff contexts
4105 Polyphonic scores consist of many staves. These staves can be
4106 constructed in three different ways:
4108 @item The group is started with a brace at the left. This is done with the
4109 @internalsref{GrandStaff} context.
4110 @item The group is started with a bracket. This is done with the
4111 @internalsref{StaffGroup} context
4112 @item The group is started with a vertical line. This is the default
4116 @cindex Staff, multiple
4117 @cindex bracket, vertical
4118 @cindex brace, vertical
4125 @node Rehearsal marks
4126 @subsection Rehearsal marks
4127 @cindex Rehearsal marks
4129 @cindex @code{\mark}
4131 To print a rehearsal mark, use the @code{\mark} command:
4132 @lilypond[fragment,verbatim]
4143 (The letter I is skipped in accordance with engraving traditions.)
4145 The mark is incremented automatically if you use @code{\mark
4146 \default}, but you can also use an integer argument to set the mark
4147 manually. The value to use is stored in the property
4148 @code{rehearsalMark}.
4150 The style is defined by the property @code{markFormatter}. It is a
4151 function taking the current mark (an integer) and the current context
4152 as argument. It should return a markup object. In the following
4153 example, @code{markFormatter} is set to a canned procedure. After a
4154 few measures, it is set to function that produces a boxed number.
4156 @lilypond[verbatim,fragment,relative 1]
4157 \property Score.markFormatter = #format-mark-numbers
4160 \property Score.markFormatter
4161 = #(lambda (mark context)
4162 (make-bold-markup (make-box-markup (number->string mark))))
4167 The file @file{scm/translation-functions.scm} contains the definitions
4168 of @code{format-mark-numbers} (the default format) and
4169 @code{format-mark-letters}. They can be used as inspiration for other
4170 formatting functions.
4173 @cindex coda on bar line
4174 @cindex segno on bar line
4175 @cindex fermata on bar line
4176 @cindex bar lines, symbols on
4178 The @code{\mark} command can also be used to put signs like coda,
4179 segno and fermatas on a barline. Use @code{\markup} to
4180 to access the appropriate symbol:
4182 @lilypond[fragment,verbatim,relative=1]
4183 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4187 In this case, during line breaks, marks must also be printed at the
4188 end of the line, and not at the beginning. Use the following to force
4191 \property Score.RehearsalMark \override
4192 #'break-visibility = #begin-of-line-invisible
4198 @cindex barlines, putting symbols on
4202 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4204 Init files: @file{scm/translation-functions.scm} contains the
4205 definition of @code{format-mark-numbers} and
4206 @code{format-mark-letters}. They can be used as inspiration for other
4207 formatting functions.
4209 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4210 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4214 @subsection Bar numbers
4218 @cindex measure numbers
4219 @cindex currentBarNumber
4221 Bar numbers are printed by default at the start of the line. The
4222 number itself is stored in the
4223 @code{currentBarNumber} property,
4224 which is normally updated automatically for every measure.
4226 Bar numbers can be typeset at regular intervals instead of at the
4227 beginning of each line. This is illustrated in the following example,
4228 whose source is available as
4229 @inputfileref{input/test,bar-number-regular-interval.ly}:
4231 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4236 Internals: @internalsref{BarNumber}.
4238 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4239 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4243 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4244 there is one at the top. To solve this, the
4245 @code{padding} property of @internalsref{BarNumber} can be
4246 used to position the number correctly.
4248 @node Instrument names
4249 @subsection Instrument names
4251 In an orchestral score, instrument names are printed left side of the
4254 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4255 and @internalsref{Staff}.@code{instr}. This will print a string before
4256 the start of the staff. For the first start, @code{instrument} is
4257 used, for the next ones @code{instr} is used:
4260 @lilypond[verbatim,singleline]
4261 \property Staff.instrument = "ploink " { c''4 }
4265 You can also use markup texts to construct more complicated instrument
4269 @lilypond[fragment,verbatim,singleline]
4271 \property Staff.instrument = \markup {
4272 \column < "Clarinetti"
4274 \smaller \musicglyph #"accidentals--1"
4285 Internals: @internalsref{InstrumentName}.
4289 When you put a name on a grand staff or piano staff the width of the
4290 brace is not taken into account. You must add extra spaces to the end of
4291 the name to avoid a collision.
4294 @subsection Transpose
4296 @cindex transposition of pitches
4297 @cindex @code{\transpose}
4299 A music expression can be transposed with @code{\transpose}. The syntax
4302 \transpose @var{from} @var{to} @var{musicexpr}
4305 This means that @var{musicexpr} is transposed by the interval between
4306 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4307 is changed to @code{to}.
4310 For example, consider a piece written in the key of D major. If
4311 this piece is a little too low for its performer, it can be
4312 transposed up to E major with
4314 \tranpose d e @dots{}
4317 Consider a part written for violin (a C instrument). If
4318 this part is to be played on the A clarinet, the following
4319 transposition will produce the appropriate part
4322 \transpose a c @dots{}
4325 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4326 inside a @code{\notes} section. @code{\transpose} distinguishes
4327 between enharmonic pitches: both @code{\transpose c cis} or
4328 @code{\transpose c des} will transpose up half a tone. The first
4329 version will print sharps and the second version will print flats:
4331 @lilypond[singleline, verbatim]
4332 mus =\notes { \key d \major cis d fis g }
4333 \score { \notes \context Staff {
4336 \transpose c g' \mus
4337 \transpose c f' \mus
4344 Internals: @internalsref{TransposedMusic}, and
4345 @internalsref{UntransposableMusic}.
4349 If you want to use both @code{\transpose} and @code{\relative}, then
4350 you must put @code{\transpose} outside of @code{\relative}, since
4351 @code{\relative} will have no effect music that appears inside a
4357 @node Multi measure rests
4358 @subsection Multi measure rests
4359 @cindex multi measure rests
4360 @cindex Rests, multi measure
4364 Multi measure rests are entered using `@code{R}'. It is specifically
4365 meant for full bar rests and for entering parts: the rest can expand
4366 to fill a score with rests, or it can be printed as a single
4367 multimeasure rest. This expansion is controlled by the property
4368 @code{Score.skipBars}. If this is set to true, empty measures will not
4369 be expanded, and the appropriate number is added automatically:
4371 @lilypond[fragment,verbatim]
4372 \time 4/4 r1 | R1 | R1*2
4373 \property Score.skipBars = ##t R1*17 R1*4
4376 The @code{1} in @code{R1} is similar to the duration notation used for
4377 notes. Hence, for time signatures other than 4/4, you must enter other
4378 durations. This can be done with augmentation dots or fractions:
4380 @lilypond[fragment,verbatim]
4381 \property Score.skipBars = ##t
4389 An @code{R} spanning a single measure is printed as either a whole rest
4390 or a breve, centered in the measure regardless of the time signature.
4392 @cindex text on multi-measure rest
4393 @cindex script on multi-measure rest
4394 @cindex fermata on multi-measure rest
4396 Texts can be added to multi-measure rests by using the
4397 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4398 replaced. If you need both texts and the number, you must add the
4399 number by hand. A variable (@code{\fermataMarkup}) is provided for
4403 @lilypond[verbatim,fragment]
4405 R2._\markup { "Ad lib" }
4409 If you want to have a text on the left end of a multi-measure rest,
4410 attach the text to a zero-length skip note, i.e.
4418 @cindex whole rests for a full measure
4422 Internals: @internalsref{MultiMeasureRestEvent},
4423 @internalsref{MultiMeasureTextEvent},
4424 @internalsref{MultiMeasureRestMusicGroup}, and
4425 @internalsref{MultiMeasureRest}.
4427 The layout object @internalsref{MultiMeasureRestNumber} is for the
4428 default number, and @internalsref{MultiMeasureRestText} for user
4433 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4434 over multi-measure rests.
4436 @cindex condensing rests
4438 There is no way to automatically condense multiple rests into a single
4439 multimeasure rest. Multi measure rests do not take part in rest
4442 Be careful when entering multimeasure rests followed by whole
4443 notes. The following will enter two notes lasting four measures each:
4447 When @code{skipBars} is set, then the result will look OK, but the
4448 bar numbering will be off.
4450 @node Automatic part combining
4451 @subsection Automatic part combining
4452 @cindex automatic part combining
4453 @cindex part combiner
4456 Automatic part combining is used to merge two parts of music onto a
4457 staff. It is aimed at typesetting orchestral scores. When the two
4458 parts are identical for a period of time, only one is shown. In
4459 places where the two parts differ, they are typeset as separate
4460 voices, and stem directions are set automatically. Also, solo and
4461 @emph{a due} parts are identified and can be marked.
4465 The syntax for part combining is
4468 \partcombine @var{musicexpr1} @var{musicexpr2}
4471 The music expressions will be interpreted as @internalsref{Voice}
4474 The following example demonstrates the basic functionality of the part
4475 combiner: putting parts on one staff, and setting stem directions and
4478 @lilypond[verbatim,singleline,fragment,relative 1]
4479 \new Staff \partcombine
4488 The first @code{g} appears only once, although it was
4489 specified twice (once in each part). Stem, slur and tie directions are
4490 set automatically, depending whether there is a solo or unisono. The
4491 first part (with context called @code{one}) always gets up stems, and
4492 `solo', while the second (called @code{two}) always gets down stems and
4495 If you just want the merging parts, and not the textual markings, you
4496 may set the property @var{soloADue} to false:
4498 @lilypond[verbatim,singleline,fragment]
4500 \property Staff.soloADue = ##f
4512 Internals: @internalsref{PartCombineMusic},
4513 @internalsref{SoloOneEvent}, and
4514 @internalsref{SoloTwoEvent}, and
4515 @internalsref{UnisonoEvent}.
4519 In @code{soloADue} mode, when the two voices play the same notes on and
4520 off, the part combiner may typeset @code{a2} more than once in a
4526 @subsection Hiding staves
4528 @cindex Frenched scores
4529 @cindex Hiding staves
4531 In orchestral scores, staff lines that only have rests are usually
4532 removed. This saves some space. This style is called `French Score'.
4533 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4534 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4535 switched on by default. When these line of these contexts turn out
4536 empty after the line-breaking process, they are removed.
4538 For normal staves, a specialized @internalsref{Staff} context is
4539 available, which does the same: staves containing nothing (or only
4540 multi measure rests) are removed. The context definition is stored in
4541 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4542 in this example disappears in the second line:
4547 \notes \relative c' <<
4548 \new Staff { e4 f g a \break c1 }
4549 \new Staff { c4 d e f \break R1 }
4553 \translator { \RemoveEmptyStaffContext }
4558 The first page shows all staffs in full. If they should be removed
4559 from the first page too, set @code{remove-first} to false
4560 in @internalsref{RemoveEmptyVerticalGroup}.
4562 @node Different editions from one source
4563 @subsection Different editions from one source
4565 The @code{\tag} command marks music expressions with a name. These
4566 tagged expressions can be filtered out later. With this mechanism it
4567 is possible to make different versions of the same music source.
4569 In the following example, we see two versions of a piece of music, one
4570 for the full score, and one with cue notes for the instrumental part:
4578 \property Voice.fontSize = #-1
4586 The same can be applied to articulations, texts, etc.: they are
4589 -\tag #@var{your-tag}
4591 to an articulation, for example,
4596 This defines a note with a conditional fingering indication.
4598 By applying the @code{remove-tag} function, tagged expressions can be
4599 filtered. For example,
4603 \apply #(remove-tag 'score) @var{the music}
4604 \apply #(remove-tag 'part) @var{the music}
4609 @lilypondfile[notexidoc]{tag-filter.ly}
4611 The argument of the @code{\tag} command should be a symbol, or a list
4612 of symbols, for example,
4614 \tag #'(original-part transposed-part) @dots{}
4619 Examples: @inputfileref{input/regression,tag-filter.ly}
4622 @node Sound output for transposing instruments
4623 @subsection Sound output for transposing instruments
4625 When you want to make a MIDI file from a score containing transposed
4626 and untransposed instruments, you have to instruct LilyPond the pitch
4627 offset (in semitones) for the transposed instruments. This is done
4628 using the @code{transposing} property. It does not affect printed
4631 @cindex @code{transposing}
4634 \property Staff.instrument = #"Cl. in B-flat"
4635 \property Staff.transposing = #-2
4639 @node Ancient notation
4640 @section Ancient notation
4642 @cindex Vaticana, Editio
4643 @cindex Medicaea, Editio
4648 @c [TODO: write more comprehensive introduction on ancient notation]
4650 Support for ancient notation is still under heavy development.
4651 Regardless of all of the current limitations (see the bugs section
4652 below for details), it includes features for mensural
4653 notation and Gregorian Chant notation. There is also limited support
4654 for figured bass notation.
4656 Many graphical objects provide a @code{style} property, see
4657 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4658 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4659 signatures}. By manipulating such a grob property, the typographical
4660 appearance of the affected graphical objects can be accomodated for a
4661 specific notation flavour without need for introducing any new
4665 Other aspects of ancient notation can not that easily be expressed as
4666 in terms of just changing a style property of a graphical object.
4667 Therefore, some notational concepts are introduced specifically for
4668 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4669 @ref{Ligatures}, and @ref{Figured bass}.
4673 * Ancient note heads::
4674 * Ancient accidentals::
4678 * Ancient time signatures::
4683 * Vaticana style contexts::
4686 If this all is way too much of documentation for you, and you just
4687 want to dive into typesetting without worrying too much about the
4688 details on how to customize a context, then you may have a look at the
4689 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4690 set up predefined style-specific voice and staff contexts, and
4691 directly go ahead with the note entry.
4695 Ligatures need special spacing that has not yet been implemented. As
4696 a result, there is too much space between ligatures most of the time,
4697 and line breaking often is unsatisfactory. Also, lyrics do not
4698 correctly align with ligatures.
4700 Accidentals must not be printed within a ligature, but instead need to
4701 be collected and printed in front of it.
4703 Augmentum dots within ligatures are not handled correctly.
4706 @node Ancient note heads
4707 @subsection Ancient note heads
4713 For ancient notation, a note head style other than the @code{default}
4714 style may be chosen. This is accomplished by setting the @code{style}
4715 property of the NoteHead object to the desired value (@code{baroque},
4716 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4717 differs from the @code{default} style only in using a square shape for
4718 @code{\breve} note heads. The @code{neo_mensural} style differs from
4719 the @code{baroque} style in that it uses rhomboidal heads for whole
4720 notes and all smaller durations. Stems are centered on the note
4721 heads. This style is in particular useful when transcribing mensural
4722 music, e.g. for the incipit. The @code{mensural} style finally
4723 produces note heads that mimick the look of note heads in historic
4724 printings of the 16th century.
4726 The following example demonstrates the @code{neo_mensural} style:
4728 @lilypond[fragment,singleline,verbatim]
4729 \property Voice.NoteHead \set #'style = #'neo_mensural
4730 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4733 When typesetting a piece in Gregorian Chant notation, a Gregorian
4734 ligature engraver will automatically select the proper note heads,
4735 such there is no need to explicitly set the note head style. Still,
4736 the note head style can be set e.g. to @code{vaticana_punctum} to
4737 produce punctum neumes. Similarly, a mensural ligature engraver is
4738 used to automatically assemble mensural ligatures. See
4739 @ref{Ligatures} for how ligature engravers work.
4744 @ref{Percussion staves} use note head styles of their own that are
4745 frequently used in contemporary music notation.
4747 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4748 overview over all available note head styles.
4751 @node Ancient accidentals
4752 @subsection Ancient accidentals
4758 Use the @code{style} property of grob @internalsref{Accidental} to
4759 select ancient accidentals. Supported styles are
4760 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4762 @lilypond[singleline,26pt]
4770 { " " \musicglyph #"accidentals-vaticana-1"
4771 " " \musicglyph #"accidentals-vaticana0" }
4775 { " " \musicglyph #"accidentals-medicaea-1" }
4779 { " " \musicglyph #"accidentals-hufnagel-1" }
4783 { " " \musicglyph #"accidentals-mensural-1"
4784 " " \musicglyph #"accidentals-mensural1" }
4793 \remove "Bar_number_engraver"
4797 \remove "Clef_engraver"
4798 \remove "Key_engraver"
4799 \remove "Time_signature_engraver"
4800 \remove "Staff_symbol_engraver"
4801 minimumVerticalExtent = ##f
4807 As shown, not all accidentals are supported by each style. When
4808 trying to access an unsupported accidental, LilyPond will switch to a
4809 different style, as demonstrated in
4810 @inputfileref{input/test,ancient-accidentals.ly}.
4812 Similarly to local accidentals, the style of the key signature can be
4813 controlled by the @code{style} property of the
4814 @internalsref{KeySignature} grob.
4818 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4819 @ref{Accidentals} give a general introduction into the use of
4820 accidentals. @ref{Key signature} gives a general introduction into
4821 the use of key signatures.
4823 Internals: @internalsref{KeySignature}
4825 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4828 @subsection Ancient rests
4834 Use the @code{style} property of grob @internalsref{Rest} to select
4835 ancient accidentals. Supported styles are @code{classical},
4836 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4837 from the @code{default} style only in that the quarter rest looks like
4838 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4839 well for e.g. the incipit of a transcribed mensural piece of music.
4840 The @code{mensural} style finally mimicks the appearance of rests as
4841 in historic prints of the 16th century.
4843 The following example demonstrates the @code{neo_mensural} style:
4845 @lilypond[fragment,singleline,verbatim]
4846 \property Voice.Rest \set #'style = #'neo_mensural
4847 r\longa r\breve r1 r2 r4 r8 r16
4850 There are no 32th and 64th rests specifically for the mensural or
4851 neo-mensural style. Instead, the rests from the default style will be
4852 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4855 There are no rests in Gregorian Chant notation; instead, it uses
4860 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4864 @subsection Ancient clefs
4870 LilyPond supports a variety of clefs, many of them ancient.
4872 The following table shows all ancient clefs that are supported via the
4873 @code{\clef} command. Some of the clefs use the same glyph, but
4874 differ only with respect to the line they are printed on. In such
4875 cases, a trailing number in the name is used to enumerate these clefs.
4876 Still, you can manually force a clef glyph to be typeset on an
4877 arbitrary line, as described in @ref{Clef}. The note printed to the
4878 right side of each clef in the example column denotes the @code{c'}
4879 with respect to that clef.
4881 @multitable @columnfractions .3 .3 .3 .1
4885 @b{Description} @tab
4886 @b{Supported Clefs} @tab
4890 @code{clefs-neo_mensural_c} @tab
4891 modern style mensural C clef @tab
4892 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4893 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4894 @lilypond[relative 0, notime]
4895 \property Staff.TimeSignature \set #'transparent = ##t
4896 \clef "neo_mensural_c2" c
4900 @code{clefs-petrucci_c1}
4901 @code{clefs-petrucci_c2}
4902 @code{clefs-petrucci_c3}
4903 @code{clefs-petrucci_c4}
4904 @code{clefs-petrucci_c5}
4907 petrucci style mensural C clefs, for use on different stafflines
4908 (the examples shows the 2nd staffline C clef).
4918 @lilypond[relative 0, notime]
4919 \property Staff.TimeSignature \set #'transparent = ##t
4920 \clef "petrucci_c2" c
4924 @code{clefs-petrucci_f} @tab
4925 petrucci style mensural F clef @tab
4926 @code{petrucci_f} @tab
4927 @lilypond[relative 0, notime]
4928 \property Staff.TimeSignature \set #'transparent = ##t
4929 \clef "petrucci_f" c
4933 @code{clefs-petrucci_g} @tab
4934 petrucci style mensural G clef @tab
4935 @code{petrucci_g} @tab
4936 @lilypond[relative 0, notime]
4937 \property Staff.TimeSignature \set #'transparent = ##t
4938 \clef "petrucci_g" c
4942 @code{clefs-mensural_c} @tab
4943 historic style mensural C clef @tab
4944 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4945 @code{mensural_c4} @tab
4946 @lilypond[relative 0, notime]
4947 \property Staff.TimeSignature \set #'transparent = ##t
4948 \clef "mensural_c2" c
4952 @code{clefs-mensural_f} @tab
4953 historic style mensural F clef @tab
4954 @code{mensural_f} @tab
4955 @lilypond[relative 0, notime]
4956 \property Staff.TimeSignature \set #'transparent = ##t
4957 \clef "mensural_f" c
4961 @code{clefs-mensural_g} @tab
4962 historic style mensural G clef @tab
4963 @code{mensural_g} @tab
4964 @lilypond[relative 0, notime]
4965 \property Staff.TimeSignature \set #'transparent = ##t
4966 \clef "mensural_g" c
4970 @code{clefs-vaticana_do} @tab
4971 Editio Vaticana style do clef @tab
4972 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4973 @lilypond[relative 0, notime]
4974 \property Staff.StaffSymbol \set #'line-count = #4
4975 \property Staff.TimeSignature \set #'transparent = ##t
4976 \clef "vaticana_do2" c
4980 @code{clefs-vaticana_fa} @tab
4981 Editio Vaticana style fa clef @tab
4982 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4983 @lilypond[relative 0, notime]
4984 \property Staff.StaffSymbol \set #'line-count = #4
4985 \property Staff.TimeSignature \set #'transparent = ##t
4986 \clef "vaticana_fa2" c
4990 @code{clefs-medicaea_do} @tab
4991 Editio Medicaea style do clef @tab
4992 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4993 @lilypond[relative 0, notime]
4994 \property Staff.StaffSymbol \set #'line-count = #4
4995 \property Staff.TimeSignature \set #'transparent = ##t
4996 \clef "medicaea_do2" c
5000 @code{clefs-medicaea_fa} @tab
5001 Editio Medicaea style fa clef @tab
5002 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5003 @lilypond[relative 0, notime]
5004 \property Staff.StaffSymbol \set #'line-count = #4
5005 \property Staff.TimeSignature \set #'transparent = ##t
5006 \clef "medicaea_fa2" c
5010 @code{clefs-hufnagel_do} @tab
5011 historic style hufnagel do clef @tab
5012 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5013 @lilypond[relative 0, notime]
5014 \property Staff.StaffSymbol \set #'line-count = #4
5015 \property Staff.TimeSignature \set #'transparent = ##t
5016 \clef "hufnagel_do2" c
5020 @code{clefs-hufnagel_fa} @tab
5021 historic style hufnagel fa clef @tab
5022 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5023 @lilypond[relative 0, notime]
5024 \property Staff.StaffSymbol \set #'line-count = #4
5025 \property Staff.TimeSignature \set #'transparent = ##t
5026 \clef "hufnagel_fa2" c
5030 @code{clefs-hufnagel_do_fa} @tab
5031 historic style hufnagel combined do/fa clef @tab
5032 @code{hufnagel_do_fa} @tab
5033 @lilypond[relative 0, notime]
5034 \property Staff.TimeSignature \set #'transparent = ##t
5035 \clef "hufnagel_do_fa" c
5040 @c --- This should go somewhere else: ---
5041 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5044 @c @code{percussion}
5046 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5048 @c @item modern style tab clef (glyph: @code{clefs-tab})
5053 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5055 @emph{Modern style} means ``as is typeset in contemporary editions of
5056 transcribed mensural music''.
5058 @emph{Petrucci style} means ``inspired by printings published by the
5059 famous engraver Petrucci (1466-1539)''.
5061 @emph{Historic style} means ``as was typeset or written in historic
5062 editions (other than those of Petrucci)''.
5064 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5066 Petrucci used C clefs with differently balanced left-side vertical
5067 beams, depending on which staffline it is printed.
5071 In this manual: for the percussion clef, see @ref{Percussion staves}.
5072 For the @code{TAB} clef, see @ref{Tablatures}.
5074 Internals: for modern clefs, see @ref{Clef}.
5078 The mensural g clef is temporarily mapped to the Petrucci g clef,
5079 until a new mensural g clef will have been implemented.
5084 @subsection Ancient flags
5090 Use the @code{flag-style} property of grob @internalsref{Stem} to
5091 select ancient flags. Besides the @code{default} flag style,
5092 only @code{mensural} style is supported:
5094 @lilypond[fragment,singleline,verbatim]
5095 \property Voice.Stem \set #'flag-style = #'mensural
5096 \property Voice.Stem \set #'thickness = #1.0
5097 \property Voice.NoteHead \set #'style = #'mensural
5099 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
5100 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5103 Note that the innermost flare of each mensural flag always is
5104 vertically aligned with a staff line. If you do not like this
5105 behaviour, you can set the @code{adjust-if-on-staffline} property of
5106 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5107 of the end of each flare is different between notes on staff lines and
5108 notes between staff lines:
5110 @lilypond[fragment,singleline]
5111 \property Voice.Stem \set #'flag-style = #'mensural
5112 \property Voice.Stem \set #'thickness = #1.0
5113 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5114 \property Voice.NoteHead \set #'style = #'mensural
5116 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
5117 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5120 There is no particular flag style for neo-mensural notation. Hence,
5121 when typesetting e.g. the incipit of a transcibed piece of mensural
5122 music, the default flag style should be used. There are no flags in
5123 Gregorian Chant notation.
5126 @node Ancient time signatures
5127 @subsection Ancient time signatures
5129 @cindex time signatures
5133 There is limited support for mensural time signatures. The
5134 glyphs are hard-wired to particular time fractions. In other words,
5135 to get a particular mensural signature glyph with the @code{\time n/m}
5136 command, @code{n} and @code{m} have to be chosen according to the
5142 \property Score.timing = ##f
5143 \property Score.barAlways = ##t
5144 s_\markup { "$\\backslash$time 4/4" }
5145 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5147 s_\markup { "$\\backslash$time 2/2" }
5148 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5150 s_\markup { "$\\backslash$time 6/4" }
5151 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5153 s_\markup { "$\\backslash$time 6/8" }
5154 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5156 s_\markup { "$\\backslash$time 3/2" }
5157 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5159 s_\markup { "$\\backslash$time 3/4" }
5160 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5162 s_\markup { "$\\backslash$time 9/4" }
5163 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5165 s_\markup { "$\\backslash$time 9/8" }
5166 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5168 s_\markup { "$\\backslash$time 4/8" }
5169 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5171 s_\markup { "$\\backslash$time 2/4" }
5172 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5180 \remove Staff_symbol_engraver
5181 \remove Clef_engraver
5182 \remove Time_signature_engraver
5188 Use the @code{style} property of grob @internalsref{TimeSignature} to
5189 select ancient time signatures. Supported styles are
5190 @code{neo_mensural} and @code{mensural}. The above table uses the
5191 @code{neo_mensural} style. This style is appropriate e.g. for the
5192 incipit of transcriptions of mensural pieces. The @code{mensural}
5193 style mimicks the look of historical printings of the 16th century.
5195 @inputfileref{input/test,time.ly} gives an overview over all available
5196 ancient and modern styles.
5200 Internals: @ref{Time signature} gives a general introduction into the use of time
5205 Mensural signature glyphs are mapped to time fractions in a
5206 hard-wired way. This mapping is sensible, but still arbitrary: given
5207 a mensural time signature, the time fraction represents a modern meter
5208 that usually will be a good choice when transcribing a mensural piece
5209 of music. For a particular piece of mensural music, however, the
5210 mapping may be unsatisfactory. In particular, the mapping assumes a
5211 fixed transcription of durations (e.g. brevis = half note in 2/2,
5212 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5213 are not at all accessible through the @code{\time} command.
5215 Mensural time signatures are supported typographically, but not yet
5216 musically. The internal representation of durations is
5217 based on a purely binary system; a ternary division such as 1 brevis =
5218 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5219 prolatione maiori) is not correctly handled: event times in ternary
5220 modes will be badly computed, resulting e.g. in horizontally
5221 misaligned note heads, and bar checks are likely to erroneously fail.
5223 The syntax and semantics of the @code{\time} command for mensural
5224 music is subject to change.
5227 @subsection Custodes
5232 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5233 symbol that appears at the end of a staff. It anticipates the pitch
5234 of the first note(s) of the following line and thus helps the player
5235 or singer to manage line breaks during performance, thus enhancing
5236 readability of a score.
5238 Custodes were frequently used in music notation until the 17th
5239 century. Nowadays, they have survived only in a few particular forms
5240 of musical notation such as contemporary editions of Gregorian chant
5241 like the @emph{editio vaticana}. There are different custos glyphs
5242 used in different flavours of notational style.
5246 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5247 @internalsref{Staff} context when declaring the @code{\paper} block,
5248 as shown in the following example:
5254 \consists Custos_engraver
5255 Custos \override #'style = #'mensural
5260 The result looks like this:
5266 \property Staff.Custos \set #'style = #'mensural
5273 \consists Custos_engraver
5280 The custos glyph is selected by the @code{style} property. The styles
5281 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5282 @code{mensural}. They are demonstrated in the following fragment:
5292 { " " \musicglyph #"custodes-vaticana-u0" }
5296 { " " \musicglyph #"custodes-medicaea-u0" }
5300 { " " \musicglyph #"custodes-hufnagel-u0" }
5304 { " " \musicglyph #"custodes-mensural-u0" }
5313 \remove "Bar_number_engraver"
5317 \remove "Clef_engraver"
5318 \remove "Key_engraver"
5319 \remove "Time_signature_engraver"
5320 \remove "Staff_symbol_engraver"
5321 minimumVerticalExtent = ##f
5327 If the boolean property @code{adjust-if-on-staffline} is set to
5328 @code{#t} (which it is by default), lily typesets slightly different
5329 variants of the custos glyph, depending on whether the custos, is
5330 typeset on or between stafflines. The glyph will
5331 optically fit well into the staff, with the appendage on the right of
5332 the custos always ending at the same vertical position between two
5333 stafflines regardless of the pitch. If you set
5334 @code{adjust-if-on-staffline} to @code{#f}, then
5335 a compromise between both forms is used.
5337 Just like stems can be attached to noteheads in two directions
5338 @emph{up} and @emph{down}, each custos glyph is available with its
5339 appendage pointing either up or down. If the pitch of a custos is
5340 above a selectable position, the appendage will point downwards; if
5341 the pitch is below this position, the appendage will point upwards.
5342 Use property @code{neutral-position} to select this position. By
5343 default, it is set to @code{0}, such that the neutral position is the
5344 center of the staff. Use property @code{neutral-direction} to control
5345 what happens if a custos is typeset on the neutral position itself.
5346 By default, this property is set to @code{-1}, such that the appendage
5347 will point downwards. If set to @code{1}, the appendage will point
5348 upwards. Other values such as @code{0} are reserved for future
5349 extensions and should not be used.
5353 Internals: @internalsref{Custos}
5355 Examples: @inputfileref{input/regression,custos.ly}.
5359 @subsection Divisiones
5365 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5366 `division') is a staff context symbol that is used to structure
5367 Gregorian music into phrases and sections. The musical meaning of
5368 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5369 can be characterized as short, medium and long pause, somewhat like
5370 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5371 a chant, but is also frequently used within a single
5372 antiphonal/responsorial chant to mark the end of each section.
5376 To use divisiones, include the file @code{gregorian-init.ly}. It
5377 contains definitions that you can apply by just inserting
5378 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5379 and @code{\finalis} at proper places in the input. Some editions use
5380 @emph{virgula} or @emph{caesura} instead of divisio minima.
5381 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5384 @lilypondfile[notexidoc]{divisiones.ly}
5388 @cindex @code{\virgula}
5390 @cindex @code{\caesura}
5392 @cindex @code{\divisioMinima}
5393 @code{\divisioMinima},
5394 @cindex @code{\divisioMaior}
5395 @code{\divisioMaior},
5396 @cindex @code{\divisioMaxima}
5397 @code{\divisioMaxima},
5398 @cindex @code{\finalis}
5403 In this manual: @ref{Breath marks}.
5405 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5407 Examples: @inputfileref{input/test,divisiones.ly}
5410 @subsection Ligatures
5414 @c TODO: Should double check if I recalled things correctly when I wrote
5415 @c down the following paragraph by heart.
5417 In musical terminology, a ligature is a coherent graphical symbol that
5418 represents at least two distinct notes. Ligatures originally appeared
5419 in the manuscripts of Gregorian chant notation roughly since the 9th
5420 century as an allusion to the accent symbols of greek lyric poetry to
5421 denote ascending or descending sequences of notes. Both, the shape
5422 and the exact meaning of ligatures changed tremendously during the
5423 following centuries: In early notation, ligatures were used for
5424 monophonic tunes (Gregorian chant) and very soon denoted also the way
5425 of performance in the sense of articulation. With upcoming
5426 multiphony, the need for a metric system arised, since multiple voices
5427 of a piece have to be synchronized some way. New notation systems
5428 were invented that used the manifold shapes of ligatures to now denote
5429 rhythmical patterns (e.g. black mensural notation, mannered notation,
5430 ars nova). With the invention of the metric system of the white
5431 mensural notation, the need for ligatures to denote such patterns
5432 disappeared. Nevertheless, ligatures were still in use in the
5433 mensural system for a couple of decades until they finally disappeared
5434 during the late 16th / early 17th century. Still, ligatures have
5435 survived in contemporary editions of Gregorian chant such as the
5436 Editio Vaticana from 1905/08.
5440 Syntactically, ligatures are simply enclosed by @code{\[} and
5441 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5442 additional input syntax specific for this particular type of ligature.
5443 By default, the @internalsref{LigatureBracket} engraver just puts a
5444 square bracket above the ligature:
5446 @lilypond[singleline,verbatim]
5448 \notes \transpose c c' {
5456 To select a specific style of ligatures, a proper ligature engraver
5457 has to be added to the @internalsref{Voice} context, as explained in
5458 the following subsections. Only white mensural ligatures
5459 are supported with certain limitations. Support for Editio Vaticana
5460 will be added in the future.
5463 * White mensural ligatures::
5464 * Gregorian square neumes ligatures::
5467 @node White mensural ligatures
5468 @subsubsection White mensural ligatures
5470 @cindex Mensural ligatures
5471 @cindex White mensural ligatures
5473 There is limited support for white mensural ligatures. The
5474 implementation is still experimental; it may output strange
5475 warnings or even crash in some cases or produce weird results on more
5480 To engrave white mensural ligatures, in the paper block the
5481 @internalsref{Mensural_ligature_engraver} has to be put into the
5482 @internalsref{Voice} context, and remove the
5483 @internalsref{Ligature_bracket_engraver}:
5489 \remove Ligature_bracket_engraver
5490 \consists Mensural_ligature_engraver
5495 There is no additional input language to describe the shape of a
5496 white mensural ligature. The shape is rather determined solely from
5497 the pitch and duration of the enclosed notes. While this approach may
5498 take a new user a while to get accustomed, it has the great advantage
5499 that the full musical information of the ligature is known internally.
5500 This is not only required for correct MIDI output, but also allows for
5501 automatic transcription of the ligatures.
5506 \property Score.timing = ##f
5507 \property Score.defaultBarType = "empty"
5508 \property Voice.NoteHead \set #'style = #'neo_mensural
5509 \property Staff.TimeSignature \set #'style = #'neo_mensural
5511 \[ g\longa c\breve a\breve f\breve d'\longa \]
5513 \[ e1 f1 a\breve g\longa \]
5515 @lilypond[singleline]
5517 \notes \transpose c c' {
5518 \property Score.timing = ##f
5519 \property Score.defaultBarType = "empty"
5520 \property Voice.NoteHead \set #'style = #'neo_mensural
5521 \property Staff.TimeSignature \set #'style = #'neo_mensural
5523 \[ g\longa c\breve a\breve f\breve d'\longa \]
5525 \[ e1 f1 a\breve g\longa \]
5530 \remove Ligature_bracket_engraver
5531 \consists Mensural_ligature_engraver
5537 Without replacing @internalsref{Ligature_bracket_engraver} with
5538 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5541 @lilypond[singleline]
5543 \notes \transpose c c' {
5544 \property Score.timing = ##f
5545 \property Score.defaultBarType = "empty"
5546 \property Voice.NoteHead \set #'style = #'neo_mensural
5547 \property Staff.TimeSignature \set #'style = #'neo_mensural
5549 \[ g\longa c\breve a\breve f\breve d'\longa \]
5551 \[ e1 f1 a\breve g\longa \]
5557 @node Gregorian square neumes ligatures
5558 @subsubsection Gregorian square neumes ligatures
5560 @cindex Square neumes ligatures
5561 @cindex Gregorian square neumes ligatures
5563 Gregorian square neumes notation (following the style of the Editio
5564 Vaticana) is under heavy development, but not yet really usable for
5565 production purposes. Core ligatures can already be typeset, but
5566 essential issues for serious typesetting are still under development,
5567 such as (among others) horizontal alignment of multiple ligatures,
5568 lyrics alignment and proper accidentals handling. Still, this section
5569 gives a sneak preview of what Gregorian chant may look like once it
5572 The following table contains the extended neumes table of the 2nd
5573 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5574 1983 by the monks of Solesmes.
5576 @multitable @columnfractions .4 .2 .2 .2
5579 @b{Neuma aut@*Neumarum Elementa} @tab
5580 @b{Figurae@*Rectae} @tab
5581 @b{Figurae@*Liquescentes Auctae} @tab
5582 @b{Figurae@*Liquescentes Deminutae}
5584 @c TODO: \paper block is identical in all of the below examples.
5585 @c Therefore, it should somehow be included rather than duplicated all
5588 @c why not make identifiers in ly/engraver-init.ly? --hwn
5590 @c Because it's just used to typeset plain notes without
5591 @c a staff for demonstration purposes rather than something
5592 @c special of Gregorian chant notation. --jr
5597 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5598 \include "gregorian-init.ly"
5600 \notes \transpose c c' {
5603 \noBreak s^\markup {"a"} \noBreak
5605 % Punctum Inclinatum
5607 \noBreak s^\markup {"b"}
5613 \remove "Bar_number_engraver"
5617 \remove "Clef_engraver"
5618 \remove "Key_engraver"
5619 StaffSymbol \set #'transparent = ##t
5620 \remove "Time_signature_engraver"
5621 \remove "Bar_engraver"
5622 minimumVerticalExtent = ##f
5626 \remove Ligature_bracket_engraver
5627 \consists Vaticana_ligature_engraver
5628 NoteHead \set #'style = #'vaticana_punctum
5629 Stem \set #'transparent = ##t
5635 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5636 \include "gregorian-init.ly"
5638 \notes \transpose c c' {
5639 % Punctum Auctum Ascendens
5640 \[ \auctum \ascendens b \]
5641 \noBreak s^\markup {"c"} \noBreak
5643 % Punctum Auctum Descendens
5644 \[ \auctum \descendens b \]
5645 \noBreak s^\markup {"d"} \noBreak
5647 % Punctum Inclinatum Auctum
5648 \[ \inclinatum \auctum b \]
5649 \noBreak s^\markup {"e"}
5655 \remove "Bar_number_engraver"
5659 \remove "Clef_engraver"
5660 \remove "Key_engraver"
5661 StaffSymbol \set #'transparent = ##t
5662 \remove "Time_signature_engraver"
5663 \remove "Bar_engraver"
5664 minimumVerticalExtent = ##f
5668 \remove Ligature_bracket_engraver
5669 \consists Vaticana_ligature_engraver
5670 NoteHead \set #'style = #'vaticana_punctum
5671 Stem \set #'transparent = ##t
5677 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5678 \include "gregorian-init.ly"
5680 \notes \transpose c c' {
5681 % Punctum Inclinatum Parvum
5682 \[ \inclinatum \deminutum b \]
5683 \noBreak s^\markup {"f"}
5689 \remove "Bar_number_engraver"
5693 \remove "Clef_engraver"
5694 \remove "Key_engraver"
5695 StaffSymbol \set #'transparent = ##t
5696 \remove "Time_signature_engraver"
5697 \remove "Bar_engraver"
5698 minimumVerticalExtent = ##f
5702 \remove Ligature_bracket_engraver
5703 \consists Vaticana_ligature_engraver
5704 NoteHead \set #'style = #'vaticana_punctum
5705 Stem \set #'transparent = ##t
5714 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5715 \include "gregorian-init.ly"
5717 \notes \transpose c c' {
5720 \noBreak s^\markup {"g"}
5726 \remove "Bar_number_engraver"
5730 \remove "Clef_engraver"
5731 \remove "Key_engraver"
5732 StaffSymbol \set #'transparent = ##t
5733 \remove "Time_signature_engraver"
5734 \remove "Bar_engraver"
5735 minimumVerticalExtent = ##f
5739 \remove Ligature_bracket_engraver
5740 \consists Vaticana_ligature_engraver
5741 NoteHead \set #'style = #'vaticana_punctum
5742 Stem \set #'transparent = ##t
5751 @code{3. Apostropha vel Stropha}
5753 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5754 \include "gregorian-init.ly"
5756 \notes \transpose c c' {
5759 \noBreak s^\markup {"h"}
5765 \remove "Bar_number_engraver"
5769 \remove "Clef_engraver"
5770 \remove "Key_engraver"
5771 StaffSymbol \set #'transparent = ##t
5772 \remove "Time_signature_engraver"
5773 \remove "Bar_engraver"
5774 minimumVerticalExtent = ##f
5778 \remove Ligature_bracket_engraver
5779 \consists Vaticana_ligature_engraver
5780 NoteHead \set #'style = #'vaticana_punctum
5781 Stem \set #'transparent = ##t
5787 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5788 \include "gregorian-init.ly"
5790 \notes \transpose c c' {
5792 \[ \stropha \auctum b \]
5793 \noBreak s^\markup {"i"}
5799 \remove "Bar_number_engraver"
5803 \remove "Clef_engraver"
5804 \remove "Key_engraver"
5805 StaffSymbol \set #'transparent = ##t
5806 \remove "Time_signature_engraver"
5807 \remove "Bar_engraver"
5808 minimumVerticalExtent = ##f
5812 \remove Ligature_bracket_engraver
5813 \consists Vaticana_ligature_engraver
5814 NoteHead \set #'style = #'vaticana_punctum
5815 Stem \set #'transparent = ##t
5825 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5826 \include "gregorian-init.ly"
5828 \notes \transpose c c' {
5831 \noBreak s^\markup {"j"}
5837 \remove "Bar_number_engraver"
5841 \remove "Clef_engraver"
5842 \remove "Key_engraver"
5843 StaffSymbol \set #'transparent = ##t
5844 \remove "Time_signature_engraver"
5845 \remove "Bar_engraver"
5846 minimumVerticalExtent = ##f
5850 \remove Ligature_bracket_engraver
5851 \consists Vaticana_ligature_engraver
5852 NoteHead \set #'style = #'vaticana_punctum
5853 Stem \set #'transparent = ##t
5862 @code{5. Clivis vel Flexa}
5864 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5865 \include "gregorian-init.ly"
5867 \notes \transpose c c' {
5876 \remove "Bar_number_engraver"
5880 \remove "Clef_engraver"
5881 \remove "Key_engraver"
5882 StaffSymbol \set #'transparent = ##t
5883 \remove "Time_signature_engraver"
5884 \remove "Bar_engraver"
5885 minimumVerticalExtent = ##f
5889 \remove Ligature_bracket_engraver
5890 \consists Vaticana_ligature_engraver
5891 NoteHead \set #'style = #'vaticana_punctum
5892 Stem \set #'transparent = ##t
5898 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5899 \include "gregorian-init.ly"
5901 \notes \transpose c c' {
5902 % Clivis Aucta Descendens
5903 \[ b \flexa \auctum \descendens g \]
5904 \noBreak s^\markup {"l"} \noBreak
5906 % Clivis Aucta Ascendens
5907 \[ b \flexa \auctum \ascendens g \]
5908 \noBreak s^\markup {"m"}
5914 \remove "Bar_number_engraver"
5918 \remove "Clef_engraver"
5919 \remove "Key_engraver"
5920 StaffSymbol \set #'transparent = ##t
5921 \remove "Time_signature_engraver"
5922 \remove "Bar_engraver"
5923 minimumVerticalExtent = ##f
5927 \remove Ligature_bracket_engraver
5928 \consists Vaticana_ligature_engraver
5929 NoteHead \set #'style = #'vaticana_punctum
5930 Stem \set #'transparent = ##t
5936 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5937 \include "gregorian-init.ly"
5939 \notes \transpose c c' {
5941 \[ b \flexa \deminutum g \]
5948 \remove "Bar_number_engraver"
5952 \remove "Clef_engraver"
5953 \remove "Key_engraver"
5954 StaffSymbol \set #'transparent = ##t
5955 \remove "Time_signature_engraver"
5956 \remove "Bar_engraver"
5957 minimumVerticalExtent = ##f
5961 \remove Ligature_bracket_engraver
5962 \consists Vaticana_ligature_engraver
5963 NoteHead \set #'style = #'vaticana_punctum
5964 Stem \set #'transparent = ##t
5971 @code{6. Podatus vel Pes}
5973 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5974 \include "gregorian-init.ly"
5976 \notes \transpose c c' {
5985 \remove "Bar_number_engraver"
5989 \remove "Clef_engraver"
5990 \remove "Key_engraver"
5991 StaffSymbol \set #'transparent = ##t
5992 \remove "Time_signature_engraver"
5993 \remove "Bar_engraver"
5994 minimumVerticalExtent = ##f
5998 \remove Ligature_bracket_engraver
5999 \consists Vaticana_ligature_engraver
6000 NoteHead \set #'style = #'vaticana_punctum
6001 Stem \set #'transparent = ##t
6007 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
6008 \include "gregorian-init.ly"
6010 \notes \transpose c c' {
6011 % Pes Auctus Descendens
6012 \[ g \pes \auctum \descendens b \]
6013 \noBreak s^\markup {"p"} \noBreak
6015 % Pes Auctus Ascendens
6016 \[ g \pes \auctum \ascendens b \]
6017 \noBreak s^\markup {"q"}
6023 \remove "Bar_number_engraver"
6027 \remove "Clef_engraver"
6028 \remove "Key_engraver"
6029 StaffSymbol \set #'transparent = ##t
6030 \remove "Time_signature_engraver"
6031 \remove "Bar_engraver"
6032 minimumVerticalExtent = ##f
6036 \remove Ligature_bracket_engraver
6037 \consists Vaticana_ligature_engraver
6038 NoteHead \set #'style = #'vaticana_punctum
6039 Stem \set #'transparent = ##t
6045 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6046 \include "gregorian-init.ly"
6048 \notes \transpose c c' {
6050 \[ g \pes \deminutum b \]
6057 \remove "Bar_number_engraver"
6061 \remove "Clef_engraver"
6062 \remove "Key_engraver"
6063 StaffSymbol \set #'transparent = ##t
6064 \remove "Time_signature_engraver"
6065 \remove "Bar_engraver"
6066 minimumVerticalExtent = ##f
6070 \remove Ligature_bracket_engraver
6071 \consists Vaticana_ligature_engraver
6072 NoteHead \set #'style = #'vaticana_punctum
6073 Stem \set #'transparent = ##t
6080 @code{7. Pes Quassus}
6082 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6083 \include "gregorian-init.ly"
6085 \notes \transpose c c' {
6087 \[ \oriscus g \pes \virga b \]
6094 \remove "Bar_number_engraver"
6098 \remove "Clef_engraver"
6099 \remove "Key_engraver"
6100 StaffSymbol \set #'transparent = ##t
6101 \remove "Time_signature_engraver"
6102 \remove "Bar_engraver"
6103 minimumVerticalExtent = ##f
6107 \remove Ligature_bracket_engraver
6108 \consists Vaticana_ligature_engraver
6109 NoteHead \set #'style = #'vaticana_punctum
6110 Stem \set #'transparent = ##t
6116 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6117 \include "gregorian-init.ly"
6119 \notes \transpose c c' {
6120 % Pes Quassus Auctus Descendens
6121 \[ \oriscus g \pes \auctum \descendens b \]
6128 \remove "Bar_number_engraver"
6132 \remove "Clef_engraver"
6133 \remove "Key_engraver"
6134 StaffSymbol \set #'transparent = ##t
6135 \remove "Time_signature_engraver"
6136 \remove "Bar_engraver"
6137 minimumVerticalExtent = ##f
6141 \remove Ligature_bracket_engraver
6142 \consists Vaticana_ligature_engraver
6143 NoteHead \set #'style = #'vaticana_punctum
6144 Stem \set #'transparent = ##t
6152 @code{8. Quilisma Pes}
6154 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6155 \include "gregorian-init.ly"
6157 \notes \transpose c c' {
6159 \[ \quilisma g \pes b \]
6166 \remove "Bar_number_engraver"
6170 \remove "Clef_engraver"
6171 \remove "Key_engraver"
6172 StaffSymbol \set #'transparent = ##t
6173 \remove "Time_signature_engraver"
6174 \remove "Bar_engraver"
6175 minimumVerticalExtent = ##f
6179 \remove Ligature_bracket_engraver
6180 \consists Vaticana_ligature_engraver
6181 NoteHead \set #'style = #'vaticana_punctum
6182 Stem \set #'transparent = ##t
6188 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6189 \include "gregorian-init.ly"
6191 \notes \transpose c c' {
6192 % Quilisma Pes Auctus Descendens
6193 \[ \quilisma g \pes \auctum \descendens b \]
6200 \remove "Bar_number_engraver"
6204 \remove "Clef_engraver"
6205 \remove "Key_engraver"
6206 StaffSymbol \set #'transparent = ##t
6207 \remove "Time_signature_engraver"
6208 \remove "Bar_engraver"
6209 minimumVerticalExtent = ##f
6213 \remove Ligature_bracket_engraver
6214 \consists Vaticana_ligature_engraver
6215 NoteHead \set #'style = #'vaticana_punctum
6216 Stem \set #'transparent = ##t
6224 @code{9. Podatus Initio Debilis}
6226 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6227 \include "gregorian-init.ly"
6229 \notes \transpose c c' {
6230 % Pes Initio Debilis
6231 \[ \deminutum g \pes b \]
6238 \remove "Bar_number_engraver"
6242 \remove "Clef_engraver"
6243 \remove "Key_engraver"
6244 StaffSymbol \set #'transparent = ##t
6245 \remove "Time_signature_engraver"
6246 \remove "Bar_engraver"
6247 minimumVerticalExtent = ##f
6251 \remove Ligature_bracket_engraver
6252 \consists Vaticana_ligature_engraver
6253 NoteHead \set #'style = #'vaticana_punctum
6254 Stem \set #'transparent = ##t
6260 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6261 \include "gregorian-init.ly"
6263 \notes \transpose c c' {
6264 % Pes Auctus Descendens Initio Debilis
6265 \[ \deminutum g \pes \auctum \descendens b \]
6272 \remove "Bar_number_engraver"
6276 \remove "Clef_engraver"
6277 \remove "Key_engraver"
6278 StaffSymbol \set #'transparent = ##t
6279 \remove "Time_signature_engraver"
6280 \remove "Bar_engraver"
6281 minimumVerticalExtent = ##f
6285 \remove Ligature_bracket_engraver
6286 \consists Vaticana_ligature_engraver
6287 NoteHead \set #'style = #'vaticana_punctum
6288 Stem \set #'transparent = ##t
6298 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6299 \include "gregorian-init.ly"
6301 \notes \transpose c c' {
6303 \[ a \pes b \flexa g \]
6310 \remove "Bar_number_engraver"
6314 \remove "Clef_engraver"
6315 \remove "Key_engraver"
6316 StaffSymbol \set #'transparent = ##t
6317 \remove "Time_signature_engraver"
6318 \remove "Bar_engraver"
6319 minimumVerticalExtent = ##f
6323 \remove Ligature_bracket_engraver
6324 \consists Vaticana_ligature_engraver
6325 NoteHead \set #'style = #'vaticana_punctum
6326 Stem \set #'transparent = ##t
6332 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6333 \include "gregorian-init.ly"
6335 \notes \transpose c c' {
6336 % Torculus Auctus Descendens
6337 \[ a \pes b \flexa \auctum \descendens g \]
6344 \remove "Bar_number_engraver"
6348 \remove "Clef_engraver"
6349 \remove "Key_engraver"
6350 StaffSymbol \set #'transparent = ##t
6351 \remove "Time_signature_engraver"
6352 \remove "Bar_engraver"
6353 minimumVerticalExtent = ##f
6357 \remove Ligature_bracket_engraver
6358 \consists Vaticana_ligature_engraver
6359 NoteHead \set #'style = #'vaticana_punctum
6360 Stem \set #'transparent = ##t
6366 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6367 \include "gregorian-init.ly"
6369 \notes \transpose c c' {
6370 % Torculus Deminutus
6371 \[ a \pes b \flexa \deminutum g \]
6378 \remove "Bar_number_engraver"
6382 \remove "Clef_engraver"
6383 \remove "Key_engraver"
6384 StaffSymbol \set #'transparent = ##t
6385 \remove "Time_signature_engraver"
6386 \remove "Bar_engraver"
6387 minimumVerticalExtent = ##f
6391 \remove Ligature_bracket_engraver
6392 \consists Vaticana_ligature_engraver
6393 NoteHead \set #'style = #'vaticana_punctum
6394 Stem \set #'transparent = ##t
6401 @code{11. Torculus Initio Debilis}
6403 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6404 \include "gregorian-init.ly"
6406 \notes \transpose c c' {
6407 % Torculus Initio Debilis
6408 \[ \deminutum a \pes b \flexa g \]
6415 \remove "Bar_number_engraver"
6419 \remove "Clef_engraver"
6420 \remove "Key_engraver"
6421 StaffSymbol \set #'transparent = ##t
6422 \remove "Time_signature_engraver"
6423 \remove "Bar_engraver"
6424 minimumVerticalExtent = ##f
6428 \remove Ligature_bracket_engraver
6429 \consists Vaticana_ligature_engraver
6430 NoteHead \set #'style = #'vaticana_punctum
6431 Stem \set #'transparent = ##t
6437 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6438 \include "gregorian-init.ly"
6440 \notes \transpose c c' {
6441 % Torculus Auctus Descendens Initio Debilis
6442 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6449 \remove "Bar_number_engraver"
6453 \remove "Clef_engraver"
6454 \remove "Key_engraver"
6455 StaffSymbol \set #'transparent = ##t
6456 \remove "Time_signature_engraver"
6457 \remove "Bar_engraver"
6458 minimumVerticalExtent = ##f
6462 \remove Ligature_bracket_engraver
6463 \consists Vaticana_ligature_engraver
6464 NoteHead \set #'style = #'vaticana_punctum
6465 Stem \set #'transparent = ##t
6471 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6472 \include "gregorian-init.ly"
6474 \notes \transpose c c' {
6475 % Torculus Deminutus Initio Debilis
6476 \[ \deminutum a \pes b \flexa \deminutum g \]
6483 \remove "Bar_number_engraver"
6487 \remove "Clef_engraver"
6488 \remove "Key_engraver"
6489 StaffSymbol \set #'transparent = ##t
6490 \remove "Time_signature_engraver"
6491 \remove "Bar_engraver"
6492 minimumVerticalExtent = ##f
6496 \remove Ligature_bracket_engraver
6497 \consists Vaticana_ligature_engraver
6498 NoteHead \set #'style = #'vaticana_punctum
6499 Stem \set #'transparent = ##t
6506 @code{12. Porrectus}
6508 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6509 \include "gregorian-init.ly"
6511 \notes \transpose c c' {
6513 \[ a \flexa g \pes b \]
6520 \remove "Bar_number_engraver"
6524 \remove "Clef_engraver"
6525 \remove "Key_engraver"
6526 StaffSymbol \set #'transparent = ##t
6527 \remove "Time_signature_engraver"
6528 \remove "Bar_engraver"
6529 minimumVerticalExtent = ##f
6533 \remove Ligature_bracket_engraver
6534 \consists Vaticana_ligature_engraver
6535 NoteHead \set #'style = #'vaticana_punctum
6536 Stem \set #'transparent = ##t
6542 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6543 \include "gregorian-init.ly"
6545 \notes \transpose c c' {
6546 % Porrectus Auctus Descendens
6547 \[ a \flexa g \pes \auctum \descendens b \]
6554 \remove "Bar_number_engraver"
6558 \remove "Clef_engraver"
6559 \remove "Key_engraver"
6560 StaffSymbol \set #'transparent = ##t
6561 \remove "Time_signature_engraver"
6562 \remove "Bar_engraver"
6563 minimumVerticalExtent = ##f
6567 \remove Ligature_bracket_engraver
6568 \consists Vaticana_ligature_engraver
6569 NoteHead \set #'style = #'vaticana_punctum
6570 Stem \set #'transparent = ##t
6576 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6577 \include "gregorian-init.ly"
6579 \notes \transpose c c' {
6580 % Porrectus Deminutus
6581 \[ a \flexa g \pes \deminutum b \]
6588 \remove "Bar_number_engraver"
6592 \remove "Clef_engraver"
6593 \remove "Key_engraver"
6594 StaffSymbol \set #'transparent = ##t
6595 \remove "Time_signature_engraver"
6596 \remove "Bar_engraver"
6597 minimumVerticalExtent = ##f
6601 \remove Ligature_bracket_engraver
6602 \consists Vaticana_ligature_engraver
6603 NoteHead \set #'style = #'vaticana_punctum
6604 Stem \set #'transparent = ##t
6613 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6614 \include "gregorian-init.ly"
6616 \notes \transpose c c' {
6618 \[ \virga b \inclinatum a \inclinatum g \]
6625 \remove "Bar_number_engraver"
6629 \remove "Clef_engraver"
6630 \remove "Key_engraver"
6631 StaffSymbol \set #'transparent = ##t
6632 \remove "Time_signature_engraver"
6633 \remove "Bar_engraver"
6634 minimumVerticalExtent = ##f
6638 \remove Ligature_bracket_engraver
6639 \consists Vaticana_ligature_engraver
6640 NoteHead \set #'style = #'vaticana_punctum
6641 Stem \set #'transparent = ##t
6647 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6648 \include "gregorian-init.ly"
6650 \notes \transpose c c' {
6652 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6659 \remove "Bar_number_engraver"
6663 \remove "Clef_engraver"
6664 \remove "Key_engraver"
6665 StaffSymbol \set #'transparent = ##t
6666 \remove "Time_signature_engraver"
6667 \remove "Bar_engraver"
6668 minimumVerticalExtent = ##f
6672 \remove Ligature_bracket_engraver
6673 \consists Vaticana_ligature_engraver
6674 NoteHead \set #'style = #'vaticana_punctum
6675 Stem \set #'transparent = ##t
6681 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6682 \include "gregorian-init.ly"
6684 \notes \transpose c c' {
6685 % Climacus Deminutus
6686 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6693 \remove "Bar_number_engraver"
6697 \remove "Clef_engraver"
6698 \remove "Key_engraver"
6699 StaffSymbol \set #'transparent = ##t
6700 \remove "Time_signature_engraver"
6701 \remove "Bar_engraver"
6702 minimumVerticalExtent = ##f
6706 \remove Ligature_bracket_engraver
6707 \consists Vaticana_ligature_engraver
6708 NoteHead \set #'style = #'vaticana_punctum
6709 Stem \set #'transparent = ##t
6716 @code{14. Scandicus}
6718 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6719 \include "gregorian-init.ly"
6721 \notes \transpose c c' {
6723 \[ g \pes a \virga b \]
6730 \remove "Bar_number_engraver"
6734 \remove "Clef_engraver"
6735 \remove "Key_engraver"
6736 StaffSymbol \set #'transparent = ##t
6737 \remove "Time_signature_engraver"
6738 \remove "Bar_engraver"
6739 minimumVerticalExtent = ##f
6743 \remove Ligature_bracket_engraver
6744 \consists Vaticana_ligature_engraver
6745 NoteHead \set #'style = #'vaticana_punctum
6746 Stem \set #'transparent = ##t
6752 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6753 \include "gregorian-init.ly"
6755 \notes \transpose c c' {
6756 % Scandicus Auctus Descendens
6757 \[ g \pes a \pes \auctum \descendens b \]
6764 \remove "Bar_number_engraver"
6768 \remove "Clef_engraver"
6769 \remove "Key_engraver"
6770 StaffSymbol \set #'transparent = ##t
6771 \remove "Time_signature_engraver"
6772 \remove "Bar_engraver"
6773 minimumVerticalExtent = ##f
6777 \remove Ligature_bracket_engraver
6778 \consists Vaticana_ligature_engraver
6779 NoteHead \set #'style = #'vaticana_punctum
6780 Stem \set #'transparent = ##t
6786 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6787 \include "gregorian-init.ly"
6789 \notes \transpose c c' {
6790 % Scandicus Deminutus
6791 \[ g \pes a \pes \deminutum b \]
6798 \remove "Bar_number_engraver"
6802 \remove "Clef_engraver"
6803 \remove "Key_engraver"
6804 StaffSymbol \set #'transparent = ##t
6805 \remove "Time_signature_engraver"
6806 \remove "Bar_engraver"
6807 minimumVerticalExtent = ##f
6811 \remove Ligature_bracket_engraver
6812 \consists Vaticana_ligature_engraver
6813 NoteHead \set #'style = #'vaticana_punctum
6814 Stem \set #'transparent = ##t
6823 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6824 \include "gregorian-init.ly"
6826 \notes \transpose c c' {
6828 \[ g \oriscus a \pes \virga b \]
6835 \remove "Bar_number_engraver"
6839 \remove "Clef_engraver"
6840 \remove "Key_engraver"
6841 StaffSymbol \set #'transparent = ##t
6842 \remove "Time_signature_engraver"
6843 \remove "Bar_engraver"
6844 minimumVerticalExtent = ##f
6848 \remove Ligature_bracket_engraver
6849 \consists Vaticana_ligature_engraver
6850 NoteHead \set #'style = #'vaticana_punctum
6851 Stem \set #'transparent = ##t
6857 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6858 \include "gregorian-init.ly"
6860 \notes \transpose c c' {
6861 % Salicus Auctus Descendens
6862 \[ g \oriscus a \pes \auctum \descendens b \]
6869 \remove "Bar_number_engraver"
6873 \remove "Clef_engraver"
6874 \remove "Key_engraver"
6875 StaffSymbol \set #'transparent = ##t
6876 \remove "Time_signature_engraver"
6877 \remove "Bar_engraver"
6878 minimumVerticalExtent = ##f
6882 \remove Ligature_bracket_engraver
6883 \consists Vaticana_ligature_engraver
6884 NoteHead \set #'style = #'vaticana_punctum
6885 Stem \set #'transparent = ##t
6895 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6896 \include "gregorian-init.ly"
6898 \notes \transpose c c' {
6900 \[ \stropha b \stropha b \stropha a \]
6907 \remove "Bar_number_engraver"
6911 \remove "Clef_engraver"
6912 \remove "Key_engraver"
6913 StaffSymbol \set #'transparent = ##t
6914 \remove "Time_signature_engraver"
6915 \remove "Bar_engraver"
6916 minimumVerticalExtent = ##f
6920 \remove Ligature_bracket_engraver
6921 \consists Vaticana_ligature_engraver
6922 NoteHead \set #'style = #'vaticana_punctum
6923 Stem \set #'transparent = ##t
6935 Unlike most other neumes notation systems, the input language for
6936 neumes does not necessarily reflect directly the typographical
6937 appearance, but is designed to solely focuse on musical meaning. For
6938 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6939 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6940 a Porrectus with a curved flexa shape and only a single Punctum head.
6941 There is no command to explicitly typeset the curved flexa shape; the
6942 decision of when to typeset a curved flexa shape is purely taken from
6943 the musical input. The idea of this approach is to separate the
6944 musical aspects of the input from the notation style of the output.
6945 This way, the same input can be reused to typeset the same music in a
6946 different style of Gregorian chant notation such as Hufnagel (also
6947 known as German gothic neumes) or Medicaea (kind of a very simple
6948 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6949 engraver and Medicaea ligature engraver will have been implemented, it
6950 will be as simple as replacing the ligature engraver in the
6951 @internalsref{Voice} context to get the desired notation style from
6954 The following table shows the code fragments that produce the
6955 ligatures in the above neumes table. The letter in the first column
6956 in each line of the below table indicates to which ligature in the
6957 above table it refers. The second column gives the name of the
6958 ligature. The third column shows the code fragment that produces this
6959 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6961 @multitable @columnfractions .1 .4 .5
6975 Punctum Inclinatum @tab
6976 @code{\[ \inclinatum b \]}
6980 Punctum Auctum Ascendens @tab
6981 @code{\[ \auctum \ascendens b \]}
6985 Punctum Auctum Descendens @tab
6986 @code{\[ \auctum \descendens b \]}
6990 Punctum Inclinatum Auctum @tab
6991 @code{\[ \inclinatum \auctum b \]}
6995 Punctum Inclinatum Parvum @tab
6996 @code{\[ \inclinatum \deminutum b \]}
7001 @code{\[ \virga b \]}
7006 @code{\[ \stropha b \]}
7011 @code{\[ \stropha \auctum b \]}
7016 @code{\[ \oriscus b \]}
7020 Clivis vel Flexa @tab
7021 @code{\[ b \flexa g \]}
7025 Clivis Aucta Descendens @tab
7026 @code{\[ b \flexa \auctum \descendens g \]}
7030 Clivis Aucta Ascendens @tab
7031 @code{\[ b \flexa \auctum \ascendens g \]}
7036 @code{\[ b \flexa \deminutum g \]}
7040 Podatus vel Pes @tab
7041 @code{\[ g \pes b \]}
7045 Pes Auctus Descendens @tab
7046 @code{\[ g \pes \auctum \descendens b \]}
7050 Pes Auctus Ascendens @tab
7051 @code{\[ g \pes \auctum \ascendens b \]}
7056 @code{\[ g \pes \deminutum b \]}
7061 @code{\[ \oriscus g \pes \virga b \]}
7065 Pes Quassus Auctus Descendens @tab
7066 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7071 @code{\[ \quilisma g \pes b \]}
7075 Quilisma Pes Auctus Descendens @tab
7076 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7080 Pes Initio Debilis @tab
7081 @code{\[ \deminutum g \pes b \]}
7085 Pes Auctus Descendens Initio Debilis @tab
7086 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7091 @code{\[ a \pes b \flexa g \]}
7095 Torculus Auctus Descendens @tab
7096 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7100 Torculus Deminutus @tab
7101 @code{\[ a \pes b \flexa \deminutum g \]}
7105 Torculus Initio Debilis @tab
7106 @code{\[ \deminutum a \pes b \flexa g \]}
7110 Torculus Auctus Descendens Initio Debilis @tab
7111 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7115 Torculus Deminutus Initio Debilis @tab
7116 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7121 @code{\[ a \flexa g \pes b \]}
7125 Porrectus Auctus Descendens @tab
7126 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7130 Porrectus Deminutus @tab
7131 @code{\[ a \flexa g \pes \deminutum b \]}
7136 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7140 Climacus Auctus @tab
7141 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7145 Climacus Deminutus @tab
7146 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7151 @code{\[ g \pes a \virga b \]}
7155 Scandicus Auctus Descendens @tab
7156 @code{\[ g \pes a \pes \auctum \descendens b \]}
7160 Scandicus Deminutus @tab
7161 @code{\[ g \pes a \pes \deminutum b \]}
7166 @code{\[ g \oriscus a \pes \virga b \]}
7170 Salicus Auctus Descendens @tab
7171 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7176 @code{\[ \stropha b \stropha b \stropha a \]}
7182 The following head prefixes are supported:
7184 @cindex @code{\virga}
7186 @cindex @code{\stropha}
7188 @cindex @code{\inclinatum}
7190 @cindex @code{\auctum}
7192 @cindex @code{\descendens}
7194 @cindex @code{\ascendens}
7196 @cindex @code{\oriscus}
7198 @cindex @code{\quilisma}
7200 @cindex @code{\deminutum}
7203 Head prefixes can be accumulated, though restrictions apply. For
7204 example, either @code{\descendens} or @code{\ascendens} can be applied
7205 to a head, but not both to the same head.
7208 @cindex @code{\flexa}
7209 Two adjacent heads can be tied together with the @code{\pes} and
7210 @code{\flexa} infix commands for a rising and falling line of melody,
7215 Trigonus: apply equal spacing, regardless of pitch.
7218 @subsection Figured bass
7220 @cindex Basso continuo
7222 @c TODO: musicological blurb about FB
7226 LilyPond has limited support for figured bass:
7228 @lilypond[verbatim,fragment]
7230 \context Voice \notes { \clef bass dis4 c d ais}
7231 \context FiguredBass
7233 < 6 >4 < 7 >8 < 6+ [_!] >
7239 The support for figured bass consists of two parts: there is an input
7240 mode, introduced by @code{\figures}, where you can enter bass figures
7241 as numbers, and there is a context called @internalsref{FiguredBass} that
7242 takes care of making @internalsref{BassFigure} objects.
7244 In figures input mode, a group of bass figures is delimited by
7245 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7250 \context FiguredBass
7254 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7261 \context FiguredBass
7262 \figures { <4- 6+ 7!> }
7265 Spaces or dashes may be inserted by using @code{_}. Brackets are
7266 introduced with @code{[} and @code{]}:
7272 \context FiguredBass
7273 \figures { < [4 6] 8 [_! 12]> }
7276 Although the support for figured bass may superficially resemble chord
7277 support, it works much simpler. The @code{\figures} mode simply
7278 stores the numbers , and @internalsref{FiguredBass} context prints
7279 them as entered. There is no conversion to pitches, and no
7280 realizations of the bass are played in the MIDI file.
7282 Internally, the code produces markup texts. You can use any of the
7283 markup text properties to override formatting. For example, the
7284 vertical spacing of the figures may be set with @code{baseline-skip}.
7288 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7289 and @internalsref{FiguredBass} context.
7293 Slash notation for alterations is not supported.
7296 @node Vaticana style contexts
7297 @subsection Vaticana style contexts
7299 @cindex VaticanaVoiceContext
7300 @cindex VaticanaStaffContext
7302 The predefined @code{VaticanaVoiceContext} and
7303 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7304 Gregorian Chant in the style of the Editio Vaticana. These contexts
7305 initialize all relevant context properties and grob properties to
7306 proper values. With these contexts, you can immediately go ahead
7307 entering the chant, as the following short excerpt demonstrates:
7309 @lilypond[raggedright,verbatim,noindent]
7310 \include "gregorian-init.ly"
7313 \context VaticanaVoice = "cantus" {
7314 \property Score.BarNumber \set #'transparent = ##t
7316 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7317 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7318 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7321 \lyricsto "cantus" \new LyricsVoice \lyrics {
7322 San- ctus, San- ctus, San- ctus
7328 @node Contemporary notation
7329 @section Contemporary notation
7331 In the 20th century, composers have greatly expanded the musical
7332 vocabulary. With this expansion, many innovations in musical notation
7333 have been tried. The book by Stone (1980) gives a comprehensive
7334 overview (see @ref{Literature list}). In general, the use of new,
7335 innovative notation makes a piece harder to understand and perform and
7336 its use should therefore be avoided if possible. For this reason,
7337 support for contemporary notation in LilyPond is limited.
7346 @subsection Clusters
7350 In musical terminology, a @emph{cluster} denotes a range of
7351 simultaneously sounding pitches that may change over time. The set of
7352 available pitches to apply usually depends on the accoustic source.
7353 Thus, in piano music, a cluster typically consists of a continous range
7354 of the semitones as provided by the piano's fixed set of a chromatic
7355 scale. In choral music, each singer of the choir typically may sing an
7356 arbitrary pitch within the cluster's range that is not bound to any
7357 diatonic, chromatic or other scale. In electronic music, a cluster
7358 (theoretically) may even cover a continuous range of pitches, thus
7359 resulting in coloured noise, such as pink noise.
7361 Clusters can be denoted in the context of ordinary staff notation by
7362 engraving simple geometrical shapes that replace ordinary notation of
7363 notes. Ordinary notes as musical events specify starting time and
7364 duration of pitches; however, the duration of a note is expressed by the
7365 shape of the note head rather than by the horizontal graphical extent of
7366 the note symbol. In contrast, the shape of a cluster geometrically
7367 describes the development of a range of pitches (vertical extent) over
7368 time (horizontal extent). Still, the geometrical shape of a cluster
7369 covers the area in wich any single pitch contained in the cluster would
7370 be notated as an ordinary note. From this point of view, it is
7371 reasonable to specify a cluster as the envelope of a set of notes.
7375 A cluster is engraved as the envelope of a set of
7376 cluster-notes. Cluster notes are created by applying the function
7377 @code{notes-to-clusters} to a sequence of chords, e.g.
7379 @lilypond[relative 1,verbatim]
7380 \apply #notes-to-clusters { <c e > <b f'> }
7383 The following example (from
7384 @inputfileref{input/regression,cluster.ly}) shows what the result
7387 @lilypondfile[notexidoc]{cluster.ly}
7389 By default, @internalsref{Cluster_spanner_engraver} is in the
7390 @internalsref{Voice} context. This allows putting ordinary notes and
7391 clusters together in the same staff, even simultaneously. In such a
7392 case no attempt is made to automatically avoid collisions between
7393 ordinary notes and clusters.
7397 Internals: @internalsref{ClusterSpanner},
7398 @internalsref{ClusterSpannerBeacon},
7399 @internalsref{Cluster_spanner_engraver}, and
7400 @internalsref{ClusterNoteEvent}.
7402 Examples: @inputfileref{input/regression,cluster.ly}.
7406 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7407 accurately. Use @code{<g a>8 <e a>8} instead.
7412 @subsection Fermatas
7418 Contemporary music notation frequently uses special fermata symbols to
7419 indicate fermatas of differing lengths.
7423 The following are supported
7425 @lilypond[singleline]
7427 << \addlyrics \notes {
7447 \context Lyrics \lyrics {
7448 "shortfermata" "fermata" "longfermata" "verylongfermata"
7453 See @ref{Articulations} for general instructions how to apply scripts
7454 such as fermatas to a @code{\notes@{@}} block.
7457 @node Special notation
7458 @section Special notation
7462 * Easy Notation note heads::
7466 @subsection Balloon help
7468 Elements of notation can be marked and named with the help of a square
7469 balloon. The primary purpose of this feature is to explain notation.
7471 The following example demonstrates its use.
7473 @lilypond[verbatim,fragment,singleline,relative 1]
7476 #(add-balloon-text 'NoteHead "heads, or tails?"
7482 The function @code{add-balloon-text} takes the name of a grob, the
7483 label to print and where to put the label relative to the object. In
7484 the above example, the text ``heads or tails?'' ends 3 spaces below
7488 @cindex notation, explaining
7492 Internals: @internalsref{text-balloon-interface}
7494 Examples: @inputfileref{input/regression,balloon.ly}
7496 @node Easy Notation note heads
7497 @subsection Easy Notation note heads
7499 @cindex easy notation
7502 The `easy play' note head includes a note name inside the head. It is
7503 used in music aimed at beginners:
7505 @lilypond[singleline,verbatim,26pt]
7507 \notes { c'2 e'4 f' | g'1 }
7508 \paper { \translator { \EasyNotation } }
7512 The @code{EasyNotation} variable overrides a @internalsref{Score}
7513 context. To make the letters readable, it has to be printed in a
7514 large font size. To print with a larger font, see @ref{Font Size}.
7519 If you view the result with Xdvi, then staff lines may show through
7520 the letters. Printing the PostScript file obtained does produce the
7526 @section Tuning output
7528 There are situations where default layout decisions are not
7529 sufficient. In this section we discuss ways to override these
7532 Formatting is internally done by manipulating so called objects
7533 (graphic objects). Each object carries with it a set of properties
7534 (object or layout properties) specific to that object. For example, a
7535 stem object has properties that specify its direction, length and
7538 The most direct way of tuning the output is by altering the values of
7539 these properties. There are two ways of doing that: first, you can
7540 temporarily change the definition of one type of object, thus
7541 affecting a whole set of objects. Second, you can select one specific
7542 object, and set a layout property in that object.
7544 Do not confuse layout properties with translation
7545 properties. Translation properties always use a mixed caps style
7546 naming, and are manipulated using @code{\property}:
7548 \property Context.propertyName = @var{value}
7551 Layout properties are use Scheme style variable naming, i.e. lower
7552 case words separated with dashes. They are symbols, and should always
7553 be quoted using @code{#'}. For example, this could be an imaginary
7554 layout property name:
7556 #'layout-property-name
7561 The introduction of the @ref{Technical manual} gives a more in-depth
7562 treatment of the difference between translation and layout.
7566 * Constructing a tweak::
7574 @node Tuning objects
7575 @subsection Tuning objects
7577 @cindex object description
7579 The definition of an object is a list of default object
7580 properties. For example, the definition of the Stem object (available
7581 in @file{scm/define-grobs.scm}), includes the following definitions
7582 for @internalsref{Stem}:
7586 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7587 (Y-extent-callback . ,Stem::height)
7592 Adding variables on top of this existing definition overrides the
7593 system default, and alters the resulting appearance of the layout
7599 Changing a variable for only one object is commonly achieved with
7603 \once \property @var{context}.@var{objectname}
7604 \override @var{symbol} = @var{value}
7606 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7607 and @var{objectname} is a string and @var{value} is a Scheme expression.
7608 This command applies a setting only during one moment in the score.
7610 In the following example, only one @internalsref{Stem} object is
7611 changed from its original setting:
7613 @lilypond[verbatim, fragment, relative=1]
7615 \once \property Voice.Stem \set #'thickness = #4
7619 @cindex @code{\once}
7621 For changing more objects, the same command, without @code{\once} can
7624 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7626 This command adds @code{@var{symbol} = @var{value}} to the definition
7627 of @var{objectname} in the context @var{context}, and this definition
7628 stays in place until it is removed.
7630 An existing definition may be removed by the following command:
7633 \property @var{context}.@var{objectname} \revert @var{symbol}
7636 All @code{\override} and @code{\revert} commands should be balanced.
7637 The @code{\set} shorthand performs a revert followed by an override,
7638 and is often more convenient to use
7641 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7645 @lilypond[verbatim,quote]
7646 c'4 \property Voice.Stem \override #'thickness = #4.0
7648 c'4 \property Voice.Stem \revert #'thickness
7652 The following example gives exactly the same result as the previous
7653 one (assuming the system default for stem thickness is 1.3):
7655 @lilypond[verbatim,quote]
7656 c'4 \property Voice.Stem \set #'thickness = #4.0
7658 c'4 \property Voice.Stem \set #'thickness = #1.3
7662 Reverting a setting which was not set in the first place has no
7663 effect. However, if the setting was set as a system default, this may
7664 remove the default value, and this may give surprising results,
7665 including crashes. In other words, @code{\override} and
7666 @code{\revert} must be carefully balanced. The following are examples
7667 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7671 a clumsy but correct form:
7673 \override \revert \override \revert \override \revert
7677 shorter version of the same:
7679 \override \set \set \revert
7683 a short form, using only @code{\set}. This requires you to know the
7686 \set \set \set \set @var{to default value}
7690 if there is no default (i.e. by default, the object property is unset),
7693 \set \set \set \revert
7697 The object description is an Scheme association list. Since a Scheme
7698 list is a singly linked list, we can treat it as a stack, and
7699 @code{\override} and @code{\revert} are push and pop operations. The
7700 association list is stored in a normal context property, hence
7702 \property Voice.NoteHead = #'()
7704 will effectively erase @internalsref{NoteHead}s from the current
7705 @internalsref{Voice}. Typically, this will blank the object. However,
7706 this mechanism should not be used: it may cause crashes or other
7711 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7712 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7713 @internalsref{All-layout-objects}.
7718 The backend is not very strict in type-checking object properties.
7719 Cyclic references in Scheme values for properties cause hangs and/or
7720 crashes. Reverting properties that are system defaults may also lead
7723 A property tweak of modifies a local copy of the object definition.
7724 After such a tweak, the definition is independent of the objects in
7725 enclosing contexts. For example
7727 @lilypond[verbatim,fragment]
7728 \property Voice.Stem \set #'direction = #UP
7730 \property Staff.Stem \set #'thickness = #4.0
7735 In this fragment, @code{direction} is tweaked. As a result, the
7736 current @internalsref{Voice} gets a private version of the
7737 @internalsref{Stem} object. The following tweak modifies the
7738 definition at @internalsref{Staff} level. Since it a different
7739 definition, the thickness of the first @code{d'} is unaffected. For
7740 the third note, a new Voice is created, which inherits the new
7741 definition, including the changed thickness, but excluding the new
7747 * Constructing a tweak::
7753 @node Constructing a tweak
7754 @subsection Constructing a tweak
7757 @cindex internal documentation
7758 @cindex finding graphical objects
7759 @cindex graphical object descriptions
7761 @cindex @code{\override}
7763 @cindex internal documentation
7767 Three pieces of information are required to use @code{\override} and
7768 @code{\set}: the name of the layout object, the context and the name
7769 of the property. We demonstrate how to glean this information from
7770 the notation manual and the generated documentation.
7772 The generated documentation is a set of HTML pages which should be
7773 included if you installed a binary distribution, typically in
7774 @file{/usr/share/doc/lilypond}. They are also available on the web:
7775 go to the @uref{http://lilypond.org,LilyPond website}, click
7776 ``Documentation'', select the correct version, and click then
7777 ``Program reference.'' It is advisable to bookmark the local HTML
7778 files. They will load faster than the ones on the web. If you use the
7779 version from the web, you must check whether the documentation matches
7780 the program version: it is generated from the definitions that the
7781 program uses, and therefore it is strongly tied to the LilyPond
7785 @c [TODO: revise for new site.]
7787 Suppose we want to move the fingering indication in the fragment below:
7789 @lilypond[relative=2,verbatim]
7795 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7796 instructions}), you will notice that there is written:
7801 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7808 In other words, the fingerings once entered, are internally stored as
7809 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7810 layout object is created for every @code{FingerEvent}.
7812 The Fingering object has a number of different functions, and each of
7813 those is captured in an interface. The interfaces are listed under
7814 @internalsref{Fingering} in the program reference.
7818 The @code{Fingering} object has a fixed size
7819 (@internalsref{item-interface}), the symbol is a piece of text
7820 (@internalsref{text-interface}), whose font can be set
7821 (@internalsref{font-interface}). It is centered horizontally
7822 (@internalsref{self-alignment-interface}), it is placed next to other
7823 objects (@internalsref{side-position-interface}) vertically, and its
7824 placement is coordinated with other scripts
7825 (@internalsref{text-script-interface}). It also has the standard
7826 @internalsref{grob-interface} (grob stands for Graphical object)
7828 @cindex graphical object
7829 @cindex layout object
7830 @cindex object, layout
7831 with all the variables that come with
7832 it. Finally, it denotes a fingering instruction, so it has
7833 @internalsref{finger-interface}.
7835 For the vertical placement, we have to look under
7836 @code{side-position-interface}:
7838 @code{side-position-interface}
7840 Position a victim object (this one) next to other objects (the
7841 support). In this case, the property @code{direction} signifies where to put the
7842 victim object relative to the support (left or right, up or down?)
7847 below this description, the variable @code{padding} is described as
7851 (dimension, in staff space)
7853 add this much extra space between objects that are next to each
7854 other. Default value: @code{0.6}
7858 By increasing the value of @code{padding}, we can move away the
7859 fingering. The following command inserts 3 staff spaces of white
7860 between the note and the fingering:
7862 \once \property Voice.Fingering \set #'padding = #3
7865 Inserting this command before the Fingering object is created,
7866 i.e. before @code{c2}, yields the following result:
7868 @lilypond[relative=2,fragment,verbatim]
7869 \once \property Voice.Fingering
7876 The context name @code{Voice} in the example above can be determined
7877 as follows. In the documentation for @internalsref{Fingering}, it says
7879 Fingering grobs are created by: @internalsref{Fingering_engraver}
7882 Clicking @code{Fingering_engraver} shows the documentation of
7883 the module responsible for interpreting the fingering instructions and
7884 translating them to a @code{Fingering} object. Such a module is called
7885 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7888 Fingering_engraver is part of contexts: Voice
7890 so tuning the settings for Fingering should be done with
7892 \property Voice.Fingering \set @dots{}
7895 Of course, the tweak may also done in a larger context than
7896 @code{Voice}, for example, @internalsref{Staff} or
7897 @internalsref{Score}.
7901 Internals: the program reference also contains alphabetical lists of
7902 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7903 @internalsref{Music-expressions}, so you can also find which objects
7904 to tweak by browsing the internals document.
7908 @subsection Applyoutput
7910 The most versatile way of tuning an object is @code{\applyoutput}. Its
7913 \applyoutput @var{proc}
7917 where @var{proc} is a Scheme function, taking three arguments.
7919 When interpreted, the function @var{proc} is called for every layout
7920 object found in the context, with the following arguments:
7922 @item the layout object itself,
7923 @item the context where the layout object was created, and
7924 @item the context where @code{\applyoutput} is processed.
7928 In addition, the cause of the layout object, i.e. the music
7929 expression or object that was responsible for creating it, is in the
7930 object property @code{cause}. For example, for a note head, this is a
7931 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7932 this is a @internalsref{NoteHead} object.
7934 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7937 (define (blanker grob grob-origin context)
7938 (if (and (memq (ly:get-grob-property grob 'interfaces)
7939 note-head-interface)
7940 (eq? (ly:get-grob-property grob 'staff-position) 0))
7942 (ly:set-grob-property! grob 'transparent #t)))
7947 @node Font selection
7948 @subsection Font selection
7950 The most common thing to change about the appearance of fonts is their
7951 size. The font size of any context can be easily changed by setting
7952 the @code{fontSize} property for that context. Its value is a number:
7953 negative numbers make the font smaller, positive numbers larger. An
7954 example is given below:
7956 @lilypond[fragment,relative=1,verbatim,quote]
7957 c4 c4 \property Voice.fontSize = #-1
7960 This command will set @code{font-size} (see below), and does
7961 not change the size of variable symbols, such as beams or slurs.
7963 One of the uses of @code{fontSize} is to get smaller symbols for cue
7964 notes. An elaborate example of those is in
7965 @inputfileref{input/test,cue-notes.ly}.
7967 @cindex magnification
7970 The font used for printing a object can be selected by setting
7971 @code{font-name}, e.g.
7973 \property Staff.TimeSignature
7974 \set #'font-name = #"cmr17"
7978 Any font can be used, as long as it is available to @TeX{}. Possible
7979 fonts include foreign fonts or fonts that do not belong to the
7980 Computer Modern font family. The size of fonts selected in this way
7981 can be changed with the @code{font-magnification} property. For
7982 example, @code{2.0} blows up all letters by a factor 2 in both
7986 @cindex font magnification
7988 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7989 can also be adjusted with a more fine-grained mechanism. By setting
7990 the object properties described below, you can select a different font;
7991 all three mechanisms work for every object that supports
7992 @code{font-interface}:
7997 is a symbol indicating the general class of the typeface. Supported are
7998 @code{roman} (Computer Modern), @code{braces} (for piano staff
7999 braces), @code{music} (the standard music font, including ancient
8000 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
8003 is a symbol indicating the shape of the font, there are typically several
8004 font shapes available for each font family. Choices are @code{italic},
8005 @code{caps} and @code{upright}.
8008 is a symbol indicating the series of the font. There are typically several
8009 font series for each font family and shape. Choices are @code{medium}
8014 For any of these properties, the value @code{*} (i.e. the symbol
8015 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
8016 to override default setting, which are always present. For example:
8018 \property Lyrics . LyricText \override #'font-series = #'bold
8019 \property Lyrics . LyricText \override #'font-family = #'typewriter
8020 \property Lyrics . LyricText \override #'font-shape = #'*
8023 @cindex @code{font-style}
8025 The font size is set by modifying the @code{font-size} property. Its
8026 value is a number indicating the size relative to the standard size.
8027 Each step up is an increase of approximately 12% of the font size. Six
8028 steps is exactly a factor two. The Scheme function @code{magstep}
8029 converts a @code{font-size} number to a scaling factor.
8031 LilyPond has fonts in different design sizes: the music fonts for
8032 smaller sizes are chubbier, while the text fonts are relatively wider.
8033 Font size changes are achieved by scaling the design size that is
8034 closest to the desired size.
8036 The @code{font-size} mechanism does not work for fonts selected
8037 through @code{font-name}. These may be scaled with
8038 @code{font-magnification}.
8042 The following commands set @code{fontSize} for the current voice.
8044 @cindex @code{\tiny}
8046 @cindex @code{\small}
8048 @cindex @code{\normalsize}
8053 Init files: @file{ly/declarations-init.ly} contains hints how new
8054 fonts may be added to LilyPond.
8058 There is no style sheet provided for other fonts besides the @TeX{}
8059 Computer Modern family.
8061 @cindex font selection
8062 @cindex font magnification
8063 @cindex @code{font-interface}
8067 @subsection Text markup
8072 @cindex typeset text
8074 LilyPond has an internal mechanism to typeset texts. You can access it
8075 with the keyword @code{\markup}. Within markup mode, you can enter texts
8076 similar to lyrics: simply enter them, surrounded by spaces:
8079 @lilypond[verbatim,fragment,relative=1]
8080 c1^\markup { hello }
8081 c1_\markup { hi there }
8082 c1^\markup { hi \bold there, is \italic anyone home? }
8085 @cindex font switching
8087 The markup in the example demonstrates font switching commands. The
8088 command @code{\bold} and @code{\italic} only apply to the first
8089 following word; enclose a set of texts with braces to apply a command
8092 \markup @{ \bold @{ hi there @} @}
8096 For clarity, you can also do this for single arguments, e.g.
8098 \markup @{ is \italic @{ anyone @} home @}
8101 @cindex font size, texts
8103 The following size commands set absolute sizes:
8105 @cindex @code{\teeny}
8106 @cindex @code{\tiny}
8107 @cindex @code{\small}
8108 @cindex @code{\large}
8109 @cindex @code{\huge}
8119 You can also make letter larger or smaller relative to their neighbors,
8120 with the commands @code{\larger} and @code{\smaller}.
8124 @cindex font style, for texts
8125 @cindex @code{\bold}
8126 @cindex @code{\dynamic}
8127 @cindex @code{\number}
8128 @cindex @code{\italic}
8130 The following font change commands are defined:
8133 changes to the font used in dynamic signs. This font does not
8134 contain all characters of the alphabet, so when producing ``piu f'',
8135 the ``piu'' should be done in a different font.
8139 changes to the font used in time signatures. It only contains
8140 numbers and a few punctuation marks.
8142 changes @code{font-shape} to @code{italic}.
8144 changes @code{font-series} to @code{bold}.
8147 @cindex raising text
8148 @cindex lowering text
8150 @cindex translating text
8153 @cindex @code{\super}
8155 Raising and lowering texts can be done with @code{\super} and
8158 @lilypond[verbatim,fragment,relative=1]
8159 c1^\markup { E "=" mc \super "2" }
8162 @cindex @code{\raise}
8164 If you want to give an explicit amount for lowering or raising, use
8165 @code{\raise}. This command takes a Scheme valued first argument, and
8166 a markup object as second argument:
8168 @lilypond[verbatim,fragment,relative=1,quote]
8169 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8171 The argument to @code{\raise} is the vertical displacement amount,
8172 measured in (global) staff spaces. @code{\raise} and @code{\super}
8173 raise objects in relation to their surrounding markups. They cannot be
8174 used to move a single text up or down, when it is above or below a
8175 note, since the mechanism that positions it next to the note cancels
8176 any vertical shift. For vertical positioning, use the @code{padding}
8177 and/or @code{extra-offset} properties.
8179 Other commands taking single arguments include
8182 @item \bracket, \hbracket
8183 Bracket the argument markup with normal and horizontal brackets
8187 @cindex @code{\musicglyph}
8188 This is converted to a musical symbol, e.g. @code{\musicglyph
8189 #"accidentals-0"} will select the natural sign from the music font.
8190 See @ref{The Feta font} for a complete listing of the possible glyphs.
8193 This produces a single character, e.g. @code{\char #65} produces the
8196 @item \note @var{duration} @var{dir}
8197 @cindex @code{\note}
8199 This produces a note with a stem pointing in @var{dir} direction, with
8200 the @var{duration} for the note head type and augmentation dots. For
8201 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8202 a shortened down stem.
8204 @item \hspace #@var{amount}
8205 @cindex @code{\hspace}
8206 This produces a invisible object taking horizontal space.
8208 \markup @{ A \hspace #2.0 B @}
8210 will put extra space between A and B, on top of the space that is
8211 normally inserted before elements on a line.
8213 @item \fontsize #@var{size}
8214 @cindex @code{\fontsize}
8215 This sets the relative font size, eg.
8217 A \fontsize #2 @{ B C @} D
8221 This will enlarge the B and the C by two steps.
8222 @item \translate #(cons @var{x} @var{y})
8224 This translates an object. Its first argument is a cons of numbers
8226 A \translate #(cons 2 -3) @{ B C @} D
8228 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8229 surroundings. This command cannot be used to move isolated scripts
8230 vertically, for the same reason that @code{\raise} cannot be used for
8233 @item \magnify #@var{mag}
8234 @cindex @code{\magnify}
8235 This sets the font magnification for the its argument. In the following
8236 example, the middle A will be 10% larger:
8238 A \magnify #1.1 @{ A @} A
8242 @item \override #(@var{key} . @var{value})
8243 @cindex @code{\override}
8244 This overrides a formatting property for its argument. The argument
8245 should be a key/value pair, e.g.
8247 m \override #'(font-family . math) m m
8251 In markup mode you can compose expressions, similar to mathematical
8252 expressions, XML documents and music expressions. The braces group
8253 notes into horizontal lines. Other types of lists also exist: you can
8254 stack expressions grouped with @code{<}, and @code{>} vertically with
8255 the command @code{\column}. Similarly, @code{\center} aligns texts by
8258 @lilypond[verbatim,fragment,relative=1]
8259 c1^\markup { \column < a bbbb c > }
8260 c1^\markup { \center < a bbbb c > }
8261 c1^\markup { \line < a b c > }
8265 Markups can be stored in variables, and these variables
8266 may be attached to notes, like
8268 allegro = \markup { \bold \large { Allegro } }
8269 \notes { a^\allegro b c d }
8272 The markup mechanism is extensible. Refer to
8273 @file{scm/new-markup.scm} for more information.
8276 Some objects have alignment procedures of their own, which cancel out
8277 any effects of alignments applied to their markup arguments as a
8278 whole. For example, the @internalsref{RehearsalMark} is horizontally
8279 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8280 effect. Similarly, whole texts over notes cannot be moved vertically
8281 with @code{\raise}. For moving and aligning complete objects, grob
8282 properties should be used.
8286 Internals: @internalsref{Markup-functions} contains a complete list of
8287 all markup commands.
8289 Init files: @file{scm/new-markup.scm}.
8296 Text layout is ultimately done by @TeX{}, which does kerning of
8297 letters. LilyPond does not account for kerning, so texts will be
8298 spaced slightly too wide.
8300 Syntax errors for markup mode are confusing.
8302 Markup texts cannot be used in the titling of the @code{\header}
8303 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8312 @section Global layout
8314 The global layout determined by three factors: the page layout, the
8315 line breaks and the spacing. These all influence each other. The
8316 choice of spacing determines how densely each system of music is set,
8317 which influences where line breaks breaks are chosen, and thus
8318 ultimately how many pages a piece of music takes. This section
8319 explains how to tune the algorithm for spacing.
8321 Globally spoken, this procedure happens in three steps: first,
8322 flexible distances (``springs'') are chosen, based on durations. All
8323 possible line breaking combination are tried, and the one with the
8324 best results---a layout that has uniform density and requires as
8325 little stretching or cramping as possible---is chosen. When the score
8326 is processed by @TeX{}, each page is filled with systems, and page breaks
8327 are chosen whenever the page gets full.
8332 * Vertical spacing::
8333 * Horizontal spacing::
8340 @node Vertical spacing
8341 @subsection Vertical spacing
8343 @cindex vertical spacing
8344 @cindex distance between staves
8345 @cindex staff distance
8346 @cindex between staves, distance
8347 @cindex staffs per page
8348 @cindex space between staves
8350 The height of each system is determined automatically by LilyPond, to
8351 keep systems from bumping into each other, some minimum distances are
8352 set. By changing these, you can put staves closer together, and thus
8353 put more systems onto one page.
8355 Normally staves are stacked vertically. To make
8356 staves maintain a distance, their vertical size is padded. This is
8357 done with the property @code{minimumVerticalExtent}. It takes a pair
8358 of numbers, so if you want to make it smaller from its, then you could
8361 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8363 This sets the vertical size of the current staff to 4 staff spaces on
8364 either side of the center staff line. The argument of
8365 @code{minimumVerticalExtent} is interpreted as an interval, where the
8366 center line is the 0, so the first number is generally negative. The
8367 staff can be made larger at the bottom by setting it to @code{(-6
8370 The piano staves are handled a little differently: to make cross-staff
8371 beaming work correctly, it is necessary that the distance between staves
8372 is fixed beforehand. This is also done with a
8373 @internalsref{VerticalAlignment} object, created in
8374 @internalsref{PianoStaff}. In this object the distance between the
8375 staves is fixed by setting @code{forced-distance}. If you want to
8376 override this, use a @code{\translator} block as follows:
8380 VerticalAlignment \override #'forced-distance = #9
8383 This would bring the staves together at a distance of 9 staff spaces,
8384 measured from the center line of each staff.
8388 Internals: Vertical alignment of staves is handled by the
8389 @internalsref{VerticalAlignment} object.
8393 @node Horizontal spacing
8394 @subsection Horizontal Spacing
8396 The spacing engine translates differences in durations into
8397 stretchable distances (``springs'') of differing lengths. Longer
8398 durations get more space, shorter durations get less. The shortest
8399 durations get a fixed amount of space (which is controlled by
8400 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8401 The longer the duration, the more space it gets: doubling a
8402 duration adds a fixed amount (this amount is controlled by
8403 @code{spacing-increment}) of space to the note.
8405 For example, the following piece contains lots of half, quarter and
8406 8th notes, the eighth note is followed by 1 note head width (NHW).
8407 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8408 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8412 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8413 width of a note head, and @code{shortest-duration-space} is set to
8414 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8415 @code{shortest-duration-space}) of space. For normal notes, this space
8416 is always counted from the left edge of the symbol, so the shortest
8417 notes are generally followed by one NHW of space.
8419 If one would follow the above procedure exactly, then adding a single
8420 32th note to a score that uses 8th and 16th notes, would widen up the
8421 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8422 thus adding 1 NHW to every note. To prevent this, the
8423 shortest duration for spacing is not the shortest note in the score,
8424 but the most commonly found shortest note. Notes that are even
8425 shorter this are followed by a space that is proportional to their
8426 duration relative to the common shortest note. So if we were to add
8427 only a few 16th notes to the example above, they would be followed by
8430 @lilypond[fragment, verbatim, relative=2]
8431 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8434 The most common shortest duration is determined as follows: in every
8435 measure, the shortest duration is determined. The most common short
8436 duration, is taken as the basis for the spacing, with the stipulation
8437 that this shortest duration should always be equal to or shorter than
8438 1/8th note. The shortest duration is printed when you run lilypond
8439 with @code{--verbose}. These durations may also be customized. If you
8440 set the @code{common-shortest-duration} in
8441 @internalsref{SpacingSpanner}, then this sets the base duration for
8442 spacing. The maximum duration for this base (normally 1/8th), is set
8443 through @code{base-shortest-duration}.
8445 @cindex @code{common-shortest-duration}
8446 @cindex @code{base-shortest-duration}
8447 @cindex @code{stem-spacing-correction}
8448 @cindex @code{spacing}
8450 In the introduction it was explained that stem directions influence
8451 spacing. This is controlled with @code{stem-spacing-correction}
8452 property in @internalsref{NoteSpacing}, which are generated for every
8453 @internalsref{Voice} context. The @code{StaffSpacing} object
8454 (generated at @internalsref{Staff} context) contains the same property
8455 for controlling the stem/barline spacing. The following example
8456 shows these corrections, once with default settings, and once with
8457 exaggerated corrections:
8463 \property Staff.NoteSpacing \override #'stem-spacing-correction
8465 \property Staff.StaffSpacing \override #'stem-spacing-correction
8470 \paper { raggedright = ##t } }
8473 @cindex SpacingSpanner, overriding properties
8475 Properties of the @internalsref{SpacingSpanner} must be overridden
8476 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8477 created before any @code{\property} statements are interpreted.
8479 \paper @{ \translator @{
8481 SpacingSpanner \override #'spacing-increment = #3.0
8488 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8489 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8490 @internalsref{SeparatingGroupSpanner}.
8494 Spacing is determined on a score wide basis. If you have a score that
8495 changes its character (measured in durations) halfway during the
8496 score, the part containing the longer durations will be spaced too
8499 There is no convenient mechanism to manually override spacing.
8504 @subsection Font size
8505 @cindex font size, setting
8506 @cindex staff size, setting
8507 @cindex @code{paper} file
8509 The Feta font provides musical symbols at eight seven different
8510 sizes. Each font is tuned for a different staff size: at smaller sizes
8511 the font gets heavier, to match the relatively heavier staff lines.
8512 The recommended font sizes are listed in the following table:
8514 @multitable @columnfractions .25 .25 .25 .25
8517 @tab @b{staff height (pt)}
8518 @tab @b{staff height (mm)}
8560 @c modern rental material ?
8564 These fonts are available in any sizes. The context property
8565 @code{fontSize} and the layout property @code{staff-space} (in
8566 @internalsref{StaffSymbol}) can be used to tune size for individual
8567 staffs. The size of individual staffs are relative to the global size,
8568 which can be set in the following manner:
8571 #(set-global-staff-size 14)
8574 This sets the global default size to 14pt staff height, and scales all
8580 @subsection Line breaking
8583 @cindex breaking lines
8585 Line breaks are normally computed automatically. They are chosen such
8586 that lines look neither cramped nor loose, and that consecutive lines
8587 have similar density.
8589 Occasionally you might want to override the automatic breaks; you can
8590 do this by specifying @code{\break}. This will force a line break at
8591 this point. Line breaks can only occur at places where there are bar
8592 lines. If you want to have a line break where there is no bar line,
8593 you can force an invisible bar line by entering @code{\bar
8594 ""}. Similarly, @code{\noBreak} forbids a line break at a
8598 @cindex regular line breaks
8599 @cindex four bar music.
8601 For linebreaks at regular intervals use @code{\break} separated by
8602 skips and repeated with @code{\repeat}:
8604 << \repeat unfold 7 @{
8605 s1 \noBreak s1 \noBreak
8606 s1 \noBreak s1 \break @}
8607 @emph{the real music}
8612 This makes the following 28 measures (assuming 4/4 time) be broken every
8613 4 measures, and only there.
8617 @code{\break}, @code{\noBreak}
8618 @cindex @code{\break}
8619 @cindex @code{\noBreak}
8623 Internals: @internalsref{BreakEvent}.
8627 @subsection Page layout
8630 @cindex breaking pages
8632 @cindex @code{indent}
8633 @cindex @code{linewidth}
8635 The most basic settings influencing the spacing are @code{indent} and
8636 @code{linewidth}. They are set in the @code{\paper} block. They
8637 control the indentation of the first line of music, and the lengths of
8640 If @code{raggedright} is set to true in the @code{\paper}
8641 block, then the lines are justified at their natural length. This
8642 useful for short fragments, and for checking how tight the natural
8646 @cindex vertical spacing
8648 The page layout process happens outside the LilyPond formatting
8649 engine: variables controlling page layout are passed to the output,
8650 and are further interpreted by @code{lilypond} wrapper program. It
8651 responds to the following variables in the @code{\paper} block. The
8652 variable @code{textheight} sets the total height of the music on each
8653 page. The spacing between systems is controlled with
8654 @code{interscoreline}, its default is 16pt. The distance between the
8655 score lines will stretch in order to fill the full page
8656 @code{interscorelinefill} is set to a positive number. In that case
8657 @code{interscoreline} specifies the minimum spacing.
8659 @cindex @code{textheight}
8660 @cindex @code{interscoreline}
8661 @cindex @code{interscorelinefill}
8663 If the variable @code{lastpagefill} is defined,
8664 @c fixme: this should only be done if lastpagefill == #t
8665 systems are evenly distributed vertically on the last page. This
8666 might produce ugly results in case there are not enough systems on the
8667 last page. The @command{lilypond-book} command ignores
8668 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8671 @cindex @code{lastpagefill}
8673 Page breaks are normally computed by @TeX{}, so they are not under
8674 direct control of LilyPond. However, you can insert a commands into
8675 the @file{.tex} output to instruct @TeX{} where to break pages. This
8676 is done by setting the @code{between-systems-strings} on the
8677 @internalsref{NonMusicalPaperColumn} where the system is broken.
8678 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8679 The predefined command @code{\newpage} also does this.
8683 @cindex @code{papersize}
8685 To change the paper size, use the following Scheme code:
8688 #(set-paper-size "a4")
8695 @cindex @code{\newpage}
8701 In this manual @ref{Invoking lilypond}
8703 Examples: @inputfileref{input/regression,between-systems.ly}
8705 Internals: @internalsref{NonMusicalPaperColumn}.
8709 LilyPond has no concept of page layout, which makes it difficult to
8710 reliably choose page breaks in longer pieces.
8719 Entered music can also be converted to MIDI output. The performance
8720 is good enough for proof-hearing the music for errors.
8722 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8723 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8724 marks translate to a fixed fraction of the available MIDI volume
8725 range, crescendi and decrescendi make the volume vary linearly between
8726 their two extremities. The fractions can be adjusted by
8727 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8728 For each type of MIDI instrument, a volume range can be defined. This
8729 gives a basic equalizer control, which can enhance the quality of
8730 the MIDI output remarkably. The equalizer can be controlled by
8731 setting @code{instrumentEqualizer}.
8735 Many musically interesting effects, such as swing, articulation,
8736 slurring, etc., are not translated to MIDI.
8738 Since slurs are not interpreted, @code{\lyricsto} and
8739 @code{\addlyrics} sections will be interpreted wrongly.
8744 * MIDI instrument names::
8749 @subsection MIDI block
8753 The MIDI block is analogous to the paper block, but it is somewhat
8754 simpler. The @code{\midi} block can contain:
8758 @item a @code{\tempo} definition, and
8759 @item context definitions.
8762 Assignments in the @code{\midi} block are not allowed.
8764 A number followed by a period is interpreted as a real number, so
8765 for setting the tempo for dotted notes, an extra space should be
8766 inserted, for example:
8769 \midi @{ \tempo 4 . = 120 @}
8773 @cindex context definition
8775 Context definitions follow precisely the same syntax as within the
8776 \paper block. Translation modules for sound are called performers.
8777 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8780 @node MIDI instrument names
8781 @subsection MIDI instrument names
8783 @cindex instrument names
8784 @cindex @code{Staff.midiInstrument}
8786 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8787 property. The instrument name should be chosen from the list in
8788 @ref{MIDI instruments}.
8792 If the selected string does not exactly match, then the default is
8793 used, which is the Grand Piano.