3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[singleline,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[singleline,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[singleline,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[singleline,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative 2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a @internalsref{Stem} object is created
367 automatically. For whole notes and rests, they are also created but
372 @cindex @code{\stemUp}
374 @cindex @code{\stemDown}
376 @cindex @code{\stemBoth}
387 A tie connects two adjacent note heads of the same pitch. The tie in
388 effect extends the length of a note. Ties should not be confused with
389 slurs, which indicate articulation, or phrasing slurs, which indicate
390 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
392 @lilypond[fragment,verbatim,center]
393 e' ~ e' <c' e' g'> ~ <c' e' g'>
396 When a tie is applied to a chord, all note heads whose pitches match
397 are connected. When no note heads match, no ties will be created.
399 In its meaning a tie is just a way of extending a note duration, similar
400 to the augmentation dot; in the following example there are two ways of
401 notating exactly the same concept:
403 @lilypond[fragment, singleline,quote]
404 \time 3/4 c'2. c'2 ~ c'4
406 If you need to tie a lot of notes over bars, it may be easier to use automatic
407 note splitting (See @ref{Automatic note splitting}).
412 @cindex @code{\tieUp}
414 @cindex @code{\tieDown}
416 @cindex @code{\tieBoth}
418 @cindex @code{\tieDotted}
420 @cindex @code{\tieSolid}
425 In this manual: @ref{Automatic note splitting}.
427 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
430 Examples: if you want less ties created for a chord, see
431 @inputfileref{input/test,tie-sparse.ly}.
433 For tying only a subset of the note heads of a pair of chords, see
434 @inputfileref{input/regression,tie-chord-partial.ly}.
439 Switching staves when a tie is active will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
462 The duration of @var{musicexpr} will be multiplied by the fraction.
463 The fraction's denominator will be printed over the notes, optionally
464 with a bracket. The most common tuplet is the triplet in which 3
465 notes have the length of 2, so the notes are 2/3 of their written
468 @lilypond[fragment,verbatim,center]
469 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
472 The property @code{tupletSpannerDuration} specifies how long each
473 bracket should last. With this, you can make lots of tuplets while
474 typing @code{\times} only once, saving lots of typing. In the next
475 example, there are two triplets shown, while @code{\times} was only
478 @lilypond[fragment, relative, singleline, verbatim]
479 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
480 \times 2/3 { c'8 c c c c c }
483 The format of the number is determined by the property
484 @code{tupletNumberFormatFunction}. The default prints only the
485 denominator, but if it is set to the Scheme function
486 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
490 @cindex @code{tupletNumberFormatFunction}
491 @cindex tuplet formatting
496 @cindex @code{\tupletUp}
498 @cindex @code{\tupletDown}
500 @cindex @code{\tupletBoth}
505 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
509 Nested tuplets are not formatted automatically. In this case, outer
510 tuplet brackets should be moved manually.
512 @node Easy Notation note heads
513 @subsection Easy Notation note heads
515 @cindex easy notation
518 The `easy play' note head includes a note name inside the head. It is
519 used in music aimed at beginners:
521 @lilypond[singleline,verbatim,26pt]
523 \notes { c'2 e'4 f' | g'1 }
524 \paper { \translator { \EasyNotation } }
528 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
529 You probably will want to print it with magnification or a
530 large font size to make it more readable. To print with
531 magnification, you must create a DVI file (with @file{lilypond}) and
532 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
533 See the @code{dvips} documentation for more details. To print with a
534 larger font, see @ref{Font Size}.
540 If you view the result with Xdvi, then staff lines will show through
541 the letters. Printing the PostScript file obtained does produce the
545 @node Easier music entry
546 @section Easier music entry
549 When entering music it is easy to introduce errors. This section deals
550 with tricks and features of the input language that were added solely
551 to help entering music, and find and correct mistakes.
553 It is also possible to use external programs, for example GUI
554 interfaces, or MIDI transcription programs, to enter or edit
555 music. Refer to the website for more information. Finally, there are
556 tools make debugging easier, by linking the input file and the output
557 shown on screen. See @ref{Point and click} for more information.
564 * Skipping corrected music::
565 * Automatic note splitting::
571 @node Relative octaves
572 @subsection Relative octaves
574 @cindex relative octave specification
576 Octaves are specified by adding @code{'} and @code{,} to pitch names.
577 When you copy existing music, it is easy to accidentally put a pitch
578 in the wrong octave and hard to find such an error. The relative
579 octave mode prevents these errors: a single error puts the rest of the
580 piece off by one octave:
582 @cindex @code{\relative}
584 \relative @var{startpitch} @var{musicexpr}
587 The octave of notes that appear in @var{musicexpr} are calculated as
588 follows: If no octave changing marks are used, the basic interval
589 between this and the last note is always taken to be a fourth or less
590 (; this distance is determined without regarding alterations: a
591 @code{fisis} following a @code{ceses} will be put above the
594 The octave changing marks @code{'} and @code{,} can be added to raise
595 or lower the pitch by an extra octave. Upon entering relative mode,
596 an absolute starting pitch must be specified that will act as the
597 predecessor of the first note of @var{musicexpr}.
599 Here is the relative mode shown in action:
600 @lilypond[fragment,singleline,verbatim,center]
606 Octave changing marks are used for intervals greater than a fourth:
607 @lilypond[fragment,verbatim,center]
612 If the preceding item is a chord, the first note of the chord is used
613 to determine the first note of the next chord:
615 @lilypond[fragment,verbatim,center]
622 @cindex @code{\notes}
624 The pitch after the @code{\relative} contains a note name. To parse
625 the pitch as a note name, you have to be in note mode, so there must
626 be a surrounding @code{\notes} keyword (which is not
629 The relative conversion will not affect @code{\transpose},
630 @code{\chords} or @code{\relative} sections in its argument. If you
631 want to use relative within transposed music, you must place an
632 additional @code{\relative} inside the @code{\transpose}.
635 @subsection Octave check
638 Octave checks make octave errors easier to correct.
644 This checks that @var{pitch} (without octave) yields @var{pitch} (with
645 octave) in \relative mode. If not, a warning is printed, and the
646 octave is corrected, for example, the first check is passed
647 successfully. The second check fails with an error message. The
648 octave is adjusted so the following notes are in the correct octave
659 The octave of a note following an octave check is determined with
660 respect to the note preceding it. In the next fragment, the last note
661 is a @code{a'}, above central C. Hence, the @code{\octave} check may
662 be deleted without changing the meaning of the piece.
664 @lilypond[verbatim,fragment]
673 @subsection Bar check
677 @cindex @code{barCheckSynchronize}
680 Bar checks help detect errors in the durations. A bar check is
681 entered using the bar symbol, `@code{|}'. Whenever it is encountered
682 during interpretation, it should fall on a measure boundary. If it
683 does not, a warning is printed. Depending on the value of
684 @code{barCheckSynchronize}, the beginning of the measure will be
687 In the next example, the second bar check will signal an error:
689 \time 3/4 c2 e4 | g2 |
692 Bar checks can also be used in lyrics, for example
697 Twin -- kle | Twin -- kle
702 @cindex skipTypesetting
704 Failed bar checks are caused by entering incorrect
705 durations. Incorrect durations often completely garble up the score,
706 especially if it is polyphonic, so you should start correcting the
707 score by scanning for failed bar checks and incorrect durations. To
708 speed up this process, you can use @code{skipTypesetting}, described
711 @node Skipping corrected music
712 @subsection Skipping corrected music
714 The property @code{Score.skipTypesetting} can be used to switch on and
715 off typesetting completely during the interpretation phase. When
716 typesetting is switched off, the music is processed much more quickly.
717 This can be used to skip over the parts of a score that have already
718 been checked for errors:
720 @lilypond[fragment,singleline,verbatim]
722 \property Score.skipTypesetting = ##t
724 \property Score.skipTypesetting = ##f
728 @node Automatic note splitting
729 @subsection Automatic note splitting
731 Long notes can be converted automatically to tied notes. This is done
732 by replacing the @internalsref{Note_heads_engraver} by the
733 @internalsref{Completion_heads_engraver}:
736 \paper @{ \translator @{
738 \remove "Note_heads_engraver"
739 \consists "Completion_heads_engraver"
743 which will make long notes tied in the following example:
746 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
753 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
755 \paper { \translator {
757 \remove "Note_heads_engraver"
758 \consists "Completion_heads_engraver"
763 This engraver splits all running notes at the bar line, and inserts
764 ties. One of its uses is to debug complex scores: if the measures are
765 not entirely filled, then the ties exactly show how much each measure
770 Not all durations (especially those containing tuplets) can be
771 represented exactly; the engraver will not insert tuplets.
777 @section Staff notation
779 This section describes music notation that occurs on staff level,
780 such as keys, clefs and time signatures.
782 @cindex Staff notation
796 @subsection Staff symbol
798 @cindex adjusting staff symbol
799 @cindex StaffSymbol, using \property
801 Notes, dynamic signs, etc. are grouped
802 with a set of horizontal lines, into a staff (plural `staves'). In our
803 system, these lines are drawn using a separate layout object called
807 @cindex staff lines, setting number of
808 @cindex staff lines, setting thickness of
809 @cindex thickness of staff lines, setting
810 @cindex number of staff lines, setting
814 Internals: @internalsref{StaffSymbol},
816 Examples: @inputfileref{input/test,staff-lines.ly},
817 @inputfileref{input/test,staff-size.ly}
821 If a staff is ended halfway a piece, the staff symbol may not end
822 exactly on the barline.
826 @subsection Key signature
827 @cindex Key signature
831 The key signature indicates the scale in which a piece is played. It
832 is denoted by a set of alterations (flats or sharps) at the start of
837 Setting or changing the key signature is done with the @code{\key}
840 @code{\key} @var{pitch} @var{type}
843 @cindex @code{\minor}
844 @cindex @code{\major}
845 @cindex @code{\minor}
846 @cindex @code{\ionian}
847 @cindex @code{\locrian}
848 @cindex @code{\aeolian}
849 @cindex @code{\mixolydian}
850 @cindex @code{\lydian}
851 @cindex @code{\phrygian}
852 @cindex @code{\dorian}
854 Here, @var{type} should be @code{\major} or @code{\minor} to get
855 @var{pitch}-major or @var{pitch}-minor, respectively.
856 The standard mode names @code{\ionian},
857 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
858 @code{\phrygian}, and @code{\dorian} are also defined.
860 This command sets the context property
861 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
862 can be specified by setting this property directly.
864 Accidentals and key signatures often confuse new users, because
865 unaltered notes get natural signs depending on the keysignature. The
866 tutorial explains why this is so in @ref{More about pitches}.
870 The ordering of a key cancellation is wrong when it is combined with
871 repeat bar lines. The cancellation is also printed after a line break.
875 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
877 @cindex @code{keySignature}
884 The clef indicates which lines of the staff correspond to which
889 The clef can be set or changed with the @code{\clef} command:
890 @lilypond[fragment,verbatim]
891 \key f\major c''2 \clef alto g'2
894 Supported clef-names include:
895 @c Moved standard clefs to the top /MB
899 @item treble, violin, G, G2
912 G clef on 1st line, so-called French violin clef
917 @cindex mezzosoprano clef
920 @cindex baritone clef
923 @cindex varbaritone clef
932 By adding @code{_8} or @code{^8} to the clef name, the clef is
933 transposed one octave down or up, respectively, and @code{_15} and
934 @code{^15} transposes by two octaves. The argument @var{clefname}
935 must be enclosed in quotes when it contains underscores or digits. For
939 @cindex choral tenor clef
940 @lilypond[verbatim,fragment,relative]
944 This command is equivalent to setting @code{clefGlyph},
945 @code{clefPosition} (which controls the Y position of the clef),
946 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
947 when any of these properties are changed.
951 Internals: the object for this symbol is @internalsref{Clef}.
955 @node Ottava brackets
956 @subsection Ottava brackets
958 ``Ottava'' brackets introduce an extra transposition of an octave for
959 the staff. They are created by invoking the function
960 @code{set-octavation}:
966 @lilypond[verbatim,fragment]
975 Internally the @code{set-octavation} function sets the properties
976 @code{ottavation} (eg. to @code{"8va"}) and
977 @code{centralCPosition}. The function also takes arguments -1 (for 8va
978 bassa) and 2 (for 15ma).
980 @internalsref{OttavaSpanner}.
984 @code{set-octavation} will get confused when clef changes happen
985 during an octavation bracket.
988 @subsection Time signature
989 @cindex Time signature
993 Time signature indicates the metrum of a piece: a regular pattern of
994 strong and weak beats. It is denoted by a fraction at the start of the
999 The time signature is set or changed by the @code{\time}
1001 @lilypond[fragment,verbatim]
1002 \time 2/4 c'2 \time 3/4 c'2.
1005 The symbol that is printed can be customized with the @code{style}
1006 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1007 2/2 time. There are many more options for its layout. See
1008 @inputfileref{input/test,time.ly} for more examples.
1011 This command sets the property @code{timeSignatureFraction},
1012 @code{beatLength} and @code{measureLength} in the @code{Timing}
1013 context, which is normally aliased to @internalsref{Score}. The
1014 property @code{measureLength} determines where bar lines should be
1015 inserted, and how automatic beams should be generated. Changing the
1016 value of @code{timeSignatureFraction} also causes the symbol to be
1019 More options are available through the Scheme function
1020 @code{set-time-signature}. In combination with the
1021 @internalsref{Measure_grouping_engraver}, it will create
1022 @internalsref{MeasureGrouping} signs. Such signs ease reading
1023 rhythmically complex modern music. In the following example, the 9/8
1024 measure is subdivided in 2, 2, 2 and 3. This is passed to
1025 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1028 \score { \notes \relative c'' {
1029 #(set-time-signature 9 8 '(2 2 2 3))
1030 g8[ g] d[ d] g[ g] a8[( bes g]) |
1031 #(set-time-signature 5 8 '(3 2))
1036 \translator { \StaffContext
1037 \consists "Measure_grouping_engraver"
1043 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1048 Automatic beaming does not use measure grouping specified with
1049 @code{set-time-signature}.
1051 @node Partial measures
1052 @subsection Partial measures
1055 @cindex partial measure
1056 @cindex measure, partial
1057 @cindex shorten measures
1058 @cindex @code{\partial}
1060 Partial measures, for example in upsteps, are entered using the
1061 @code{\partial} command:
1062 @lilypond[fragment,verbatim,relative 1]
1063 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1066 The syntax for this command is
1068 \partial @var{duration}
1070 This is internally translated into
1072 \property Timing.measurePosition = -@var{length of duration}
1075 The property @code{measurePosition} contains a rational number
1076 indicating how much of the measure has passed at this point.
1078 @node Unmetered music
1079 @subsection Unmetered music
1081 Bar lines and bar numbers are calculated automatically. For unmetered
1082 music (e.g. cadenzas), this is not desirable. By setting
1083 @code{Score.timing} to false, this automatic timing can be switched
1089 @cindex @code{\cadenzaOn}
1091 @cindex @code{\cadenzaOff}
1095 @subsection Bar lines
1099 @cindex measure lines
1103 Bar lines delimit measures, but are also used to indicate repeats.
1104 Normally, they are inserted automatically. Line breaks may only
1110 of barlines can be forced with the @code{\bar} command:
1112 @lilypond[relative=1,fragment,verbatim]
1116 The following bar types are available:
1117 @lilypond[fragment, relative, singleline, verbatim]
1128 For allowing linebreaks, there is a special command,
1132 This will insert an invisible barline, and allow linebreaks at this
1135 In scores with many staves, a @code{\bar} command in one staff is
1136 automatically applied to all staves. The resulting bar lines are
1137 connected between different staves of a @internalsref{StaffGroup}:
1139 @lilypond[fragment, verbatim]
1140 << \context StaffGroup <<
1144 \new Staff { \clef bass c4 g e g } >>
1145 \new Staff { \clef bass c2 c2 } >>
1149 The command @code{\bar @var{bartype}} is a short cut for doing
1150 @code{\property Score.whichBar = @var{bartype}} Whenever
1151 @code{whichBar} is set to a string, a bar line of that type is
1152 created. At the start of a measure it is set to
1153 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1154 to override default measure bars.
1156 Property @code{whichBar} can also be set directly, using @code{\property}
1157 or @code{\bar}. These settings take precedence over the automatic
1158 @code{whichBar} settings.
1161 @cindex repeatCommands
1162 @cindex defaultBarType
1164 You are encouraged to use @code{\repeat} for repetitions. See
1171 In this manual: @ref{Repeats}.
1174 The bar line objects that are created at @internalsref{Staff} level
1175 are called @internalsref{BarLine}, the bar lines that span staves are
1176 @internalsref{SpanBar}s.
1178 @cindex bar lines at start of system
1179 @cindex start of system
1181 The barlines at the start of each system are
1182 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1183 @internalsref{SystemStartBracket}. Only one of these types is created
1184 in every context, and that type is determined by the property
1185 @code{systemStartDelimiter}.
1191 The easiest way to enter fragments with more than one voice on a staff
1192 is to split chords using the separator @code{\\}. You can use it for
1193 small, short-lived voices or for single chords:
1195 @lilypond[verbatim,fragment]
1196 \context Staff \relative c'' {
1197 c4 << { f d e } \\ { b c2 } >>
1198 c4 << g' \\ b, \\ f' \\ d >>
1202 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1203 voices are sometimes called "layers" other notation packages}
1205 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1206 each of these contexts, vertical direction of slurs, stems, etc. is set
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 } >>
1221 Normally, note heads with a different number of dots are not merged, but
1222 when the object property @code{merge-differently-dotted} is set in
1223 the @internalsref{NoteCollision} object, they are merged:
1224 @lilypond[verbatim,fragment,singleline]
1225 \relative c'' \context Voice << {
1227 \property Staff.NoteCollision \override
1228 #'merge-differently-dotted = ##t
1230 } \\ { g8.[ f16] g8.[ f16] }
1234 Similarly, you can merge half note heads with eighth notes, by setting
1235 @code{merge-differently-headed}:
1236 @lilypond[fragment, relative=2,verbatim]
1239 \property Staff.NoteCollision
1240 \override #'merge-differently-headed = ##t
1241 c8 c4. } \\ { c2 c2 } >>
1244 LilyPond also vertically shifts rests that are opposite of a stem:
1247 @lilypond[singleline,fragment,verbatim]
1248 \context Voice << c''4 \\ r4 >>
1256 @cindex @code{\oneVoice}
1258 @cindex @code{\voiceOne}
1260 @cindex @code{\voiceTwo}
1262 @cindex @code{\voiceThree}
1264 @cindex @code{\voiceFour}
1267 The following commands specify in what chords of the current voice
1268 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1269 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1272 @cindex @code{\shiftOn}
1274 @cindex @code{\shiftOnn}
1276 @cindex @code{\shiftOnnn}
1278 @cindex @code{\shiftOff}
1285 Internals: the objects responsible for resolving collisions are
1286 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1288 Examples: See also example files
1289 @inputfileref{input/regression,collision-dots.ly},
1290 @inputfileref{input/regression,collision-head-chords.ly},
1291 @inputfileref{input/regression,collision-heads.ly},
1292 @inputfileref{input/regression,collision-mesh.ly}, and
1293 @inputfileref{input/regression,collisions.ly}.
1298 Resolving collisions is a intricate subject, and only a few situations
1299 are handled. When LilyPond cannot cope, the @code{force-hshift}
1300 property of the @internalsref{NoteColumn} object and pitched rests can
1301 be used to override typesetting decisions.
1303 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1304 note, and a downstem half note, the 8th note gets the wrong offset.
1309 Beams are used to group short notes into chunks that are aligned with
1310 the metrum. They are inserted automatically in most cases:
1312 @lilypond[fragment,verbatim, relative=2]
1313 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1316 When these automatic decisions are not good enough, beaming can be
1317 entered explicitly. It is also possible to define beaming patterns
1318 that differ from the defaults.
1322 Internals: @internalsref{Beam}.
1325 @cindex Automatic beams
1326 @subsection Manual beams
1327 @cindex beams, manual
1331 In some cases it may be necessary to override the automatic beaming
1332 algorithm. For example, the auto beamer will not put beams over rests
1333 or bar lines. Such beams are specified by manually: the begin and end
1334 point are marked with @code{[} and @code{]}:
1336 @lilypond[fragment,relative,verbatim]
1338 r4 r8[ g' a r8] r8 g[ | a] r8
1342 @cindex @code{stemLeftBeamCount}
1344 Normally, beaming patterns within a beam are determined automatically.
1345 When this mechanism fouls up, the properties
1346 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1347 be used to control the beam subdivision on a stem. If either property
1348 is set, its value will be used only once, and then it is erased.
1350 @lilypond[fragment,relative,verbatim]
1353 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1356 @cindex @code{stemRightBeamCount}
1359 The property @code{subdivideBeams} can be set in order to subdivide
1360 all 16th or shorter beams at beat positions, as defined by the
1361 @code{beatLength} property . This accomplishes the same effect as
1362 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1363 but it take less typing:
1366 @lilypond[relative=1,verbatim,noindent]
1368 \property Voice.subdivideBeams = ##t
1370 \property Score.beatLength = #(ly:make-moment 1 8)
1373 @cindex subdivideBeams
1375 Kneed beams are inserted automatically, when a large gap is detected
1376 between the note heads. This behavior can be tuned through the object
1377 property @code{auto-knee-gap}.
1379 Normally, line breaks are forbidden when beams cross bar lines. This
1380 behavior can be changed by setting @code{allowBeamBreak}.
1382 @cindex @code{allowBeamBreak}
1383 @cindex beams and line breaks
1385 @cindex beams, kneed
1387 @cindex auto-knee-gap
1393 @cindex Frenched staves
1395 Automatically kneed beams cannot be used together with hidden staves.
1400 * Setting automatic beam behavior::
1404 @no de Beam typography
1405 @sub section Beam typography
1407 One of the strong points of LilyPond is how beams are formatted. Beams
1408 are quantized, meaning that the left and right endpoints beams start
1409 exactly on staff lines. Without quantization, small wedges of white
1410 space appear between the beam and staff line, and this looks untidy.
1412 Beams are also slope-damped: melodies that go up or down should also
1413 have beams that go up or down, but the slope of the beams should be
1414 less than the slope of the notes themselves.
1416 Some beams should be horizontal. These are so-called concave beams.
1418 [TODO: some pictures.]
1422 @node Setting automatic beam behavior
1423 @subsection Setting automatic beam behavior
1425 @cindex @code{autoBeamSettings}
1426 @cindex @code{(end * * * *)}
1427 @cindex @code{(begin * * * *)}
1428 @cindex automatic beams, tuning
1429 @cindex tuning automatic beaming
1431 @c [TODO: use \applycontext]
1433 In normal time signatures, automatic beams can start on any note but can
1434 only end in a few positions within the measure: beams can end on a beat,
1435 or at durations specified by the properties in
1436 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1437 are defined in @file{scm/auto-beam.scm}.
1439 The value of @code{autoBeamSettings} is changed using
1440 @code{\override} and restored with @code{\revert}:
1442 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1443 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1445 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1446 whether the rule applies to begin or end-points. The quantity
1447 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1448 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1449 signature (wildcards, `@code{* *}' may be entered to designate all time
1452 For example, if automatic beams should end on every quarter note, use
1455 \property Voice.autoBeamSettings \override
1456 #'(end * * * *) = #(ly:make-moment 1 4)
1458 Since the duration of a quarter note is 1/4 of a whole note, it is
1459 entered as @code{(ly:make-moment 1 4)}.
1461 The same syntax can be used to specify beam starting points. In this
1462 example, automatic beams can only end on a dotted quarter note:
1464 \property Voice.autoBeamSettings \override
1465 #'(end * * * *) = #(ly:make-moment 3 8)
1467 In 4/4 time signature, this means that automatic beams could end only on
1468 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1469 3/8 has passed within the measure).
1471 Rules can also be restricted to specific time signatures. A rule that
1472 should only be applied in @var{N}/@var{M} time signature is formed by
1473 replacing the second asterisks by @var{N} and @var{M}. For example, a
1474 rule for 6/8 time exclusively looks like
1476 \property Voice.autoBeamSettings \override
1477 #'(begin * * 6 8) = ...
1480 If a rule should be to applied only to certain types of beams, use the
1481 first pair of asterisks. Beams are classified according to the
1482 shortest note they contain. For a beam ending rule that only applies
1483 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1486 If a score ends while an automatic beam has not been ended and is still
1487 accepting notes, this last beam will not be typeset at all.
1489 @cindex automatic beam generation
1491 @cindex @code{Voice.autoBeaming}
1494 For melodies that have lyrics, you may want to switch off
1495 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1500 @cindex @code{\autoBeamOff}
1501 @code{\autoBeamOff},
1502 @cindex @code{\autoBeamOn}
1508 The rules for ending a beam depend on the shortest note in a beam.
1509 So, while it is possible to have different ending rules for eight
1510 beams and sixteenth beams, a beam that contains both eight and
1511 sixteenth notes will use the rules for the sixteenth beam.
1513 In the example below, the autobeamer makes eight beams and sixteenth
1514 end at 3 eights; the third beam can only be corrected by specifying
1517 @lilypond[singleline,fragment,relative,noverbatim,quote]
1518 \property Voice.autoBeamSettings
1519 \override #'(end * * * *) = #(ly:make-moment 3 8)
1520 % rather show case where it goes wrong
1521 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1522 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1524 It is not possible to specify beaming parameters that act differently in
1525 different parts of a measure. This means that it is not possible to use
1526 automatic beaming in irregular meters such as @code{5/8}.
1529 @section Accidentals
1532 This section describes how to change the way that accidentals are
1533 inserted automatically before the running notes.
1537 * Using the predefined accidental variables::
1538 * Customized accidental rules::
1541 @node Using the predefined accidental variables
1542 @subsection Using the predefined accidental variables
1544 The constructs for describing the accidental typesetting rules are
1545 quite hairy, so non-experts should stick to the variables
1546 defined in @file{ly/property-init.ly}.
1547 @cindex @file{property-init.ly}
1549 The variables set properties in the ``@code{Current}'' context (see
1550 @ref{Context properties}). This means that the variables should
1551 normally be added right after the creation of the context in which the
1552 accidental typesetting described by the variable is to take
1553 effect. For example, if you want to use piano-accidentals in a piano
1554 staff then issue @code{\pianoAccidentals} first thing after the
1555 creation of the piano staff:
1558 \notes \relative c'' <<
1559 \new Staff @{ cis4 d e2 @}
1560 \context GrandStaff <<
1562 \new Staff @{ cis4 d e2 @}
1563 \new Staff @{ es2 c @}
1565 \new Staff @{ es2 c @}
1569 @lilypond[singleline]
1571 \notes \relative c'' <<
1572 \new Staff { cis4 d e2 }
1573 \context GrandStaff <<
1575 \new Staff { cis4 d e2 }
1576 \new Staff { es2 c }
1578 \new Staff { es2 c }
1583 minimumVerticalExtent = #'(-4.0 . 4.0)
1591 @item \defaultAccidentals
1592 @cindex @code{\defaultAccidentals}
1593 This is the default typesetting behaviour. It should correspond
1594 to 18th century common practice: Accidentals are
1595 remembered to the end of the measure in which they occur and
1596 only on their own octave.
1598 @item \voiceAccidentals
1599 @cindex @code{\voiceAccidentals}
1601 The normal behaviour is to
1602 remember the accidentals on Staff-level. This variable, however,
1603 typesets accidentals individually for each voice. Apart from that the
1604 rule is similar to @code{\defaultAccidentals}.
1606 This leads to some weird and often unwanted results
1607 because accidentals from one voice do not get cancelled in other
1609 @lilypond[singleline,relative,fragment,verbatim,quote]
1617 Hence you should only use @code{\voiceAccidentals} if the voices
1618 are to be read solely by individual musicians. If the staff is to be
1619 used by one musician (e.g. a conductor) then you use
1620 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1623 @item \modernAccidentals
1624 @cindex @code{\modernAccidentals}
1625 This rule corresponds to the common practice in the 20th
1627 The rule is more complex than @code{\defaultAccidentals}.
1628 You get all the same accidentals, but temporary
1629 accidentals also get cancelled in other octaves. Furthermore,
1630 in the same octave, they also get cancelled in the following measure:
1631 @lilypond[singleline,fragment,verbatim]
1633 cis' c'' cis'2 | c'' c'
1636 @item \modernCautionaries
1637 @cindex @code{\modernCautionaries}
1638 This rule is similar to @code{\modernAccidentals}, but the
1639 ``extra'' accidentals (the ones not typeset by
1640 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1641 They are printed in reduced size or with parentheses:
1642 @lilypond[singleline,fragment,verbatim]
1644 cis' c'' cis'2 | c'' c'
1647 @cindex @code{\modernVoiceAccidentals}
1648 @item \modernVoiceAccidentals
1649 is used for multivoice accidentals to be read both by musicians
1650 playing one voice and musicians playing all voices. Accidentals are
1651 typeset for each voice, but they @emph{are} cancelled across voices in
1652 the same @internalsref{Staff}.
1654 @cindex @code{\modernVoiceCautionaries}
1655 @item \modernVoiceCautionaries
1656 is the same as @code{\modernVoiceAccidentals}, but with the extra
1657 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1658 as cautionaries. Even though all accidentals typeset by
1659 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1660 some of them are typeset as cautionaries.
1662 @item \pianoAccidentals
1663 @cindex @code{\pianoAccidentals}
1664 20th century practice for piano notation. Very similar to
1665 @code{\modernAccidentals} but accidentals also get cancelled
1666 across the staves in the same @internalsref{GrandStaff} or
1667 @internalsref{PianoStaff}.
1669 @item \pianoCautionaries
1670 @cindex @code{\pianoCautionaries}
1671 As @code{\pianoAccidentals} but with the extra accidentals
1672 typeset as cautionaries.
1675 @cindex @code{\noResetKey}
1676 Same as @code{\defaultAccidentals} but with accidentals lasting
1677 ``forever'' and not only until the next measure:
1678 @lilypond[singleline,fragment,verbatim,relative]
1683 @item \forgetAccidentals
1684 @cindex @code{\forgetAccidentals}
1685 This is sort of the opposite of @code{\noResetKey}: Accidentals
1686 are not remembered at all---and hence all accidentals are
1687 typeset relative to the key signature, regardless of what was
1688 before in the music:
1689 @lilypond[singleline,fragment,verbatim,relative]
1691 \key d\major c4 c cis cis d d dis dis
1695 @node Customized accidental rules
1696 @subsection Customized accidental rules
1698 For determining when to print an accidental, several different rules
1699 are tried. The rule that gives the highest number of accidentals is
1700 used. Each rule consists of
1703 In which context is the rule applied. For example, if
1704 @var{context} is @internalsref{Score} then all staves share
1705 accidentals, and if @var{context} is @internalsref{Staff} then all
1706 voices in the same staff share accidentals, but staves do not.
1708 Whether the accidental changes all octaves or only the current
1711 Over how many barlines the accidental lasts.
1712 If @var{lazyness} is @code{-1} then the accidental is forget
1713 immediately, and if @var{lazyness} is @code{#t} then the accidental
1716 @c [TODO: should use +infinity for this case?]
1722 @cindex @code{\defaultAccidentals}
1723 @code{\defaultAccidentals},
1724 @cindex @code{\voiceAccidentals}
1725 @code{\voiceAccidentals},
1726 @cindex @code{\modernAccidentals}
1727 @code{\modernAccidentals},
1728 @cindex @code{\modernCautionaries}
1729 @code{\modernCautionaries},
1730 @cindex @code{\modernVoiceAccidentals}
1731 @code{\modernVoiceAccidentals},
1732 @cindex @code{\modernVoiceCautionaries}
1733 @code{\modernVoiceCautionaries},
1734 @cindex @code{\pianoAccidentals}
1735 @code{\pianoAccidentals},
1736 @cindex @code{\pianoCautionaries}
1737 @code{\pianoCautionaries},
1738 @cindex @code{\noResetKey}
1740 @cindex @code{\forgetAccidentals}
1741 @code{\forgetAccidentals}.
1745 Internals: @internalsref{Accidental_engraver},
1746 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1751 Currently the simultaneous notes are considered to be entered in
1752 sequential mode. This means that in a chord the accidentals are
1753 typeset as if the notes in the chord happened once at a time - in the
1754 order in which they appear in the input file.
1756 This is only a problem when there are simultaneous notes whose
1757 accidentals depend on each other. The problem only occurs when using
1758 non-default accidentals. In the default scheme, accidentals only
1759 depend on other accidentals with the same pitch on the same staff, so
1760 no conflicts possible.
1762 This example shows two examples of the same music giving different
1763 accidentals depending on the order in which the notes occur in the
1766 @lilypond[singleline,fragment,verbatim]
1767 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1768 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1769 | <cis' c''> r | <c'' cis'> r |
1772 This problem can be solved by manually inserting @code{!} and @code{?}
1773 for the problematic notes.
1775 @node Expressive marks
1776 @section Expressive marks
1779 @c todo: should change ordering
1780 @c where to put text spanners, metronome marks,
1789 * Analysis brackets::
1791 * Fingering instructions::
1802 A slur indicates that notes are to be played bound or @emph{legato}.
1806 They are entered using parentheses:
1807 @lilypond[relative 1,fragment,verbatim,center]
1808 f( g)( a) a8 b( a4 g2 f4)
1813 @c TODO: should explain that ^( and _( set directions
1814 @c should set attachments with ^ and _ ?
1816 Slurs avoid crossing stems, and are generally attached to note heads.
1817 However, in some situations with beams, slurs may be attached to stem
1818 ends. If you want to override this layout you can do this through the
1819 object property @code{attachment} of @internalsref{Slur} in
1820 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1821 the attachment type of the left and right end points:
1823 @lilypond[fragment,relative,verbatim]
1825 \property Voice.Stem \set #'length = #5.5
1827 \property Voice.Slur \set #'attachment = #'(stem . stem)
1831 If a slur would strike through a stem or beam, the slur will be moved
1832 away upward or downward. If this happens, attaching the slur to the
1833 stems might look better:
1835 @lilypond[fragment,relative,verbatim]
1838 \property Voice.Slur \set #'attachment = #'(stem . stem)
1845 @cindex @code{\slurUp}
1847 @cindex @code{\slurDown}
1849 @cindex @code{\slurBoth}
1851 @cindex @code{\slurDotted}
1853 @cindex @code{\slurSolid}
1858 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1863 Producing nice slurs is a difficult problem, and LilyPond currently
1864 uses a simple, empiric method to produce slurs. In some cases, its
1868 @cindex Adjusting slurs
1870 @node Phrasing slurs
1871 @subsection Phrasing slurs
1873 @cindex phrasing slurs
1874 @cindex phrasing marks
1876 A phrasing slur (or phrasing mark) connects chords and is used to
1877 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1880 @lilypond[fragment,verbatim,center,relative]
1881 \time 6/4 c'\( d( e) f( e) d\)
1884 Typographically, the phrasing slur behaves almost exactly like a
1885 normal slur. However, they are treated as different objects. A
1886 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1887 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1888 @code{\phrasingSlurBoth}.
1890 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1891 will only affect normal slurs and not phrasing slurs.
1895 @cindex @code{\phrasingSlurUp}
1896 @code{\phrasingSlurUp},
1897 @cindex @code{\phrasingSlurDown}
1898 @code{\phrasingSlurDown},
1899 @cindex @code{\phrasingSlurBoth}
1900 @code{\phrasingSlurBoth},
1904 Internals: see also @internalsref{PhrasingSlur}, and
1905 @internalsref{PhrasingSlurEvent}.
1909 Phrasing slurs have the same limitations in their formatting as normal
1910 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1913 @subsection Breath marks
1915 Breath marks are entered using @code{\breathe}:
1918 @lilypond[fragment,relative,verbatim]
1922 The glyph of the breath mark can be tweaked by overriding the
1923 @code{text} property of the @code{BreathingSign} layout object with
1924 any markup text. For example,
1925 @lilypond[fragment,verbatim,relative]
1927 \property Voice.BreathingSign \override #'text
1928 = #(make-musicglyph-markup "scripts-rvarcomma")
1935 Internals: @internalsref{BreathingSign},
1936 @internalsref{BreathingSignEvent}
1938 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1941 @node Metronome marks
1942 @subsection Metronome marks
1945 @cindex beats per minute
1946 @cindex metronome marking
1948 Metronome settings can be entered as follows:
1950 \tempo @var{duration} = @var{perminute}
1953 In the MIDI output, they are interpreted as a tempo change, and in the
1954 paper output, a metronome marking is printed:
1955 @cindex @code{\tempo}
1956 @lilypond[fragment,verbatim]
1962 Internals: @internalsref{MetronomeChangeEvent}.
1967 @subsection Text spanners
1968 @cindex Text spanners
1970 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1971 are written as texts, and extended over many measures with dotted
1972 lines. You can create such texts using text spanners: attach
1973 @code{\startTextSpan} and @code{\stopTextSpan} to the
1974 start and ending note of the spanner.
1976 The string to be printed, as well as the style, is set through object
1979 @lilypond[fragment,relative,verbatim]
1981 \property Voice.TextSpanner \set #'direction = #-1
1982 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1983 c2\startTextSpan b c\stopTextSpan a }
1989 Internals @internalsref{TextSpanEvent},
1990 @internalsref{TextSpanner}.
1992 Examples: @inputfileref{input/regression,text-spanner.ly}.
1995 @node Analysis brackets
1996 @subsection Analysis brackets
1998 @cindex phrasing brackets
1999 @cindex musicological analysis
2000 @cindex note grouping bracket
2002 Brackets are used in musical analysis to indicate structure in musical
2003 pieces. LilyPond supports a simple form of nested horizontal brackets.
2004 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2005 @internalsref{Staff} context. A bracket is started with
2006 @code{\startGroup} and closed with @code{\stopGroup}:
2008 @lilypond[singleline,verbatim]
2009 \score { \notes \relative c'' {
2010 c4\startGroup\startGroup
2013 c4\stopGroup\stopGroup
2015 \paper { \translator {
2016 \StaffContext \consists "Horizontal_bracket_engraver"
2022 Internals: @internalsref{HorizontalBracket},
2023 @internalsref{NoteGroupingEvent}
2025 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2029 @subsection Articulations
2030 @cindex Articulations
2032 @cindex articulations
2036 A variety of symbols can appear above and below notes to indicate
2037 different characteristics of the performance. They are added to a note
2038 by adding a dash and the character signifying the
2039 articulation. They are demonstrated here:
2041 @lilypondfile[notexidoc]{script-abbreviations.ly}
2043 The meanings of these shorthands can be changed: see
2044 @file{ly/script-init.ly} for examples.
2047 The script is automatically placed, but if you need to force
2048 directions, you can use @code{_} to force them down, or @code{^} to
2050 @lilypond[fragment, verbatim]
2054 Other symbols can be added using the syntax
2055 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2056 can be forced up or down using @code{^} and @code{_},
2059 @lilypond[verbatim,fragment,relative 2]
2060 c\fermata c^\fermata c_\fermata
2067 @cindex staccatissimo
2076 @cindex organ pedal marks
2085 @cindex prallmordent
2089 @cindex thumb marking
2094 @lilypondfile[notexidoc]{script-chart.ly}
2099 @cindex @code{\scriptUp}
2101 @cindex @code{\scriptDown}
2103 @cindex @code{\scriptBoth}
2108 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2112 These note ornaments appear in the printed output but have no
2113 effect on the MIDI rendering of the music.
2116 @node Fingering instructions
2117 @subsection Fingering instructions
2121 Fingering instructions can be entered using
2123 @var{note}-@var{digit}
2125 For finger changes, use markup texts:
2127 @lilypond[verbatim, singleline, fragment]
2128 c'4-1 c'4-2 c'4-3 c'4-4
2129 c'^\markup { \fontsize #-3 \number "2-3" }
2132 @cindex finger change
2137 You can use the thumb-script to indicate that a note should be
2138 played with your thumb (used in cello music):
2140 @lilypond[verbatim, singleline, fragment]
2141 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2142 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2145 Fingerings for chords can also be added to individual notes
2146 of the chord by adding them after the pitches:
2147 @lilypond[verbatim,singleline,fragment,relative=1]
2148 < c-1 e-2 g-3 b-5 > 4
2151 Setting @code{fingeringOrientations} will put fingerings next
2154 @lilypond[verbatim,singleline,fragment,relative=1]
2155 \property Voice.fingeringOrientations = #'(left down)
2156 <c-1 es-2 g-4 bes-5 > 4
2157 \property Voice.fingeringOrientations = #'(up right down)
2158 <c-1 es-2 g-4 bes-5 > 4
2163 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
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 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2338 A score that starts with an @code{\grace} section needs an explicit
2339 @code{\context Voice} declaration, otherwise the main note and grace
2340 note end up on different staves.
2342 Grace note synchronization can also lead to surprises. Staff notation,
2343 such as key signatures, barlines, etc. are also synchronized. Take
2344 care when you mix staves with grace notes and staves without, for example,
2346 @lilypond[relative=2,verbatim,fragment]
2347 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2348 \new Staff { c4 \bar "|:" d4 } >>
2351 Grace sections should only be used within sequential music
2352 expressions. Nesting or juxtaposing grace sections is not supported,
2353 and might produce crashes or other errors.
2355 Overriding settings cannot be done in separate styles for appoggiatura
2360 @subsection Glissando
2363 @cindex @code{\glissando}
2365 A glissando is a smooth change in pitch. It is denoted by a line or a
2366 wavy line between two notes.
2370 A glissando line can be requested by attaching a @code{\glissando} to
2373 @lilypond[fragment,relative,verbatim]
2379 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2384 Adding additional texts (such as @emph{gliss.}) is not supported.
2388 @subsection Dynamics
2401 @cindex @code{\ffff}
2411 Absolute dynamic marks are specified using an variable after a
2412 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2413 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2414 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2415 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2417 @lilypond[verbatim,singleline,fragment,relative]
2418 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2424 @cindex @code{\decr}
2425 @cindex @code{\rced}
2432 A crescendo mark is started with @code{\<} and terminated with
2433 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2434 with @code{\!}. Because these marks are bound to notes, if you must
2435 use spacer notes if multiple marks during one note are needed:
2437 @lilypond[fragment,verbatim,center,quote]
2438 c''\< c''\! d''\decr e''\rced
2439 << f''1 { s4 s4\< s4\! \> s4\! } >>
2441 This may give rise to very short hairpins. Use @code{minimum-length}
2442 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2446 \property Staff.Hairpin \override #'minimum-length = #5
2449 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2450 is an example how to do it:
2452 @lilypond[fragment,relative=2,verbatim]
2453 c4 \cresc c4 c c c \endcresc c4
2459 You can also supply your own texts:
2460 @lilypond[fragment,relative,verbatim]
2462 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2463 \property Voice.crescendoSpanner = #'dashed-line
2473 @cindex @code{\dynamicUp}
2475 @cindex @code{\dynamicDown}
2476 @code{\dynamicDown},
2477 @cindex @code{\dynamicBoth}
2478 @code{\dynamicBoth}.
2480 @cindex direction, of dynamics
2484 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2485 @internalsref{AbsoluteDynamicEvent}.
2487 Dynamics are objects of @internalsref{DynamicText} and
2488 @internalsref{Hairpin}. Vertical positioning of these symbols is
2489 handled by the @internalsref{DynamicLineSpanner} object.
2491 If you want to adjust padding or vertical direction of the dynamics, you
2492 must set properties for the @internalsref{DynamicLineSpanner} object.
2500 @cindex @code{\repeat}
2503 Repetition is a central concept in music, and multiple notations exist
2504 for repetitions. In LilyPond, most of these notations can be captured
2505 in a uniform syntax. One of the advantages is that they can be
2506 rendered in MIDI accurately.
2508 The following types of repetition are supported:
2512 Repeated music is fully written (played) out. Useful for MIDI
2513 output, and entering repetitive music.
2516 This is the normal notation: Repeats are not written out, but
2517 alternative endings (voltas) are printed, left to right.
2521 Alternative endings are written stacked. This has limited use but may be
2522 used to typeset two lines of lyrics in songs with repeats, see
2523 @inputfileref{input,star-spangled-banner.ly}.
2531 Make beat or measure repeats. These look like percent signs.
2537 * Repeats and MIDI::
2538 * Manual repeat commands::
2540 * Tremolo subdivisions::
2545 @subsection Repeat syntax
2549 LilyPond has one syntactic construct for specifying different types of
2550 repeats. The syntax is
2553 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2556 If you have alternative endings, you may add
2557 @cindex @code{\alternative}
2559 \alternative @code{@{} @var{alternative1}
2561 @var{alternative3} @dots{} @code{@}}
2563 where each @var{alternative} is a music expression. If you do not
2564 give enough alternatives for all of the repeats, then the first
2565 alternative is assumed to be played more than once.
2567 Normal notation repeats are used like this:
2568 @lilypond[fragment,verbatim,relative 1]
2570 \repeat volta 2 { c4 d e f }
2571 \repeat volta 2 { f e d c }
2574 With alternative endings:
2575 @lilypond[fragment,verbatim,relative 1]
2577 \repeat volta 2 {c4 d e f}
2578 \alternative { {d2 d} {f f,} }
2582 @lilypond[fragment,verbatim,relative 1]
2585 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2586 \alternative { { g4 g g } { a | a a a a | b2. } }
2592 If you do a nested repeat like
2601 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2602 belongs. This ambiguity is resolved by always having the
2603 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2604 it is advisable to use braces in such situations.
2607 @node Repeats and MIDI
2608 @subsection Repeats and MIDI
2610 @cindex expanding repeats
2612 For instructions on how to unfold repeats for MIDI output, see the
2613 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2618 Timing information is not remembered at the start of an alternative,
2619 so after a repeat timing information must be reset by hand, for
2620 example by setting @code{Score.measurePosition} or entering
2621 @code{\partial}. Similarly, slurs or ties are also not repeated.
2624 @node Manual repeat commands
2625 @subsection Manual repeat commands
2627 @cindex @code{repeatCommands}
2629 The property @code{repeatCommands} can be used to control the layout of
2630 repeats. Its value is a Scheme list of repeat commands, where each repeat
2634 @item the symbol @code{start-repeat},
2635 which prints a @code{|:} bar line,
2636 @item the symbol @code{end-repeat},
2637 which prints a @code{:|} bar line,
2638 @item the list @code{(volta @var{text})},
2639 which prints a volta bracket saying @var{text}: The text can be specified as
2640 a text string or as a markup text, see @ref{Text markup}. Do not
2641 forget to change the font, as the default number font does not contain
2642 alphabetic characters. Or,
2643 @item the list @code{(volta #f)}, which
2644 stops a running volta bracket:
2647 @lilypond[verbatim, fragment,relative 2]
2649 \property Score.repeatCommands = #'((volta "93") end-repeat)
2651 \property Score.repeatCommands = #'((volta #f))
2658 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2659 @internalsref{VoltaRepeatedMusic},
2660 @internalsref{UnfoldedRepeatedMusic}, and
2661 @internalsref{FoldedRepeatedMusic}.
2663 @node Tremolo repeats
2664 @subsection Tremolo repeats
2665 @cindex tremolo beams
2667 To place tremolo marks between notes, use @code{\repeat} with tremolo
2669 @lilypond[verbatim,singleline]
2671 \context Voice \notes\relative c' {
2672 \repeat "tremolo" 8 { c16 d16 }
2673 \repeat "tremolo" 4 { c16 d16 }
2674 \repeat "tremolo" 2 { c16 d16 }
2679 Tremolo marks can also be put on a single note. In this case, the
2680 note should not be surrounded by braces.
2681 @lilypond[verbatim,singleline]
2682 \repeat "tremolo" 4 c16
2685 A similar mechanism is the tremolo subdivision, described in
2686 @ref{Tremolo subdivisions}.
2690 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2692 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2693 tremolos are @internalsref{StemTremolo}s. The music expression is
2694 @internalsref{TremoloEvent},
2696 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2697 @inputfileref{input/regression,stem-tremolo.ly}.
2699 @node Tremolo subdivisions
2700 @subsection Tremolo subdivisions
2701 @cindex tremolo marks
2702 @cindex @code{tremoloFlags}
2704 Tremolo marks can be printed on a single note by adding
2705 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2706 A @var{length} value of 8 gives one line across the note stem. If the
2707 length is omitted, then then the last value (stored in
2708 @code{Voice.tremoloFlags}) is used:
2710 @lilypond[verbatim,fragment,center]
2711 c'2:8 c':32 | c': c': |
2714 @c [TODO : stok is te kort bij 32en]
2718 Tremolos in this style do not carry over into the MIDI output.
2722 In this manual: @ref{Tremolo repeats}.
2724 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2726 @node Measure repeats
2727 @subsection Measure repeats
2729 @cindex percent repeats
2730 @cindex measure repeats
2732 In the @code{percent} style, a note pattern can be repeated. It is
2733 printed once, and then the pattern is replaced with a special sign.
2734 Patterns of a one and two measures are replaced by percent-like signs,
2735 patterns that divide the measure length are replaced by slashes:
2737 @lilypond[verbatim,singleline]
2738 \context Voice { \repeat "percent" 4 { c'4 }
2739 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2745 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2746 @internalsref{PercentRepeatedMusic}, and
2747 @internalsref{DoublePercentRepeat}.
2751 @node Rhythmic music
2752 @section Rhythmic music
2754 Sometimes you might want to show only the rhythm of a melody. This
2755 can be done with the rhythmic staff. All pitches of notes on such a
2756 staff are squashed, and the staff itself has a single line:
2758 @lilypond[fragment,relative,verbatim]
2759 \context RhythmicStaff {
2761 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2766 * Percussion staves::
2767 * Percussion MIDI output::
2770 @node Percussion staves
2771 @subsection Percussion staves
2775 A percussion part for more than one instrument typically uses a
2776 multiline staff where each position in the staff refers to one piece
2781 Percussion staves are typeset with help of a set of Scheme
2782 functions. The system is based on the general MIDI drum-pitches.
2783 Include @file{drumpitch-init.ly} to use drum pitches. This file
2784 defines the pitches from the Scheme variable @code{drum-pitch-names},
2785 the definition of which can be read in @file{scm/drums.scm}. Each
2786 piece of percussion has a full name and an abbreviated name, and either
2787 the full name or the abbreviation may be used in input files.
2789 To typeset the music on a staff apply the function @code{drums->paper}
2790 to the percussion music. This function takes a list of percussion
2791 instrument names, notehead scripts and staff positions (that is:
2792 pitches relative to the C-clef) and transforms the input
2793 music by moving the pitch, changing the notehead and (optionally)
2796 @lilypond[singleline,verbatim,quote]
2797 \include "drumpitch-init.ly"
2798 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2799 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2801 \apply #(drums->paper 'drums) \context Staff <<
2803 \new Voice { \voiceOne \up }
2804 \new Voice { \voiceTwo \down }
2809 In the above example the music was transformed using the list @code{'drums}.
2810 The following lists are defined in @file{scm/drums.scm}:
2813 to typeset a typical drum kit on a five-line staff:
2816 \include "drumpitch-init.ly"
2817 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2818 bd sn ss tomh tommh tomml toml tomfh tomfl }
2819 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2820 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2823 \apply #(drums->paper 'drums) \context Staff <<
2827 \context Lyrics \nam
2830 linewidth = 100.0\mm
2833 \remove Bar_engraver
2834 \remove Time_signature_engraver
2835 minimumVerticalExtent = #'(-4.0 . 5.0)
2839 \remove Stem_engraver
2845 The drum scheme supports six different toms. When there fewer toms, simply
2846 select the toms that produce the desired result, i.e. to get toms on
2847 the three middle lines you use @code{tommh}, @code{tomml} and
2850 Because general MIDI does not contain rimshots the sidestick is used
2851 for this purpose instead.
2853 to typeset timbales on a two line staff:
2855 @lilypond[singleline]
2856 \include "drumpitch-init.ly"
2857 nam = \lyrics { timh ssh timl ssl cb }
2858 mus = \notes { timh ssh timl ssl cb s16 }
2861 \apply #(drums->paper 'timbales) \context Staff <<
2865 \context Lyrics \nam
2870 \remove Bar_engraver
2871 \remove Time_signature_engraver
2872 StaffSymbol \override #'line-count = #2
2873 StaffSymbol \override #'staff-space = #2
2874 minimumVerticalExtent = #'(-3.0 . 4.0)
2878 \remove Stem_engraver
2885 to typeset congas on a two line staff:
2887 @lilypond[singleline]
2888 \include "drumpitch-init.ly"
2889 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2890 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2893 \apply #(drums->paper 'congas) \context Staff <<
2897 \context Lyrics \nam
2902 \remove Bar_engraver
2903 \remove Time_signature_engraver
2904 StaffSymbol \override #'line-count = #2
2905 StaffSymbol \override #'staff-space = #2
2906 minimumVerticalExtent = #'(-3.0 . 4.0)
2910 \remove Stem_engraver
2916 to typeset bongos on a two line staff:
2918 @lilypond[singleline]
2919 \include "drumpitch-init.ly"
2920 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2921 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2924 \apply #(drums->paper 'bongos) \context Staff <<
2928 \context Lyrics \nam
2933 \remove Bar_engraver
2934 \remove Time_signature_engraver
2935 StaffSymbol \override #'line-count = #2
2936 StaffSymbol \override #'staff-space = #2
2937 minimumVerticalExtent = #'(-3.0 . 4.0)
2941 \remove Stem_engraver
2947 to typeset all kinds of simple percussion on one line staves:
2948 @lilypond[singleline]
2949 \include "drumpitch-init.ly"
2950 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2951 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2954 \apply #(drums->paper 'percussion) \context Staff <<
2958 \context Lyrics \nam
2963 \remove Bar_engraver
2964 \remove Time_signature_engraver
2965 StaffSymbol \override #'line-count = #1
2966 minimumVerticalExtent = #'(-2.0 . 3.0)
2970 \remove Stem_engraver
2977 If you do not like any of the predefined lists you can define your own
2978 list at the top of your file:
2980 @lilypond[singleline, verbatim]
2981 #(set-drum-kit 'mydrums `(
2982 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2983 (snare default #f ,(ly:make-pitch 0 1 0))
2984 (hihat cross #f ,(ly:make-pitch 0 5 0))
2985 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2986 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2988 \include "drumpitch-init.ly"
2989 up = \notes { hh8 hh hh hh hhp4 hhp }
2990 down = \notes { bd4 sn bd toml8 toml }
2992 \apply #(drums->paper 'mydrums) \context Staff <<
2994 \new Voice { \voiceOne \up }
2995 \new Voice { \voiceTwo \down }
3000 To use a modified existing list, one can prepend modifications to the
3004 #(set-drum-kit 'mydrums (append `(
3005 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3006 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3007 ) (get-drum-kit 'drums)))
3010 You can easily combine percussion notation with pitched notation.
3011 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3012 names, so you will have to reinclude @file{nederlands.ly} after the
3013 drum-pattern-definitions to enter normal notes:
3015 @lilypond[singleline,verbatim]
3016 \include "drumpitch-init.ly"
3017 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3018 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3019 \include "nederlands.ly"
3020 bass = \notes \transpose c c,, { a4. e8 r e g e }
3023 \apply #(drums->paper 'drums) \new Staff <<
3025 \new Voice { \voiceOne \up }
3026 \new Voice { \voiceTwo \down }
3028 \new Staff { \clef "F_8" \bass }
3033 @node Percussion MIDI output
3034 @subsection Percussion MIDI output
3036 In order to produce correct MIDI output you need to produce two score
3037 blocks---one for the paper and one for the MIDI output. To use the
3038 percussion channel you set the property @code{instrument} to
3039 @code{'drums}. Because the drum-pitches themselves are similar to the
3040 general MIDI pitches all you have to do is to insert the voices with
3041 none of the scheme functions to get the correct MIDI output:
3045 \apply #(drums->paper 'mydrums) \context Staff <<
3054 \property Staff.instrument = #'drums
3064 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3065 temporary implementation.
3069 @section Piano music
3071 Piano staves are two normal staves coupled with a brace. The staves
3072 are largely independent, but sometimes voices can cross between the
3073 two staves. The same notation is also used for harps and other key
3074 instruments. The @internalsref{PianoStaff} is especially built to
3075 handle this cross-staffing behavior. In this section we discuss the
3076 @internalsref{PianoStaff} and some other pianistic peculiarities.
3080 * Automatic staff changes::
3081 * Manual staff switches::
3084 * Staff switch lines::
3089 There is no support for putting chords across staves. You can get
3090 this result by increasing the length of the stem in the lower stave so
3091 it reaches the stem in the upper stave, or vice versa. An example is
3092 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3094 Dynamics are not centered, but kludges do exist. See
3095 @inputfileref{input/template,piano-dynamics.ly}.
3097 @cindex cross staff stem
3098 @cindex stem, cross staff
3101 @c fixme: should have hyperlinks as well.
3107 @node Automatic staff changes
3108 @subsection Automatic staff changes
3109 @cindex Automatic staff changes
3111 Voices can switch automatically between the top and the bottom
3112 staff. The syntax for this is
3114 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3116 The two staffs of the piano staff must be named @code{up} and
3119 The autochanger switches on basis of pitch (central C is the turning
3120 point), and it looks ahead skipping over rests to switch in
3121 advance. Here is a practical example:
3123 @lilypond[verbatim,singleline,quote]
3124 \score { \notes \context PianoStaff <<
3125 \context Staff = "up" {
3126 \autochange Staff \context Voice = VA << \relative c' {
3127 g4 a b c d r4 a g } >> }
3128 \context Staff = "down" {
3135 In this example, spacer rests are used to prevent the bottom staff from
3136 terminating too soon.
3141 In this manual: @ref{Manual staff switches}
3143 Internals: @internalsref{AutoChangeMusic}.
3149 The staff switches often do not end up in optimal places. For high
3150 quality output, staff switches should be specified manually.
3153 @node Manual staff switches
3154 @subsection Manual staff switches
3156 @cindex manual staff switches
3157 @cindex staff switch, manual
3159 Voices can be switched between staves manually, using the following command:
3161 \change Staff = @var{staffname} @var{music}
3165 The string @var{staffname} is the name of the staff. It switches the
3166 current voice from its current staff to the Staff called
3167 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3176 Pianos have pedals that alter the way sound are produced. Generally, a
3177 piano has three pedals, sustain, una corda, and sostenuto.
3181 Piano pedal instruction can be expressed by attaching
3182 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3183 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3186 @lilypond[fragment,verbatim]
3187 c'4\sustainDown c'4\sustainUp
3190 What is printed can be modified by setting @code{pedal@var{X}Strings},
3191 where @var{X} is one of the pedal types: @code{Sustain},
3192 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3193 documentation of @internalsref{SustainPedal} for more information.
3195 Pedals can also be indicated by a sequence of brackets, by setting the
3196 @code{pedalSustainStyle} property to @code{bracket} objects:
3198 @lilypond[fragment,verbatim]
3199 \property Staff.pedalSustainStyle = #'bracket
3200 c''4\sustainDown d''4 e''4
3201 a'4\sustainUp\sustainDown
3202 f'4 g'4 a'4\sustainUp
3205 A third style of pedal notation is a mixture of text and brackets,
3206 obtained by setting @code{pedal-type} to @code{mixed}:
3208 @lilypond[fragment,verbatim]
3209 \property Staff.pedalSustainStyle = #'mixed
3210 c''4\sustainDown d''4 e''4
3211 c'4\sustainUp\sustainDown
3212 f'4 g'4 a'4\sustainUp
3215 The default `*Ped' style for sustain and damper pedals corresponds to
3216 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3217 for a sostenuto pedal:
3219 @lilypond[fragment,verbatim]
3220 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3223 For fine-tuning of the appearance of a pedal bracket, the properties
3224 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3225 @code{PianoPedalBracket} objects (see
3226 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3227 bracket may be extended to the end of the note head:
3229 @lilypond[fragment,verbatim]
3230 \property Staff.PianoPedalBracket \override
3231 #'shorten-pair = #'(0 . -1.0)
3232 c''4\sostenutoDown d''4 e''4 c'4
3233 f'4 g'4 a'4\sostenutoUp
3237 @subsection Arpeggio
3240 @cindex broken arpeggio
3241 @cindex @code{\arpeggio}
3243 You can specify an arpeggio sign on a chord by attaching an
3244 @code{\arpeggio} to a chord:
3247 @lilypond[fragment,relative,verbatim]
3251 When an arpeggio crosses staves, you attach an arpeggio to the chords
3252 in both staves, and set
3253 @internalsref{PianoStaff}.@code{connectArpeggios}:
3255 @lilypond[fragment,relative,verbatim]
3256 \context PianoStaff <<
3257 \property PianoStaff.connectArpeggios = ##t
3258 \new Staff { <c' e g c>\arpeggio }
3259 \new Staff { \clef bass <c,, e g>\arpeggio }
3263 The direction of the arpeggio is sometimes denoted by adding an
3264 arrowhead to the wiggly line. This can be typeset by setting
3265 @code{arpeggio-direction}:
3267 @lilypond[fragment,relative,verbatim]
3269 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3271 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3276 A square bracket on the left indicates that the player should not
3277 arpeggiate the chord. To draw these brackets, set the
3278 @code{molecule-callback} property of @code{Arpeggio} or
3279 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3280 @code{\arpeggio} statements within the chords as before:
3282 @lilypond[fragment,relative,verbatim]
3283 \property PianoStaff.Arpeggio \override
3284 #'molecule-callback = \arpeggioBracket
3290 @cindex @code{\arpeggioBracket}
3291 @code{\arpeggioBracket},
3292 @cindex @code{\arpeggio}
3297 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3298 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3299 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3303 It is not possible to mix connected arpeggios and unconnected
3304 arpeggios in one @internalsref{PianoStaff} at the same time.
3306 @node Staff switch lines
3307 @subsection Staff switch lines
3310 @cindex follow voice
3311 @cindex staff switching
3314 @cindex @code{followVoice}
3316 Whenever a voice switches to another staff a line connecting the notes
3317 can be printed automatically. This is enabled if the property
3318 @code{PianoStaff.followVoice} is set to true:
3320 @lilypond[fragment,relative,verbatim]
3321 \context PianoStaff <<
3322 \property PianoStaff.followVoice = ##t
3323 \context Staff \context Voice {
3328 \context Staff=two { \clef bass \skip 1*2 }
3332 The associated object is @internalsref{VoiceFollower}.
3336 @cindex @code{\showStaffSwitch}
3337 @code{\showStaffSwitch},
3338 @cindex @code{\hideStaffSwitch}
3339 @code{\hideStaffSwitch}.
3343 @section Vocal music
3345 This section discusses how to enter and print lyrics.
3349 * The Lyrics context::
3354 @node Entering lyrics
3355 @subsection Entering lyrics
3359 @cindex @code{\lyrics}
3362 Lyrics are entered in a special input mode. This mode is is introduced
3363 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3364 punctuation and accents without any hassle. Syllables are entered like
3365 notes, but with pitches replaced by text. For example,
3367 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3370 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3371 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3372 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3373 any 8-bit character with ASCII code over 127, or a two-character
3374 combination of a backslash followed by one of @code{`}, @code{'},
3375 @code{"}, or @code{^}.
3377 Subsequent characters of a word can be any character that is not a digit
3378 and not white space. One important consequence of this is that a word
3379 can end with @code{@}}. The following example is usually a bug. The
3380 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3382 \lyrics @{ twinkle@}
3385 @cindex @code{\property}, in @code{\lyrics}
3386 Similarly, a period following a alphabetic sequence, is included in the
3387 resulting string. As a consequence, spaces must be inserted around
3388 @code{\property} commands:
3390 \property Lyrics . LyricText \set #'font-shape = #'italic
3394 @cindex spaces, in lyrics
3395 @cindex quotes, in lyrics
3397 Any @code{_} character which appears in an unquoted word is converted
3398 to a space. This provides a mechanism for introducing spaces into words
3399 without using quotes. Quoted words can also be used in Lyrics mode to
3400 specify words that cannot be written with the above rules:
3403 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3407 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3412 These will be attached to the end of the first syllable.
3414 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3415 as a separate word between syllables. The hyphen will have variable
3416 length depending on the space between the syllables and it will be
3417 centered between the syllables.
3422 When a lyric is sung over many notes (this is called a melisma), this is
3423 indicated with a horizontal line centered between a syllable and the
3424 next one. Such a line is called an extender line, and it is entered as
3429 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3430 @internalsref{ExtenderEvent}.
3434 The definition of lyrics mode is too complex.
3436 @node The Lyrics context
3437 @subsection The Lyrics context
3439 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3441 \context Lyrics \lyrics @dots{}
3444 @cindex automatic syllable durations
3445 @cindex @code{\addlyrics}
3446 @cindex lyrics and melodies
3448 This will place the lyrics according to the durations that were
3449 entered. The lyrics can also be aligned under a given melody
3450 automatically. In this case, it is no longer necessary to enter the
3451 correct duration for each syllable. This is achieved by combining the
3452 melody and the lyrics with the @code{\addlyrics} expression:
3456 \context Lyrics @dots{}
3459 @cindex staff order, with @code{\addlyrics}
3461 Normally, this will put the lyrics below the staff. For different or
3462 more complex orderings, the best way is to setup the hierarchy of
3463 staves and lyrics first, e.g.
3465 \context ChoirStaff \notes <<
3466 \context Lyrics = sopr @{ s1 @}
3467 \context Staff = soprStaff @{ s1 @}
3468 \context Lyrics = tenor @{ s1 @}
3469 \context Staff = tenorStaff @{ s1 @}
3472 and then combine the appropriate melodies and lyric lines:
3475 \context Staff = soprStaff @emph{the music}
3476 \context Lyrics = sopr @emph{the lyrics}
3479 putting both together, you would get
3481 \context ChoirStaff \notes <<
3482 \context Lyrics = @dots{}
3483 \context Staff = @dots{}
3489 @cindex choral score
3491 A complete example of a SATB score setup is in the file
3492 @inputfileref{input/template,satb.ly}.
3496 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
3498 Examples: @inputfileref{input/template,satb.ly}.
3502 @code{\addlyrics} is not automatic enough: melismata are not detected
3503 automatically, and melismata are not stopped when they hit a rest. A
3504 melisma on the last note in a melody is not printed.
3508 @subsection More stanzas
3511 @cindex phrasing, in lyrics
3514 The lyrics should be aligned with the note heads of the melody. To
3515 achieve this, each line of lyrics should be marked to correspond with
3518 To this end, give the @internalsref{Voice} context an identity:
3520 \context Voice = duet @{
3525 Then set the @internalsref{LyricsVoice} contexts to names starting with
3526 that identity followed by a dash. In the preceding example, the
3527 @internalsref{Voice} identity is @code{duet}, so the identities of the
3528 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3530 \context LyricsVoice = "duet-1" @{
3531 Hi, my name is bert. @}
3532 \context LyricsVoice = "duet-2" @{
3533 Ooooo, ch\'e -- ri, je t'aime. @}
3536 The complete example is shown here:
3537 @lilypond[singleline,verbatim]
3540 \notes \relative c'' \context Voice = duet { \time 3/4
3542 \lyrics \context Lyrics <<
3543 \context LyricsVoice = "duet-1" {
3544 \property LyricsVoice . stanza = "Bert"
3545 Hi, my name is bert. }
3546 \context LyricsVoice = "duet-2" {
3547 \property LyricsVoice . stanza = "Ernie"
3548 Ooooo, ch\'e -- ri, je t'aime. }
3553 @cindex stanza number
3554 @cindex singer's names
3555 @cindex name of singer
3557 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3560 \property LyricsVoice . stanza = "Bert"
3562 \property LyricsVoice . stanza = "Ernie"
3565 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3566 prevent @code{LyricsVoice.stanza} being interpreted as a single
3569 Names of the singers should be added using @code{LyricsVoice
3570 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3571 annotations for staves.
3573 To make empty spaces in lyrics, use @code{\skip}.
3581 Input for lyrics introduces a syntactical ambiguity:
3588 is interpreted as assigning a string identifier @code{\foo} such that
3589 it contains @code{"bar"}. However, it could also be interpreted as
3590 making or a music identifier @code{\foo} containing the syllable
3591 `bar'. The force the latter interpretation, use
3601 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3602 for a given voice in a part of music. It also may denote the pitch
3603 range that a musical instrument is capable of playing. Most musical
3604 instruments have their ambitus standardized (or at least there is
3605 agreement upon the minimal ambitus of a particular type of
3606 instrument), such that a composer or arranger of a piece of music can
3607 easily meet the ambitus constraints of the targeted instrument.
3608 However, the ambitus of the human voice depends on individual
3609 physiological state, including education and training of the voice.
3610 Therefore, a singer potentially has to check for each piece of music
3611 if the ambitus of that piece meets his individual capabilities. This
3612 is why the ambitus of a piece may be of particular value to vocal
3615 The ambitus is typically notated on a per-voice basis at the very
3616 beginning of a piece, e.g. nearby the initial clef or time signature of
3617 each staff. The range is graphically specified by two noteheads, that
3618 represent the minimum and maximum pitch. Some publishers use a textual
3619 notation: they put the range in words in front of the corresponding
3620 staff. LilyPond only supports the graphical ambitus notation.
3622 To apply, add the @internalsref{Ambitus_engraver} to the
3623 @internalsref{Voice} context, i.e.
3629 \consists Ambitus_engraver
3634 This results in the following output:
3635 @lilypond[singleline]
3636 upper = \notes \relative c {
3639 as'' c e2 bes f cis d4 e f2 g
3641 lower = \notes \relative c {
3644 e'4 b g a c es fis a cis b a g f e d2
3647 \context ChoirStaff {
3649 \new Staff { \upper }
3650 \new Staff { \lower }
3656 \consists Ambitus_engraver
3662 If you have multiple voices in a single staff, and you want a single
3663 ambitus per staff rather than per each voice, then add the
3664 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3665 rather than to the @internalsref{Voice} context.
3667 It is possible to tune individual ambituses for multiple voices on a
3668 single staff, for example by erasing or shifting them horizontally. An
3669 example is in @inputfileref{input/test,ambitus-mixed.ly}
3673 Internals: @internalsref{Ambitus}
3675 Examples: @inputfileref{input/regression,ambitus.ly},
3676 @inputfileref{input/test,ambitus-mixed.ly}.
3680 There is no collision handling in the case of multiple per-voice
3686 Tablature notation is used for notating music for plucked string
3687 instruments. It notates pitches not by using note heads, but by
3688 indicating on which string and fret a note must be played. LilyPond
3689 offers limited support for tablature.
3692 * Tablatures basic::
3693 * Non-guitar tablatures::
3696 @node Tablatures basic
3697 @subsection Tablatures basic
3698 @cindex Tablatures basic
3700 The string number associated to a note is given as a backslash
3701 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3702 string. By default, string 1 is the highest one, and the tuning
3703 defaults to the standard guitar tuning (with 6 strings). The notes
3704 are printed as tablature, by using @internalsref{TabStaff} and
3705 @internalsref{TabVoice} contexts:
3707 @lilypond[fragment,verbatim]
3708 \notes \context TabStaff {
3716 When no string is specified, the first string that does not give a
3717 fret number less than @code{minimumFret} is selected. The default
3718 value for @code{minimumFret} is 0:
3722 e8 fis gis a b cis' dis' e'
3723 \property TabStaff.minimumFret = #8
3724 e8 fis gis a b cis' dis' e'
3729 e8 fis gis a b cis' dis' e'
3730 \property TabStaff.minimumFret = #8
3731 e8 fis gis a b cis' dis' e'
3734 \context StaffGroup <<
3735 \context Staff { \clef "G_8" \frag }
3736 \context TabStaff { \frag }
3743 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3744 @internalsref{StringNumberEvent}.
3748 Chords are not handled in a special way, and hence the automatic
3749 string selector may easily select the same string to two notes in a
3753 @node Non-guitar tablatures
3754 @subsection Non-guitar tablatures
3755 @cindex Non-guitar tablatures
3757 You can change the number of strings, by setting the number of lines
3758 in the @internalsref{TabStaff}.
3760 You can change the tuning of the strings. A string tuning is given as
3761 a Scheme list with one integer number for each string, the number
3762 being the pitch (measured in semitones relative to central C) of an
3763 open string. The numbers specified for @code{stringTuning} are the
3764 numbers of semitones to subtract or add, starting the specified pitch
3765 by default middle C, in string order. Thus, the notes are e, a, d, and
3768 @lilypond[fragment,verbatim]
3769 \context TabStaff <<
3770 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3773 a,4 c' a e' e c' a e'
3778 It is possible to change the Scheme function to format the tablature
3779 note text. The default is @code{fret-number-tablature-format}, which
3780 uses the fret number. For instruments that do not use this notation,
3781 you can create a special tablature formatting function. This function
3782 takes three argument: string number, string tuning and note pitch.
3786 No guitar special effects have been implemented.
3791 @section Chord names
3794 LilyPond has support for both printing chord names. Chords may be
3795 entered in musical chord notation, i.e. @code{< .. >}, but they can
3796 also be entered by name. Internally, the chords are represented as a
3797 set of pitches, so they can be transposed:
3800 @lilypond[verbatim,singleline]
3801 twoWays = \notes \transpose c c' {
3811 << \context ChordNames \twoWays
3812 \context Voice \twoWays >> }
3815 This example also shows that the chord printing routines do not try to
3816 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3822 * Printing chord names::
3827 @subsection Chords mode
3830 Chord mode is a mode where you can input sets of pitches using common
3831 names. It is introduced by the keyword @code{\chords}.
3832 In chords mode, a chord is entered by the root, which is entered
3833 like a common pitch:
3834 @lilypond[fragment,verbatim,quote, relative=1]
3835 \chords { es4. d8 c2 }
3840 Other chords may be entered by suffixing a colon, and introducing a
3841 modifier, and optionally, a number:
3843 @lilypond[fragment,verbatim,quote]
3844 \chords { e1:m e1:7 e1:m7 }
3846 The first number following the root is taken to be the `type' of the
3847 chord, thirds are added to the root until it reaches the specified
3849 @lilypond[fragment,verbatim]
3850 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3853 @cindex root of chord
3854 @cindex additions, in chords
3855 @cindex removals, in chords
3857 More complex chords may also be constructed adding separate steps
3858 to a chord. Additions are added after the number following
3859 the colon, and are separated by dots:
3861 @lilypond[verbatim,fragment,quote]
3862 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3864 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3866 @lilypond[verbatim,fragment,quote]
3867 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3869 Removals are specified similarly, and are introduced by a caret. They
3870 must come after the additions:
3871 @lilypond[verbatim,fragment]
3872 \chords { c^3 c:7^5 c:9^3.5 }
3875 Modifiers can be used to change pitches. The following modifiers are
3879 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3881 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3884 is the augmented chord. This modifier raises the 5th step.
3886 is the major 7th chord. This modifier raises the 7th step if present.
3888 is the suspended 4th or 2nd. This modifier removes the 3rd
3889 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3892 Modifiers can be mixed with additions:
3893 @lilypond[verbatim,fragment]
3894 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3897 @cindex modifiers, in chords.
3904 Since an unaltered 11 does not sound good when combined with an
3905 unaltered 13, the 11 is removed in this case (unless it is added
3908 @lilypond[fragment,verbatim]
3909 \chords { c:13 c:13.11 c:m13 }
3914 An inversion (putting one pitch of the chord on the bottom), as well
3915 as bass notes, can be specified by appending
3916 @code{/}@var{pitch} to the chord:
3917 @lilypond[fragment,verbatim,center]
3918 \chords { c1 c/g c/f }
3922 A bass note can be added instead of transposed out of the chord,
3923 by using @code{/+}@var{pitch}.
3925 @lilypond[fragment,verbatim,center]
3926 \chords { c1 c/+g c/+f }
3929 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3930 of the commands continue to work, for example, @code{r} and
3931 @code{\skip} can be used to insert rests and spaces, and
3932 @code{\property} may be used to change various settings.
3938 Each step can only be present in a chord once. The following
3939 simply produces the augmented chord, since @code{5+} is interpreted
3942 @lilypond[verbatim,fragment]
3943 \chords { c:5.5-.5+ }
3947 @node Printing chord names
3948 @subsection Printing chord names
3950 @cindex printing chord names
3954 For displaying printed chord names, use the @internalsref{ChordNames} context.
3955 The chords may be entered either using the notation
3956 described above, or directly using @code{<} and @code{>}:
3958 @lilypond[verbatim,singleline]
3960 \chords {a1 b c} <d' f' a'> <e' g' b'>
3964 \context ChordNames \scheme
3965 \context Staff \scheme
3970 You can make the chord changes stand out by setting
3971 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3972 display chord names when there is a change in the chords scheme and at
3973 the start of a new line:
3975 @lilypond[verbatim, linewidth=9cm]
3977 c1:m c:m \break c:m c:m d
3981 \context ChordNames {
3982 \property ChordNames.chordChanges = ##t
3984 \context Staff \transpose c c' \scheme
3989 The default chord name layout is a system for Jazz music, proposed by
3990 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3991 following properties:
3994 @cindex chordNameExceptions
3995 @item chordNameExceptions
3996 This is a list that contains the chords that have special formatting.
3998 @inputfileref{input/regression,chord-name-exceptions.ly}.
3999 @cindex exceptions, chord names.
4002 @cindex majorSevenSymbol
4003 @item majorSevenSymbol
4004 This property contains the markup object used for the 7th step, when
4005 it is major. Predefined options are @code{whiteTriangleMarkup} and
4006 @code{blackTriangleMarkup}. See
4007 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4009 @cindex chordNameSeparator
4010 @item chordNameSeparator
4011 Different parts of a chord name are normally separated by a
4012 slash. By setting @code{chordNameSeparator}, you can specify other
4014 @lilypond[fragment,verbatim]
4015 \context ChordNames \chords {
4017 \property ChordNames.chordNameSeparator
4018 = \markup { \typewriter "|" }
4022 @cindex chordRootNamer
4023 @item chordRootNamer
4024 The root of a chord is usually printed as a letter with an optional
4025 alteration. The transformation from pitch to letter is done by this
4026 function. Special note names (for example, the German ``H'' for a
4027 B-chord) can be produced by storing a new function in this property.
4029 The pre-defined variables @code{\germanChords},
4030 @code{\semiGermanChords} set these variables.
4033 @cindex chordNoteNamer
4034 @item chordNoteNamer
4035 The default is to print single pitch, e.g. the bass note, using the
4036 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4037 to a specialized function to change this behavior. For example, the
4038 base can be printed in lower case.
4043 There are also two other chord name schemes implemented: an alternate
4044 Jazz chord notation, and a systematic scheme called Banter chords. The
4045 alternate jazz notation is also shown on the chart in @ref{Chord name
4046 chart}. Turning on these styles is described in the input file
4047 @inputfileref{input/test,chord-names-jazz.ly}.
4051 @cindex chords, jazz
4056 @cindex @code{\germanChords}
4057 @code{\germanChords},
4058 @cindex @code{\semiGermanChords}
4059 @code{\semiGermanChords}.
4066 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4067 @inputfileref{input/regression,chord-name-exceptions.ly},
4068 @inputfileref{input/test,chord-names-jazz.ly},
4069 @inputfileref{input/test,chord-names-german.ly}.
4071 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4076 Chord names are determined solely from the list of pitches. Chord
4077 inversions are not identified, and neither are added bass notes. This
4078 may result in strange chord names when chords are entered with the
4079 @code{< .. >} syntax.
4084 @node Orchestral music
4085 @section Orchestral music
4087 @cindex Writing parts
4089 Orchestral music involves some special notation, both in the full
4090 score and the individual parts. This section explains how to tackle
4091 some common problems in orchestral music.
4096 * Multiple staff contexts::
4099 * Instrument names::
4101 * Multi measure rests::
4102 * Automatic part combining::
4104 * Different editions from one source::
4105 * Sound output for transposing instruments::
4108 @node Multiple staff contexts
4109 @subsection Multiple staff contexts
4111 Polyphonic scores consist of many staves. These staves can be
4112 constructed in three different ways:
4114 @item The group is started with a brace at the left. This is done with the
4115 @internalsref{GrandStaff} context.
4116 @item The group is started with a bracket. This is done with the
4117 @internalsref{StaffGroup} context
4118 @item The group is started with a vertical line. This is the default
4122 @cindex Staff, multiple
4123 @cindex bracket, vertical
4124 @cindex brace, vertical
4131 @node Rehearsal marks
4132 @subsection Rehearsal marks
4133 @cindex Rehearsal marks
4135 @cindex @code{\mark}
4137 To print a rehearsal mark, use the @code{\mark} command:
4138 @lilypond[fragment,verbatim]
4148 The mark is incremented automatically if you use @code{\mark
4149 \default}. The value to use is stored in the property
4150 @code{rehearsalMark} is used and automatically incremented.
4152 The @code{\mark} command can also be used to put signs like coda,
4153 segno and fermatas on a barline. Use @code{\markup} to
4154 to access the appropriate symbol:
4156 @lilypond[fragment,verbatim,relative=1]
4157 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4161 In this case, during line breaks,
4162 marks must also be printed at the end of the line, and not at the
4163 beginning. Use the following to force that behavior:
4165 \property Score.RehearsalMark \override
4166 #'break-visibility = #begin-of-line-invisible
4169 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4175 @cindex barlines, putting symbols on
4179 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4181 Examples: @inputfileref{input/test,boxed-molecule.ly}.
4185 @subsection Bar numbers
4189 @cindex measure numbers
4190 @cindex currentBarNumber
4192 Bar numbers are printed by default at the start of the line. The
4193 number itself is stored in the
4194 @code{currentBarNumber} property,
4195 which is normally updated automatically for every measure.
4197 Bar numbers can be typeset at regular intervals instead of at the
4198 beginning of each line. This is illustrated in the following example,
4199 whose source is available as
4200 @inputfileref{input/test,bar-number-regular-interval.ly}:
4202 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4207 Internals: @internalsref{BarNumber}.
4209 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4210 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4214 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4215 there is one at the top. To solve this, the
4216 @code{padding} property of @internalsref{BarNumber} can be
4217 used to position the number correctly.
4219 @node Instrument names
4220 @subsection Instrument names
4222 In an orchestral score, instrument names are printed left side of the
4225 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4226 and @internalsref{Staff}.@code{instr}. This will print a string before
4227 the start of the staff. For the first start, @code{instrument} is
4228 used, for the next ones @code{instr} is used:
4231 @lilypond[verbatim,singleline]
4232 \property Staff.instrument = "ploink " { c''4 }
4236 You can also use markup texts to construct more complicated instrument
4240 @lilypond[fragment,verbatim,singleline]
4242 \property Staff.instrument = \markup {
4243 \column < "Clarinetti"
4245 \smaller \musicglyph #"accidentals--1"
4256 Internals: @internalsref{InstrumentName}.
4260 When you put a name on a grand staff or piano staff the width of the
4261 brace is not taken into account. You must add extra spaces to the end of
4262 the name to avoid a collision.
4265 @subsection Transpose
4267 @cindex transposition of pitches
4268 @cindex @code{\transpose}
4270 A music expression can be transposed with @code{\transpose}. The syntax
4273 \transpose @var{from} @var{to} @var{musicexpr}
4276 This means that @var{musicexpr} is transposed by the interval
4277 between @var{from} and @var{to}.
4279 @code{\transpose} distinguishes between enharmonic pitches: both
4280 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4281 half a tone. The first version will print sharps and the second
4282 version will print flats:
4284 @lilypond[singleline, verbatim]
4285 mus =\notes { \key d \major cis d fis g }
4286 \score { \notes \context Staff {
4289 \transpose c g' \mus
4290 \transpose c f' \mus
4296 Internals: @internalsref{TransposedMusic}, and
4297 @internalsref{UntransposableMusic}.
4301 If you want to use both @code{\transpose} and @code{\relative}, then
4302 you must put @code{\transpose} outside of @code{\relative}, since
4303 @code{\relative} will have no effect music that appears inside a
4309 @node Multi measure rests
4310 @subsection Multi measure rests
4311 @cindex multi measure rests
4312 @cindex Rests, multi measure
4316 Multi measure rests are entered using `@code{R}'. It is specifically
4317 meant for full bar rests and for entering parts: the rest can expand
4318 to fill a score with rests, or it can be printed as a single
4319 multimeasure rest. This expansion is controlled by the property
4320 @code{Score.skipBars}. If this is set to true, empty measures will not
4321 be expanded, and the appropriate number is added automatically:
4323 @lilypond[fragment,verbatim]
4324 \time 4/4 r1 | R1 | R1*2
4325 \property Score.skipBars = ##t R1*17 R1*4
4328 The @code{1} in @code{R1} is similar to the duration notation used for
4329 notes. Hence, for time signatures other than 4/4, you must enter other
4330 durations. This can be done with augmentation dots or fractions:
4332 @lilypond[fragment,verbatim]
4333 \property Score.skipBars = ##t
4341 An @code{R} spanning a single measure is printed as either a whole rest
4342 or a breve, centered in the measure regardless of the time signature.
4344 @cindex text on multi-measure rest
4345 @cindex script on multi-measure rest
4346 @cindex fermata on multi-measure rest
4348 Texts can be added to multi-measure rests by using the
4349 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4350 replaced. If you need both texts and the number, you must add the
4351 number by hand. A variable (@code{\fermataMarkup}) is provided for
4355 @lilypond[verbatim,fragment]
4357 R2._\markup { "Ad lib" }
4361 If you want to have a text on the left end of a multi-measure rest,
4362 attach the text to a zero-length skip note, i.e.
4370 @cindex whole rests for a full measure
4374 Internals: @internalsref{MultiMeasureRestEvent},
4375 @internalsref{MultiMeasureTextEvent},
4376 @internalsref{MultiMeasureRestMusicGroup}, and
4377 @internalsref{MultiMeasureRest}.
4379 The layout object @internalsref{MultiMeasureRestNumber} is for the
4380 default number, and @internalsref{MultiMeasureRestText} for user
4385 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4386 over multi-measure rests.
4388 @cindex condensing rests
4390 There is no way to automatically condense multiple rests into a single
4391 multimeasure rest. Multi measure rests do not take part in rest
4394 Be careful when entering multimeasure rests followed by whole
4395 notes. The following will enter two notes lasting four measures each:
4399 When @code{skipBars} is set, then the result will look OK, but the
4400 bar numbering will be off.
4402 @node Automatic part combining
4403 @subsection Automatic part combining
4404 @cindex automatic part combining
4405 @cindex part combiner
4408 Automatic part combining is used to merge two parts of music onto a
4409 staff. It is aimed at typesetting orchestral scores. When the two
4410 parts are identical for a period of time, only one is shown. In
4411 places where the two parts differ, they are typeset as separate
4412 voices, and stem directions are set automatically. Also, solo and
4413 @emph{a due} parts are identified and can be marked.
4417 The syntax for part combining is
4420 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4422 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4423 combined into one context of type @var{context}. The music expressions
4424 must be interpreted by contexts whose names should start with @code{one}
4427 The following example demonstrates the basic functionality of the part
4428 combiner: putting parts on one staff, and setting stem directions and
4431 @lilypond[verbatim,singleline,fragment]
4433 \context Voice=one \partcombine Voice
4434 \context Thread=one \relative c'' {
4437 \context Thread=two \relative c'' {
4443 The first @code{g} appears only once, although it was
4444 specified twice (once in each part). Stem, slur and tie directions are
4445 set automatically, depending whether there is a solo or unisono. The
4446 first part (with context called @code{one}) always gets up stems, and
4447 `solo', while the second (called @code{two}) always gets down stems and
4450 If you just want the merging parts, and not the textual markings, you
4451 may set the property @var{soloADue} to false:
4453 @lilypond[verbatim,singleline,fragment]
4455 \property Staff.soloADue = ##f
4456 \context Voice=one \partcombine Voice
4457 \context Thread=one \relative c'' {
4460 \context Thread=two \relative c'' {
4468 Internals: @internalsref{PartCombineMusic},
4469 @internalsref{Thread_devnull_engraver}, and
4470 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4474 The syntax for naming contexts in inconsistent with the syntax for
4477 In @code{soloADue} mode, when the two voices play the same notes on and
4478 off, the part combiner may typeset @code{a2} more than once in a
4481 @lilypond[fragment,singleline]
4483 \context Voice=one \partcombine Voice
4484 \context Thread=one \relative c'' {
4487 \context Thread=two \relative c'' {
4493 The part combiner is rather buggy, and it will be replaced by a better
4494 mechanism in the near future.
4496 @cindex @code{Thread_devnull_engraver}
4497 @cindex @code{Voice_engraver}
4498 @cindex @code{A2_engraver}
4501 @subsection Hiding staves
4503 @cindex Frenched scores
4504 @cindex Hiding staves
4506 In orchestral scores, staff lines that only have rests are usually
4507 removed. This saves some space. This style is called `French Score'.
4508 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4509 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4510 switched on by default. When these line of these contexts turn out
4511 empty after the line-breaking process, they are removed.
4513 For normal staves, a specialized @internalsref{Staff} context is
4514 available, which does the same: staves containing nothing (or only
4515 multi measure rests) are removed. The context definition is stored in
4516 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4517 in this example disappears in the second line:
4522 \notes \relative c' <<
4523 \new Staff { e4 f g a \break c1 }
4524 \new Staff { c4 d e f \break R1 }
4528 \translator { \RemoveEmptyStaffContext }
4533 The first page shows all staffs in full. If they should be removed
4534 from the first page too, set @code{remove-first} to false
4535 in @internalsref{RemoveEmptyVerticalGroup}.
4537 @node Different editions from one source
4538 @subsection Different editions from one source
4540 The @code{\tag} command marks music expressions with a name. These
4541 tagged expressions can be filtered out later. With this mechanism it
4542 is possible to make different versions of the same music source.
4544 In the following example, we see two versions of a piece of music, one
4545 for the full score, and one with cue notes for the instrumental part:
4553 \property Voice.fontSize = #-1
4561 The same can be applied to articulations, texts, etc.: they are
4564 -\tag #@var{your-tag}
4566 to an articulation, for example,
4571 This defines a note with a conditional fingering indication.
4573 By applying the @code{remove-tag} function, tagged expressions can be
4574 filtered. For example,
4578 \apply #(remove-tag 'score) @var{the music}
4579 \apply #(remove-tag 'part) @var{the music}
4584 @lilypondfile[notexidoc]{tag-filter.ly}
4586 The argument of the @code{\tag} command should be a symbol, or a list
4587 of symbols, for example,
4589 \tag #'(original-part transposed-part) @dots{}
4594 Examples: @inputfileref{input/regression,tag-filter.ly}
4597 @node Sound output for transposing instruments
4598 @subsection Sound output for transposing instruments
4600 When you want to make a MIDI file from a score containing transposed
4601 and untransposed instruments, you have to instruct LilyPond the pitch
4602 offset (in semitones) for the transposed instruments. This is done
4603 using the @code{transposing} property. It does not affect printed
4606 @cindex @code{transposing}
4609 \property Staff.instrument = #"Cl. in B-flat"
4610 \property Staff.transposing = #-2
4614 @node Ancient notation
4615 @section Ancient notation
4617 @cindex Vaticana, Editio
4618 @cindex Medicaea, Editio
4623 @c [TODO: write more comprehensive introduction on ancient notation]
4625 Support for ancient notation is still under heavy development.
4626 Regardless of all of the current limitations (see the bugs section
4627 below for details), it includes features for mensural
4628 notation and Gregorian Chant notation. There is also limited support
4629 for figured bass notation.
4631 Many graphical objects provide a @code{style} property, see
4632 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4633 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4634 signatures}. By manipulating such a grob property, the typographical
4635 appearance of the affected graphical objects can be accomodated for a
4636 specific notation flavour without need for introducing any new
4640 Other aspects of ancient notation can not that easily be expressed as
4641 in terms of just changing a style property of a graphical object.
4642 Therefore, some notational concepts are introduced specifically for
4643 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4644 @ref{Ligatures}, and @ref{Figured bass}.
4648 * Ancient note heads::
4649 * Ancient accidentals::
4653 * Ancient time signatures::
4658 * Vaticana style contexts::
4661 If this all is way too much of documentation for you, and you just
4662 want to dive into typesetting without worrying too much about the
4663 details on how to customize a context, then you may have a look at the
4664 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4665 set up predefined style-specific voice and staff contexts, and
4666 directly go ahead with the note entry.
4670 Ligatures need special spacing that has not yet been implemented. As
4671 a result, there is too much space between ligatures most of the time,
4672 and line breaking often is unsatisfactory. Also, lyrics do not
4673 correctly align with ligatures.
4675 Accidentals must not be printed within a ligature, but instead need to
4676 be collected and printed in front of it.
4678 Augmentum dots within ligatures are not handled correctly.
4681 @node Ancient note heads
4682 @subsection Ancient note heads
4688 For ancient notation, a note head style other than the @code{default}
4689 style may be chosen. This is accomplished by setting the @code{style}
4690 property of the NoteHead object to the desired value (@code{baroque},
4691 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4692 differs from the @code{default} style only in using a square shape for
4693 @code{\breve} note heads. The @code{neo_mensural} style differs from
4694 the @code{baroque} style in that it uses rhomboidal heads for whole
4695 notes and all smaller durations. Stems are centered on the note
4696 heads. This style is in particular useful when transcribing mensural
4697 music, e.g. for the incipit. The @code{mensural} style finally
4698 produces note heads that mimick the look of note heads in historic
4699 printings of the 16th century.
4701 The following example demonstrates the @code{neo_mensural} style:
4703 @lilypond[fragment,singleline,verbatim]
4704 \property Voice.NoteHead \set #'style = #'neo_mensural
4705 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4708 When typesetting a piece in Gregorian Chant notation, a Gregorian
4709 ligature engraver will automatically select the proper note heads,
4710 such there is no need to explicitly set the note head style. Still,
4711 the note head style can be set e.g. to @code{vaticana_punctum} to
4712 produce punctum neumes. Similarly, a mensural ligature engraver is
4713 used to automatically assemble mensural ligatures. See
4714 @ref{Ligatures} for how ligature engravers work.
4719 @ref{Percussion staves} use note head styles of their own that are
4720 frequently used in contemporary music notation.
4722 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4723 overview over all available note head styles.
4726 @node Ancient accidentals
4727 @subsection Ancient accidentals
4733 Use the @code{style} property of grob @internalsref{Accidental} to
4734 select ancient accidentals. Supported styles are
4735 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4737 @lilypond[singleline,26pt]
4745 { " " \musicglyph #"accidentals-vaticana-1"
4746 " " \musicglyph #"accidentals-vaticana0" }
4750 { " " \musicglyph #"accidentals-medicaea-1" }
4754 { " " \musicglyph #"accidentals-hufnagel-1" }
4758 { " " \musicglyph #"accidentals-mensural-1"
4759 " " \musicglyph #"accidentals-mensural1" }
4768 \remove "Bar_number_engraver"
4772 \remove "Clef_engraver"
4773 \remove "Key_engraver"
4774 \remove "Time_signature_engraver"
4775 \remove "Staff_symbol_engraver"
4776 minimumVerticalExtent = ##f
4782 As shown, not all accidentals are supported by each style. When
4783 trying to access an unsupported accidental, LilyPond will switch to a
4784 different style, as demonstrated in
4785 @inputfileref{input/test,ancient-accidentals.ly}.
4787 Similarly to local accidentals, the style of the key signature can be
4788 controlled by the @code{style} property of the
4789 @internalsref{KeySignature} grob.
4793 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4794 @ref{Accidentals} give a general introduction into the use of
4795 accidentals. @ref{Key signature} gives a general introduction into
4796 the use of key signatures.
4798 Internals: @internalsref{KeySignature}
4800 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4803 @subsection Ancient rests
4809 Use the @code{style} property of grob @internalsref{Rest} to select
4810 ancient accidentals. Supported styles are @code{classical},
4811 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4812 from the @code{default} style only in that the quarter rest looks like
4813 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4814 well for e.g. the incipit of a transcribed mensural piece of music.
4815 The @code{mensural} style finally mimicks the appearance of rests as
4816 in historic prints of the 16th century.
4818 The following example demonstrates the @code{neo_mensural} style:
4820 @lilypond[fragment,singleline,verbatim]
4821 \property Voice.Rest \set #'style = #'neo_mensural
4822 r\longa r\breve r1 r2 r4 r8 r16
4825 There are no 32th and 64th rests specifically for the mensural or
4826 neo-mensural style. Instead, the rests from the default style will be
4827 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4830 There are no rests in Gregorian Chant notation; instead, it uses
4835 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4839 @subsection Ancient clefs
4845 LilyPond supports a variety of clefs, many of them ancient.
4847 The following table shows all ancient clefs that are supported via the
4848 @code{\clef} command. Some of the clefs use the same glyph, but
4849 differ only with respect to the line they are printed on. In such
4850 cases, a trailing number in the name is used to enumerate these clefs.
4851 Still, you can manually force a clef glyph to be typeset on an
4852 arbitrary line, as described in @ref{Clef}. The note printed to the
4853 right side of each clef in the example column denotes the @code{c'}
4854 with respect to that clef.
4856 @multitable @columnfractions .3 .3 .3 .1
4860 @b{Description} @tab
4861 @b{Supported Clefs} @tab
4865 @code{clefs-neo_mensural_c} @tab
4866 modern style mensural C clef @tab
4867 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4868 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4869 @lilypond[relative 0, notime]
4870 \property Staff.TimeSignature \set #'transparent = ##t
4871 \clef "neo_mensural_c2" c
4875 @code{clefs-petrucci_c1}
4876 @code{clefs-petrucci_c2}
4877 @code{clefs-petrucci_c3}
4878 @code{clefs-petrucci_c4}
4879 @code{clefs-petrucci_c5}
4882 petrucci style mensural C clefs, for use on different stafflines
4883 (the examples shows the 2nd staffline C clef).
4893 @lilypond[relative 0, notime]
4894 \property Staff.TimeSignature \set #'transparent = ##t
4895 \clef "petrucci_c2" c
4899 @code{clefs-petrucci_f} @tab
4900 petrucci style mensural F clef @tab
4901 @code{petrucci_f} @tab
4902 @lilypond[relative 0, notime]
4903 \property Staff.TimeSignature \set #'transparent = ##t
4904 \clef "petrucci_f" c
4908 @code{clefs-petrucci_g} @tab
4909 petrucci style mensural G clef @tab
4910 @code{petrucci_g} @tab
4911 @lilypond[relative 0, notime]
4912 \property Staff.TimeSignature \set #'transparent = ##t
4913 \clef "petrucci_g" c
4917 @code{clefs-mensural_c} @tab
4918 historic style mensural C clef @tab
4919 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4920 @code{mensural_c4} @tab
4921 @lilypond[relative 0, notime]
4922 \property Staff.TimeSignature \set #'transparent = ##t
4923 \clef "mensural_c2" c
4927 @code{clefs-mensural_f} @tab
4928 historic style mensural F clef @tab
4929 @code{mensural_f} @tab
4930 @lilypond[relative 0, notime]
4931 \property Staff.TimeSignature \set #'transparent = ##t
4932 \clef "mensural_f" c
4936 @code{clefs-mensural_g} @tab
4937 historic style mensural G clef @tab
4938 @code{mensural_g} @tab
4939 @lilypond[relative 0, notime]
4940 \property Staff.TimeSignature \set #'transparent = ##t
4941 \clef "mensural_g" c
4945 @code{clefs-vaticana_do} @tab
4946 Editio Vaticana style do clef @tab
4947 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4948 @lilypond[relative 0, notime]
4949 \property Staff.StaffSymbol \set #'line-count = #4
4950 \property Staff.TimeSignature \set #'transparent = ##t
4951 \clef "vaticana_do2" c
4955 @code{clefs-vaticana_fa} @tab
4956 Editio Vaticana style fa clef @tab
4957 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4958 @lilypond[relative 0, notime]
4959 \property Staff.StaffSymbol \set #'line-count = #4
4960 \property Staff.TimeSignature \set #'transparent = ##t
4961 \clef "vaticana_fa2" c
4965 @code{clefs-medicaea_do} @tab
4966 Editio Medicaea style do clef @tab
4967 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4968 @lilypond[relative 0, notime]
4969 \property Staff.StaffSymbol \set #'line-count = #4
4970 \property Staff.TimeSignature \set #'transparent = ##t
4971 \clef "medicaea_do2" c
4975 @code{clefs-medicaea_fa} @tab
4976 Editio Medicaea style fa clef @tab
4977 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4978 @lilypond[relative 0, notime]
4979 \property Staff.StaffSymbol \set #'line-count = #4
4980 \property Staff.TimeSignature \set #'transparent = ##t
4981 \clef "medicaea_fa2" c
4985 @code{clefs-hufnagel_do} @tab
4986 historic style hufnagel do clef @tab
4987 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4988 @lilypond[relative 0, notime]
4989 \property Staff.StaffSymbol \set #'line-count = #4
4990 \property Staff.TimeSignature \set #'transparent = ##t
4991 \clef "hufnagel_do2" c
4995 @code{clefs-hufnagel_fa} @tab
4996 historic style hufnagel fa clef @tab
4997 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4998 @lilypond[relative 0, notime]
4999 \property Staff.StaffSymbol \set #'line-count = #4
5000 \property Staff.TimeSignature \set #'transparent = ##t
5001 \clef "hufnagel_fa2" c
5005 @code{clefs-hufnagel_do_fa} @tab
5006 historic style hufnagel combined do/fa clef @tab
5007 @code{hufnagel_do_fa} @tab
5008 @lilypond[relative 0, notime]
5009 \property Staff.TimeSignature \set #'transparent = ##t
5010 \clef "hufnagel_do_fa" c
5015 @c --- This should go somewhere else: ---
5016 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5019 @c @code{percussion}
5021 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5023 @c @item modern style tab clef (glyph: @code{clefs-tab})
5028 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5030 @emph{Modern style} means ``as is typeset in contemporary editions of
5031 transcribed mensural music''.
5033 @emph{Petrucci style} means ``inspired by printings published by the
5034 famous engraver Petrucci (1466-1539)''.
5036 @emph{Historic style} means ``as was typeset or written in historic
5037 editions (other than those of Petrucci)''.
5039 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5041 Petrucci used C clefs with differently balanced left-side vertical
5042 beams, depending on which staffline it is printed.
5046 In this manual: for the percussion clef, see @ref{Percussion staves}.
5047 For the @code{TAB} clef, see @ref{Tablatures}.
5049 Internals: for modern clefs, see @ref{Clef}.
5054 @subsection Ancient flags
5060 Use the @code{flag-style} property of grob @internalsref{Stem} to
5061 select ancient flags. Besides the @code{default} flag style,
5062 only @code{mensural} style is supported:
5064 @lilypond[fragment,singleline,verbatim]
5065 \property Voice.Stem \set #'flag-style = #'mensural
5066 \property Voice.Stem \set #'thickness = #1.0
5067 \property Voice.NoteHead \set #'style = #'mensural
5069 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
5070 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5073 Note that the innermost flare of each mensural flag always is
5074 vertically aligned with a staff line. If you do not like this
5075 behaviour, you can set the @code{adjust-if-on-staffline} property of
5076 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5077 of the end of each flare is different between notes on staff lines and
5078 notes between staff lines:
5080 @lilypond[fragment,singleline]
5081 \property Voice.Stem \set #'flag-style = #'mensural
5082 \property Voice.Stem \set #'thickness = #1.0
5083 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5084 \property Voice.NoteHead \set #'style = #'mensural
5086 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5087 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5090 There is no particular flag style for neo-mensural notation. Hence,
5091 when typesetting e.g. the incipit of a transcibed piece of mensural
5092 music, the default flag style should be used. There are no flags in
5093 Gregorian Chant notation.
5096 @node Ancient time signatures
5097 @subsection Ancient time signatures
5099 @cindex time signatures
5103 There is limited support for mensural time signatures. The
5104 glyphs are hard-wired to particular time fractions. In other words,
5105 to get a particular mensural signature glyph with the @code{\time n/m}
5106 command, @code{n} and @code{m} have to be chosen according to the
5112 \property Score.timing = ##f
5113 \property Score.barAlways = ##t
5114 s_\markup { "$\\backslash$time 4/4" }
5115 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5117 s_\markup { "$\\backslash$time 2/2" }
5118 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5120 s_\markup { "$\\backslash$time 6/4" }
5121 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5123 s_\markup { "$\\backslash$time 6/8" }
5124 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5126 s_\markup { "$\\backslash$time 3/2" }
5127 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5129 s_\markup { "$\\backslash$time 3/4" }
5130 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5132 s_\markup { "$\\backslash$time 9/4" }
5133 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5135 s_\markup { "$\\backslash$time 9/8" }
5136 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5138 s_\markup { "$\\backslash$time 4/8" }
5139 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5141 s_\markup { "$\\backslash$time 2/4" }
5142 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5150 \remove Staff_symbol_engraver
5151 \remove Clef_engraver
5152 \remove Time_signature_engraver
5158 Use the @code{style} property of grob @internalsref{TimeSignature} to
5159 select ancient time signatures. Supported styles are
5160 @code{neo_mensural} and @code{mensural}. The above table uses the
5161 @code{neo_mensural} style. This style is appropriate e.g. for the
5162 incipit of transcriptions of mensural pieces. The @code{mensural}
5163 style mimicks the look of historical printings of the 16th century.
5165 @inputfileref{input/test,time.ly} gives an overview over all available
5166 ancient and modern styles.
5170 Internals: @ref{Time signature} gives a general introduction into the use of time
5175 Mensural signature glyphs are mapped to time fractions in a
5176 hard-wired way. This mapping is sensible, but still arbitrary: given
5177 a mensural time signature, the time fraction represents a modern meter
5178 that usually will be a good choice when transcribing a mensural piece
5179 of music. For a particular piece of mensural music, however, the
5180 mapping may be unsatisfactory. In particular, the mapping assumes a
5181 fixed transcription of durations (e.g. brevis = half note in 2/2,
5182 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5183 are not at all accessible through the @code{\time} command.
5185 Mensural time signatures are supported typographically, but not yet
5186 musically. The internal representation of durations is
5187 based on a purely binary system; a ternary division such as 1 brevis =
5188 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5189 prolatione maiori) is not correctly handled: event times in ternary
5190 modes will be badly computed, resulting e.g. in horizontally
5191 misaligned note heads, and bar checks are likely to erroneously fail.
5193 The syntax and semantics of the @code{\time} command for mensural
5194 music is subject to change.
5197 @subsection Custodes
5202 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5203 symbol that appears at the end of a staff. It anticipates the pitch
5204 of the first note(s) of the following line and thus helps the player
5205 or singer to manage line breaks during performance, thus enhancing
5206 readability of a score.
5208 Custodes were frequently used in music notation until the 17th
5209 century. Nowadays, they have survived only in a few particular forms
5210 of musical notation such as contemporary editions of Gregorian chant
5211 like the @emph{editio vaticana}. There are different custos glyphs
5212 used in different flavours of notational style.
5216 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5217 @internalsref{Staff} context when declaring the @code{\paper} block,
5218 as shown in the following example:
5224 \consists Custos_engraver
5225 Custos \override #'style = #'mensural
5230 The result looks like this:
5236 \property Staff.Custos \set #'style = #'mensural
5243 \consists Custos_engraver
5250 The custos glyph is selected by the @code{style} property. The styles
5251 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5252 @code{mensural}. They are demonstrated in the following fragment:
5262 { " " \musicglyph #"custodes-vaticana-u0" }
5266 { " " \musicglyph #"custodes-medicaea-u0" }
5270 { " " \musicglyph #"custodes-hufnagel-u0" }
5274 { " " \musicglyph #"custodes-mensural-u0" }
5283 \remove "Bar_number_engraver"
5287 \remove "Clef_engraver"
5288 \remove "Key_engraver"
5289 \remove "Time_signature_engraver"
5290 \remove "Staff_symbol_engraver"
5291 minimumVerticalExtent = ##f
5297 If the boolean property @code{adjust-if-on-staffline} is set to
5298 @code{#t} (which it is by default), lily typesets slightly different
5299 variants of the custos glyph, depending on whether the custos, is
5300 typeset on or between stafflines. The glyph will
5301 optically fit well into the staff, with the appendage on the right of
5302 the custos always ending at the same vertical position between two
5303 stafflines regardless of the pitch. If you set
5304 @code{adjust-if-on-staffline} to @code{#f}, then
5305 a compromise between both forms is used.
5307 Just like stems can be attached to noteheads in two directions
5308 @emph{up} and @emph{down}, each custos glyph is available with its
5309 appendage pointing either up or down. If the pitch of a custos is
5310 above a selectable position, the appendage will point downwards; if
5311 the pitch is below this position, the appendage will point upwards.
5312 Use property @code{neutral-position} to select this position. By
5313 default, it is set to @code{0}, such that the neutral position is the
5314 center of the staff. Use property @code{neutral-direction} to control
5315 what happens if a custos is typeset on the neutral position itself.
5316 By default, this property is set to @code{-1}, such that the appendage
5317 will point downwards. If set to @code{1}, the appendage will point
5318 upwards. Other values such as @code{0} are reserved for future
5319 extensions and should not be used.
5323 Internals: @internalsref{Custos}
5325 Examples: @inputfileref{input/regression,custos.ly}.
5329 @subsection Divisiones
5335 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5336 `division') is a staff context symbol that is used to structure
5337 Gregorian music into phrases and sections. The musical meaning of
5338 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5339 can be characterized as short, medium and long pause, somewhat like
5340 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5341 a chant, but is also frequently used within a single
5342 antiphonal/responsorial chant to mark the end of each section.
5346 To use divisiones, include the file @code{gregorian-init.ly}. It
5347 contains definitions that you can apply by just inserting
5348 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5349 and @code{\finalis} at proper places in the input. Some editions use
5350 @emph{virgula} or @emph{caesura} instead of divisio minima.
5351 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5354 @lilypondfile[notexidoc]{divisiones.ly}
5358 @cindex @code{\virgula}
5360 @cindex @code{\caesura}
5362 @cindex @code{\divisioMinima}
5363 @code{\divisioMinima},
5364 @cindex @code{\divisioMaior}
5365 @code{\divisioMaior},
5366 @cindex @code{\divisioMaxima}
5367 @code{\divisioMaxima},
5368 @cindex @code{\finalis}
5373 In this manual: @ref{Breath marks}.
5375 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5377 Examples: @inputfileref{input/test,divisiones.ly}
5380 @subsection Ligatures
5384 @c TODO: Should double check if I recalled things correctly when I wrote
5385 @c down the following paragraph by heart.
5387 In musical terminology, a ligature is a coherent graphical symbol that
5388 represents at least two distinct notes. Ligatures originally appeared
5389 in the manuscripts of Gregorian chant notation roughly since the 9th
5390 century as an allusion to the accent symbols of greek lyric poetry to
5391 denote ascending or descending sequences of notes. Both, the shape
5392 and the exact meaning of ligatures changed tremendously during the
5393 following centuries: In early notation, ligatures were used for
5394 monophonic tunes (Gregorian chant) and very soon denoted also the way
5395 of performance in the sense of articulation. With upcoming
5396 multiphony, the need for a metric system arised, since multiple voices
5397 of a piece have to be synchronized some way. New notation systems
5398 were invented that used the manifold shapes of ligatures to now denote
5399 rhythmical patterns (e.g. black mensural notation, mannered notation,
5400 ars nova). With the invention of the metric system of the white
5401 mensural notation, the need for ligatures to denote such patterns
5402 disappeared. Nevertheless, ligatures were still in use in the
5403 mensural system for a couple of decades until they finally disappeared
5404 during the late 16th / early 17th century. Still, ligatures have
5405 survived in contemporary editions of Gregorian chant such as the
5406 Editio Vaticana from 1905/08.
5410 Syntactically, ligatures are simply enclosed by @code{\[} and
5411 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5412 additional input syntax specific for this particular type of ligature.
5413 By default, the @internalsref{LigatureBracket} engraver just puts a
5414 square bracket above the ligature:
5416 @lilypond[singleline,verbatim]
5418 \notes \transpose c c' {
5426 To select a specific style of ligatures, a proper ligature engraver
5427 has to be added to the @internalsref{Voice} context, as explained in
5428 the following subsections. Only white mensural ligatures
5429 are supported with certain limitations. Support for Editio Vaticana
5430 will be added in the future.
5433 * White mensural ligatures::
5434 * Gregorian square neumes ligatures::
5437 @node White mensural ligatures
5438 @subsubsection White mensural ligatures
5440 @cindex Mensural ligatures
5441 @cindex White mensural ligatures
5443 There is limited support for white mensural ligatures. The
5444 implementation is still experimental; it may output strange
5445 warnings or even crash in some cases or produce weird results on more
5450 To engrave white mensural ligatures, in the paper block the
5451 @internalsref{Mensural_ligature_engraver} has to be put into the
5452 @internalsref{Voice} context, and remove the
5453 @internalsref{Ligature_bracket_engraver}:
5459 \remove Ligature_bracket_engraver
5460 \consists Mensural_ligature_engraver
5465 There is no additional input language to describe the shape of a
5466 white mensural ligature. The shape is rather determined solely from
5467 the pitch and duration of the enclosed notes. While this approach may
5468 take a new user a while to get accustomed, it has the great advantage
5469 that the full musical information of the ligature is known internally.
5470 This is not only required for correct MIDI output, but also allows for
5471 automatic transcription of the ligatures.
5476 \property Score.timing = ##f
5477 \property Score.defaultBarType = "empty"
5478 \property Voice.NoteHead \set #'style = #'neo_mensural
5479 \property Staff.TimeSignature \set #'style = #'neo_mensural
5481 \[ g\longa c\breve a\breve f\breve d'\longa \]
5483 \[ e1 f1 a\breve g\longa \]
5485 @lilypond[singleline]
5487 \notes \transpose c c' {
5488 \property Score.timing = ##f
5489 \property Score.defaultBarType = "empty"
5490 \property Voice.NoteHead \set #'style = #'neo_mensural
5491 \property Staff.TimeSignature \set #'style = #'neo_mensural
5493 \[ g\longa c\breve a\breve f\breve d'\longa \]
5495 \[ e1 f1 a\breve g\longa \]
5500 \remove Ligature_bracket_engraver
5501 \consists Mensural_ligature_engraver
5507 Without replacing @internalsref{Ligature_bracket_engraver} with
5508 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5511 @lilypond[singleline]
5513 \notes \transpose c c' {
5514 \property Score.timing = ##f
5515 \property Score.defaultBarType = "empty"
5516 \property Voice.NoteHead \set #'style = #'neo_mensural
5517 \property Staff.TimeSignature \set #'style = #'neo_mensural
5519 \[ g\longa c\breve a\breve f\breve d'\longa \]
5521 \[ e1 f1 a\breve g\longa \]
5527 @node Gregorian square neumes ligatures
5528 @subsubsection Gregorian square neumes ligatures
5530 @cindex Square neumes ligatures
5531 @cindex Gregorian square neumes ligatures
5533 Gregorian square neumes notation (following the style of the Editio
5534 Vaticana) is under heavy development, but not yet really usable for
5535 production purposes. Core ligatures can already be typeset, but
5536 essential issues for serious typesetting are still under development,
5537 such as (among others) horizontal alignment of multiple ligatures,
5538 lyrics alignment and proper accidentals handling. Still, this section
5539 gives a sneak preview of what Gregorian chant may look like once it
5542 The following table contains the extended neumes table of the 2nd
5543 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5544 1983 by the monks of Solesmes.
5546 @multitable @columnfractions .4 .2 .2 .2
5549 @b{Neuma aut@*Neumarum Elementa} @tab
5550 @b{Figurae@*Rectae} @tab
5551 @b{Figurae@*Liquescentes Auctae} @tab
5552 @b{Figurae@*Liquescentes Deminutae}
5554 @c TODO: \paper block is identical in all of the below examples.
5555 @c Therefore, it should somehow be included rather than duplicated all
5558 @c why not make identifiers in ly/engraver-init.ly? --hwn
5560 @c Because it's just used to typeset plain notes without
5561 @c a staff for demonstration purposes rather than something
5562 @c special of Gregorian chant notation. --jr
5567 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5568 \include "gregorian-init.ly"
5570 \notes \transpose c c' {
5573 \noBreak s^\markup {"a"} \noBreak
5575 % Punctum Inclinatum
5577 \noBreak s^\markup {"b"}
5583 \remove "Bar_number_engraver"
5587 \remove "Clef_engraver"
5588 \remove "Key_engraver"
5589 StaffSymbol \set #'transparent = ##t
5590 \remove "Time_signature_engraver"
5591 \remove "Bar_engraver"
5592 minimumVerticalExtent = ##f
5596 \remove Ligature_bracket_engraver
5597 \consists Vaticana_ligature_engraver
5598 NoteHead \set #'style = #'vaticana_punctum
5599 Stem \set #'transparent = ##t
5605 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5606 \include "gregorian-init.ly"
5608 \notes \transpose c c' {
5609 % Punctum Auctum Ascendens
5610 \[ \auctum \ascendens b \]
5611 \noBreak s^\markup {"c"} \noBreak
5613 % Punctum Auctum Descendens
5614 \[ \auctum \descendens b \]
5615 \noBreak s^\markup {"d"} \noBreak
5617 % Punctum Inclinatum Auctum
5618 \[ \inclinatum \auctum b \]
5619 \noBreak s^\markup {"e"}
5625 \remove "Bar_number_engraver"
5629 \remove "Clef_engraver"
5630 \remove "Key_engraver"
5631 StaffSymbol \set #'transparent = ##t
5632 \remove "Time_signature_engraver"
5633 \remove "Bar_engraver"
5634 minimumVerticalExtent = ##f
5638 \remove Ligature_bracket_engraver
5639 \consists Vaticana_ligature_engraver
5640 NoteHead \set #'style = #'vaticana_punctum
5641 Stem \set #'transparent = ##t
5647 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5648 \include "gregorian-init.ly"
5650 \notes \transpose c c' {
5651 % Punctum Inclinatum Parvum
5652 \[ \inclinatum \deminutum b \]
5653 \noBreak s^\markup {"f"}
5659 \remove "Bar_number_engraver"
5663 \remove "Clef_engraver"
5664 \remove "Key_engraver"
5665 StaffSymbol \set #'transparent = ##t
5666 \remove "Time_signature_engraver"
5667 \remove "Bar_engraver"
5668 minimumVerticalExtent = ##f
5672 \remove Ligature_bracket_engraver
5673 \consists Vaticana_ligature_engraver
5674 NoteHead \set #'style = #'vaticana_punctum
5675 Stem \set #'transparent = ##t
5684 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5685 \include "gregorian-init.ly"
5687 \notes \transpose c c' {
5690 \noBreak s^\markup {"g"}
5696 \remove "Bar_number_engraver"
5700 \remove "Clef_engraver"
5701 \remove "Key_engraver"
5702 StaffSymbol \set #'transparent = ##t
5703 \remove "Time_signature_engraver"
5704 \remove "Bar_engraver"
5705 minimumVerticalExtent = ##f
5709 \remove Ligature_bracket_engraver
5710 \consists Vaticana_ligature_engraver
5711 NoteHead \set #'style = #'vaticana_punctum
5712 Stem \set #'transparent = ##t
5721 @code{3. Apostropha vel Stropha}
5723 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5724 \include "gregorian-init.ly"
5726 \notes \transpose c c' {
5729 \noBreak s^\markup {"h"}
5735 \remove "Bar_number_engraver"
5739 \remove "Clef_engraver"
5740 \remove "Key_engraver"
5741 StaffSymbol \set #'transparent = ##t
5742 \remove "Time_signature_engraver"
5743 \remove "Bar_engraver"
5744 minimumVerticalExtent = ##f
5748 \remove Ligature_bracket_engraver
5749 \consists Vaticana_ligature_engraver
5750 NoteHead \set #'style = #'vaticana_punctum
5751 Stem \set #'transparent = ##t
5757 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5758 \include "gregorian-init.ly"
5760 \notes \transpose c c' {
5762 \[ \stropha \auctum b \]
5763 \noBreak s^\markup {"i"}
5769 \remove "Bar_number_engraver"
5773 \remove "Clef_engraver"
5774 \remove "Key_engraver"
5775 StaffSymbol \set #'transparent = ##t
5776 \remove "Time_signature_engraver"
5777 \remove "Bar_engraver"
5778 minimumVerticalExtent = ##f
5782 \remove Ligature_bracket_engraver
5783 \consists Vaticana_ligature_engraver
5784 NoteHead \set #'style = #'vaticana_punctum
5785 Stem \set #'transparent = ##t
5795 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5796 \include "gregorian-init.ly"
5798 \notes \transpose c c' {
5801 \noBreak s^\markup {"j"}
5807 \remove "Bar_number_engraver"
5811 \remove "Clef_engraver"
5812 \remove "Key_engraver"
5813 StaffSymbol \set #'transparent = ##t
5814 \remove "Time_signature_engraver"
5815 \remove "Bar_engraver"
5816 minimumVerticalExtent = ##f
5820 \remove Ligature_bracket_engraver
5821 \consists Vaticana_ligature_engraver
5822 NoteHead \set #'style = #'vaticana_punctum
5823 Stem \set #'transparent = ##t
5832 @code{5. Clivis vel Flexa}
5834 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5835 \include "gregorian-init.ly"
5837 \notes \transpose c c' {
5846 \remove "Bar_number_engraver"
5850 \remove "Clef_engraver"
5851 \remove "Key_engraver"
5852 StaffSymbol \set #'transparent = ##t
5853 \remove "Time_signature_engraver"
5854 \remove "Bar_engraver"
5855 minimumVerticalExtent = ##f
5859 \remove Ligature_bracket_engraver
5860 \consists Vaticana_ligature_engraver
5861 NoteHead \set #'style = #'vaticana_punctum
5862 Stem \set #'transparent = ##t
5868 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5869 \include "gregorian-init.ly"
5871 \notes \transpose c c' {
5872 % Clivis Aucta Descendens
5873 \[ b \flexa \auctum \descendens g \]
5874 \noBreak s^\markup {"l"} \noBreak
5876 % Clivis Aucta Ascendens
5877 \[ b \flexa \auctum \ascendens g \]
5878 \noBreak s^\markup {"m"}
5884 \remove "Bar_number_engraver"
5888 \remove "Clef_engraver"
5889 \remove "Key_engraver"
5890 StaffSymbol \set #'transparent = ##t
5891 \remove "Time_signature_engraver"
5892 \remove "Bar_engraver"
5893 minimumVerticalExtent = ##f
5897 \remove Ligature_bracket_engraver
5898 \consists Vaticana_ligature_engraver
5899 NoteHead \set #'style = #'vaticana_punctum
5900 Stem \set #'transparent = ##t
5906 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5907 \include "gregorian-init.ly"
5909 \notes \transpose c c' {
5911 \[ b \flexa \deminutum g \]
5918 \remove "Bar_number_engraver"
5922 \remove "Clef_engraver"
5923 \remove "Key_engraver"
5924 StaffSymbol \set #'transparent = ##t
5925 \remove "Time_signature_engraver"
5926 \remove "Bar_engraver"
5927 minimumVerticalExtent = ##f
5931 \remove Ligature_bracket_engraver
5932 \consists Vaticana_ligature_engraver
5933 NoteHead \set #'style = #'vaticana_punctum
5934 Stem \set #'transparent = ##t
5941 @code{6. Podatus vel Pes}
5943 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5944 \include "gregorian-init.ly"
5946 \notes \transpose c c' {
5955 \remove "Bar_number_engraver"
5959 \remove "Clef_engraver"
5960 \remove "Key_engraver"
5961 StaffSymbol \set #'transparent = ##t
5962 \remove "Time_signature_engraver"
5963 \remove "Bar_engraver"
5964 minimumVerticalExtent = ##f
5968 \remove Ligature_bracket_engraver
5969 \consists Vaticana_ligature_engraver
5970 NoteHead \set #'style = #'vaticana_punctum
5971 Stem \set #'transparent = ##t
5977 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5978 \include "gregorian-init.ly"
5980 \notes \transpose c c' {
5981 % Pes Auctus Descendens
5982 \[ g \pes \auctum \descendens b \]
5983 \noBreak s^\markup {"p"} \noBreak
5985 % Pes Auctus Ascendens
5986 \[ g \pes \auctum \ascendens b \]
5987 \noBreak s^\markup {"q"}
5993 \remove "Bar_number_engraver"
5997 \remove "Clef_engraver"
5998 \remove "Key_engraver"
5999 StaffSymbol \set #'transparent = ##t
6000 \remove "Time_signature_engraver"
6001 \remove "Bar_engraver"
6002 minimumVerticalExtent = ##f
6006 \remove Ligature_bracket_engraver
6007 \consists Vaticana_ligature_engraver
6008 NoteHead \set #'style = #'vaticana_punctum
6009 Stem \set #'transparent = ##t
6015 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6016 \include "gregorian-init.ly"
6018 \notes \transpose c c' {
6020 \[ g \pes \deminutum b \]
6027 \remove "Bar_number_engraver"
6031 \remove "Clef_engraver"
6032 \remove "Key_engraver"
6033 StaffSymbol \set #'transparent = ##t
6034 \remove "Time_signature_engraver"
6035 \remove "Bar_engraver"
6036 minimumVerticalExtent = ##f
6040 \remove Ligature_bracket_engraver
6041 \consists Vaticana_ligature_engraver
6042 NoteHead \set #'style = #'vaticana_punctum
6043 Stem \set #'transparent = ##t
6050 @code{7. Pes Quassus}
6052 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6053 \include "gregorian-init.ly"
6055 \notes \transpose c c' {
6057 \[ \oriscus g \pes \virga b \]
6064 \remove "Bar_number_engraver"
6068 \remove "Clef_engraver"
6069 \remove "Key_engraver"
6070 StaffSymbol \set #'transparent = ##t
6071 \remove "Time_signature_engraver"
6072 \remove "Bar_engraver"
6073 minimumVerticalExtent = ##f
6077 \remove Ligature_bracket_engraver
6078 \consists Vaticana_ligature_engraver
6079 NoteHead \set #'style = #'vaticana_punctum
6080 Stem \set #'transparent = ##t
6086 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6087 \include "gregorian-init.ly"
6089 \notes \transpose c c' {
6090 % Pes Quassus Auctus Descendens
6091 \[ \oriscus g \pes \auctum \descendens b \]
6098 \remove "Bar_number_engraver"
6102 \remove "Clef_engraver"
6103 \remove "Key_engraver"
6104 StaffSymbol \set #'transparent = ##t
6105 \remove "Time_signature_engraver"
6106 \remove "Bar_engraver"
6107 minimumVerticalExtent = ##f
6111 \remove Ligature_bracket_engraver
6112 \consists Vaticana_ligature_engraver
6113 NoteHead \set #'style = #'vaticana_punctum
6114 Stem \set #'transparent = ##t
6122 @code{8. Quilisma Pes}
6124 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6125 \include "gregorian-init.ly"
6127 \notes \transpose c c' {
6129 \[ \quilisma g \pes b \]
6136 \remove "Bar_number_engraver"
6140 \remove "Clef_engraver"
6141 \remove "Key_engraver"
6142 StaffSymbol \set #'transparent = ##t
6143 \remove "Time_signature_engraver"
6144 \remove "Bar_engraver"
6145 minimumVerticalExtent = ##f
6149 \remove Ligature_bracket_engraver
6150 \consists Vaticana_ligature_engraver
6151 NoteHead \set #'style = #'vaticana_punctum
6152 Stem \set #'transparent = ##t
6158 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6159 \include "gregorian-init.ly"
6161 \notes \transpose c c' {
6162 % Quilisma Pes Auctus Descendens
6163 \[ \quilisma g \pes \auctum \descendens b \]
6170 \remove "Bar_number_engraver"
6174 \remove "Clef_engraver"
6175 \remove "Key_engraver"
6176 StaffSymbol \set #'transparent = ##t
6177 \remove "Time_signature_engraver"
6178 \remove "Bar_engraver"
6179 minimumVerticalExtent = ##f
6183 \remove Ligature_bracket_engraver
6184 \consists Vaticana_ligature_engraver
6185 NoteHead \set #'style = #'vaticana_punctum
6186 Stem \set #'transparent = ##t
6194 @code{9. Podatus Initio Debilis}
6196 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6197 \include "gregorian-init.ly"
6199 \notes \transpose c c' {
6200 % Pes Initio Debilis
6201 \[ \deminutum g \pes b \]
6208 \remove "Bar_number_engraver"
6212 \remove "Clef_engraver"
6213 \remove "Key_engraver"
6214 StaffSymbol \set #'transparent = ##t
6215 \remove "Time_signature_engraver"
6216 \remove "Bar_engraver"
6217 minimumVerticalExtent = ##f
6221 \remove Ligature_bracket_engraver
6222 \consists Vaticana_ligature_engraver
6223 NoteHead \set #'style = #'vaticana_punctum
6224 Stem \set #'transparent = ##t
6230 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6231 \include "gregorian-init.ly"
6233 \notes \transpose c c' {
6234 % Pes Auctus Descendens Initio Debilis
6235 \[ \deminutum g \pes \auctum \descendens b \]
6242 \remove "Bar_number_engraver"
6246 \remove "Clef_engraver"
6247 \remove "Key_engraver"
6248 StaffSymbol \set #'transparent = ##t
6249 \remove "Time_signature_engraver"
6250 \remove "Bar_engraver"
6251 minimumVerticalExtent = ##f
6255 \remove Ligature_bracket_engraver
6256 \consists Vaticana_ligature_engraver
6257 NoteHead \set #'style = #'vaticana_punctum
6258 Stem \set #'transparent = ##t
6268 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6269 \include "gregorian-init.ly"
6271 \notes \transpose c c' {
6273 \[ a \pes b \flexa g \]
6280 \remove "Bar_number_engraver"
6284 \remove "Clef_engraver"
6285 \remove "Key_engraver"
6286 StaffSymbol \set #'transparent = ##t
6287 \remove "Time_signature_engraver"
6288 \remove "Bar_engraver"
6289 minimumVerticalExtent = ##f
6293 \remove Ligature_bracket_engraver
6294 \consists Vaticana_ligature_engraver
6295 NoteHead \set #'style = #'vaticana_punctum
6296 Stem \set #'transparent = ##t
6302 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6303 \include "gregorian-init.ly"
6305 \notes \transpose c c' {
6306 % Torculus Auctus Descendens
6307 \[ a \pes b \flexa \auctum \descendens g \]
6314 \remove "Bar_number_engraver"
6318 \remove "Clef_engraver"
6319 \remove "Key_engraver"
6320 StaffSymbol \set #'transparent = ##t
6321 \remove "Time_signature_engraver"
6322 \remove "Bar_engraver"
6323 minimumVerticalExtent = ##f
6327 \remove Ligature_bracket_engraver
6328 \consists Vaticana_ligature_engraver
6329 NoteHead \set #'style = #'vaticana_punctum
6330 Stem \set #'transparent = ##t
6336 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6337 \include "gregorian-init.ly"
6339 \notes \transpose c c' {
6340 % Torculus Deminutus
6341 \[ a \pes b \flexa \deminutum g \]
6348 \remove "Bar_number_engraver"
6352 \remove "Clef_engraver"
6353 \remove "Key_engraver"
6354 StaffSymbol \set #'transparent = ##t
6355 \remove "Time_signature_engraver"
6356 \remove "Bar_engraver"
6357 minimumVerticalExtent = ##f
6361 \remove Ligature_bracket_engraver
6362 \consists Vaticana_ligature_engraver
6363 NoteHead \set #'style = #'vaticana_punctum
6364 Stem \set #'transparent = ##t
6371 @code{11. Torculus Initio Debilis}
6373 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6374 \include "gregorian-init.ly"
6376 \notes \transpose c c' {
6377 % Torculus Initio Debilis
6378 \[ \deminutum a \pes b \flexa g \]
6385 \remove "Bar_number_engraver"
6389 \remove "Clef_engraver"
6390 \remove "Key_engraver"
6391 StaffSymbol \set #'transparent = ##t
6392 \remove "Time_signature_engraver"
6393 \remove "Bar_engraver"
6394 minimumVerticalExtent = ##f
6398 \remove Ligature_bracket_engraver
6399 \consists Vaticana_ligature_engraver
6400 NoteHead \set #'style = #'vaticana_punctum
6401 Stem \set #'transparent = ##t
6407 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6408 \include "gregorian-init.ly"
6410 \notes \transpose c c' {
6411 % Torculus Auctus Descendens Initio Debilis
6412 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6419 \remove "Bar_number_engraver"
6423 \remove "Clef_engraver"
6424 \remove "Key_engraver"
6425 StaffSymbol \set #'transparent = ##t
6426 \remove "Time_signature_engraver"
6427 \remove "Bar_engraver"
6428 minimumVerticalExtent = ##f
6432 \remove Ligature_bracket_engraver
6433 \consists Vaticana_ligature_engraver
6434 NoteHead \set #'style = #'vaticana_punctum
6435 Stem \set #'transparent = ##t
6441 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6442 \include "gregorian-init.ly"
6444 \notes \transpose c c' {
6445 % Torculus Deminutus Initio Debilis
6446 \[ \deminutum a \pes b \flexa \deminutum g \]
6453 \remove "Bar_number_engraver"
6457 \remove "Clef_engraver"
6458 \remove "Key_engraver"
6459 StaffSymbol \set #'transparent = ##t
6460 \remove "Time_signature_engraver"
6461 \remove "Bar_engraver"
6462 minimumVerticalExtent = ##f
6466 \remove Ligature_bracket_engraver
6467 \consists Vaticana_ligature_engraver
6468 NoteHead \set #'style = #'vaticana_punctum
6469 Stem \set #'transparent = ##t
6476 @code{12. Porrectus}
6478 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6479 \include "gregorian-init.ly"
6481 \notes \transpose c c' {
6483 \[ a \flexa g \pes b \]
6490 \remove "Bar_number_engraver"
6494 \remove "Clef_engraver"
6495 \remove "Key_engraver"
6496 StaffSymbol \set #'transparent = ##t
6497 \remove "Time_signature_engraver"
6498 \remove "Bar_engraver"
6499 minimumVerticalExtent = ##f
6503 \remove Ligature_bracket_engraver
6504 \consists Vaticana_ligature_engraver
6505 NoteHead \set #'style = #'vaticana_punctum
6506 Stem \set #'transparent = ##t
6512 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6513 \include "gregorian-init.ly"
6515 \notes \transpose c c' {
6516 % Porrectus Auctus Descendens
6517 \[ a \flexa g \pes \auctum \descendens b \]
6524 \remove "Bar_number_engraver"
6528 \remove "Clef_engraver"
6529 \remove "Key_engraver"
6530 StaffSymbol \set #'transparent = ##t
6531 \remove "Time_signature_engraver"
6532 \remove "Bar_engraver"
6533 minimumVerticalExtent = ##f
6537 \remove Ligature_bracket_engraver
6538 \consists Vaticana_ligature_engraver
6539 NoteHead \set #'style = #'vaticana_punctum
6540 Stem \set #'transparent = ##t
6546 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6547 \include "gregorian-init.ly"
6549 \notes \transpose c c' {
6550 % Porrectus Deminutus
6551 \[ a \flexa g \pes \deminutum b \]
6558 \remove "Bar_number_engraver"
6562 \remove "Clef_engraver"
6563 \remove "Key_engraver"
6564 StaffSymbol \set #'transparent = ##t
6565 \remove "Time_signature_engraver"
6566 \remove "Bar_engraver"
6567 minimumVerticalExtent = ##f
6571 \remove Ligature_bracket_engraver
6572 \consists Vaticana_ligature_engraver
6573 NoteHead \set #'style = #'vaticana_punctum
6574 Stem \set #'transparent = ##t
6583 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6584 \include "gregorian-init.ly"
6586 \notes \transpose c c' {
6588 \[ \virga b \inclinatum a \inclinatum g \]
6595 \remove "Bar_number_engraver"
6599 \remove "Clef_engraver"
6600 \remove "Key_engraver"
6601 StaffSymbol \set #'transparent = ##t
6602 \remove "Time_signature_engraver"
6603 \remove "Bar_engraver"
6604 minimumVerticalExtent = ##f
6608 \remove Ligature_bracket_engraver
6609 \consists Vaticana_ligature_engraver
6610 NoteHead \set #'style = #'vaticana_punctum
6611 Stem \set #'transparent = ##t
6617 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6618 \include "gregorian-init.ly"
6620 \notes \transpose c c' {
6622 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6629 \remove "Bar_number_engraver"
6633 \remove "Clef_engraver"
6634 \remove "Key_engraver"
6635 StaffSymbol \set #'transparent = ##t
6636 \remove "Time_signature_engraver"
6637 \remove "Bar_engraver"
6638 minimumVerticalExtent = ##f
6642 \remove Ligature_bracket_engraver
6643 \consists Vaticana_ligature_engraver
6644 NoteHead \set #'style = #'vaticana_punctum
6645 Stem \set #'transparent = ##t
6651 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6652 \include "gregorian-init.ly"
6654 \notes \transpose c c' {
6655 % Climacus Deminutus
6656 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6663 \remove "Bar_number_engraver"
6667 \remove "Clef_engraver"
6668 \remove "Key_engraver"
6669 StaffSymbol \set #'transparent = ##t
6670 \remove "Time_signature_engraver"
6671 \remove "Bar_engraver"
6672 minimumVerticalExtent = ##f
6676 \remove Ligature_bracket_engraver
6677 \consists Vaticana_ligature_engraver
6678 NoteHead \set #'style = #'vaticana_punctum
6679 Stem \set #'transparent = ##t
6686 @code{14. Scandicus}
6688 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6689 \include "gregorian-init.ly"
6691 \notes \transpose c c' {
6693 \[ g \pes a \virga b \]
6700 \remove "Bar_number_engraver"
6704 \remove "Clef_engraver"
6705 \remove "Key_engraver"
6706 StaffSymbol \set #'transparent = ##t
6707 \remove "Time_signature_engraver"
6708 \remove "Bar_engraver"
6709 minimumVerticalExtent = ##f
6713 \remove Ligature_bracket_engraver
6714 \consists Vaticana_ligature_engraver
6715 NoteHead \set #'style = #'vaticana_punctum
6716 Stem \set #'transparent = ##t
6722 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6723 \include "gregorian-init.ly"
6725 \notes \transpose c c' {
6726 % Scandicus Auctus Descendens
6727 \[ g \pes a \pes \auctum \descendens b \]
6734 \remove "Bar_number_engraver"
6738 \remove "Clef_engraver"
6739 \remove "Key_engraver"
6740 StaffSymbol \set #'transparent = ##t
6741 \remove "Time_signature_engraver"
6742 \remove "Bar_engraver"
6743 minimumVerticalExtent = ##f
6747 \remove Ligature_bracket_engraver
6748 \consists Vaticana_ligature_engraver
6749 NoteHead \set #'style = #'vaticana_punctum
6750 Stem \set #'transparent = ##t
6756 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6757 \include "gregorian-init.ly"
6759 \notes \transpose c c' {
6760 % Scandicus Deminutus
6761 \[ g \pes a \pes \deminutum b \]
6768 \remove "Bar_number_engraver"
6772 \remove "Clef_engraver"
6773 \remove "Key_engraver"
6774 StaffSymbol \set #'transparent = ##t
6775 \remove "Time_signature_engraver"
6776 \remove "Bar_engraver"
6777 minimumVerticalExtent = ##f
6781 \remove Ligature_bracket_engraver
6782 \consists Vaticana_ligature_engraver
6783 NoteHead \set #'style = #'vaticana_punctum
6784 Stem \set #'transparent = ##t
6793 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6794 \include "gregorian-init.ly"
6796 \notes \transpose c c' {
6798 \[ g \oriscus a \pes \virga b \]
6805 \remove "Bar_number_engraver"
6809 \remove "Clef_engraver"
6810 \remove "Key_engraver"
6811 StaffSymbol \set #'transparent = ##t
6812 \remove "Time_signature_engraver"
6813 \remove "Bar_engraver"
6814 minimumVerticalExtent = ##f
6818 \remove Ligature_bracket_engraver
6819 \consists Vaticana_ligature_engraver
6820 NoteHead \set #'style = #'vaticana_punctum
6821 Stem \set #'transparent = ##t
6827 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6828 \include "gregorian-init.ly"
6830 \notes \transpose c c' {
6831 % Salicus Auctus Descendens
6832 \[ g \oriscus a \pes \auctum \descendens b \]
6839 \remove "Bar_number_engraver"
6843 \remove "Clef_engraver"
6844 \remove "Key_engraver"
6845 StaffSymbol \set #'transparent = ##t
6846 \remove "Time_signature_engraver"
6847 \remove "Bar_engraver"
6848 minimumVerticalExtent = ##f
6852 \remove Ligature_bracket_engraver
6853 \consists Vaticana_ligature_engraver
6854 NoteHead \set #'style = #'vaticana_punctum
6855 Stem \set #'transparent = ##t
6865 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6866 \include "gregorian-init.ly"
6868 \notes \transpose c c' {
6870 \[ \stropha b \stropha b \stropha a \]
6877 \remove "Bar_number_engraver"
6881 \remove "Clef_engraver"
6882 \remove "Key_engraver"
6883 StaffSymbol \set #'transparent = ##t
6884 \remove "Time_signature_engraver"
6885 \remove "Bar_engraver"
6886 minimumVerticalExtent = ##f
6890 \remove Ligature_bracket_engraver
6891 \consists Vaticana_ligature_engraver
6892 NoteHead \set #'style = #'vaticana_punctum
6893 Stem \set #'transparent = ##t
6905 Unlike most other neumes notation systems, the input language for
6906 neumes does not necessarily reflect directly the typographical
6907 appearance, but is designed to solely focuse on musical meaning. For
6908 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6909 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6910 a Porrectus with a curved flexa shape and only a single Punctum head.
6911 There is no command to explicitly typeset the curved flexa shape; the
6912 decision of when to typeset a curved flexa shape is purely taken from
6913 the musical input. The idea of this approach is to separate the
6914 musical aspects of the input from the notation style of the output.
6915 This way, the same input can be reused to typeset the same music in a
6916 different style of Gregorian chant notation such as Hufnagel (also
6917 known as German gothic neumes) or Medicaea (kind of a very simple
6918 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6919 engraver and Medicaea ligature engraver will have been implemented, it
6920 will be as simple as replacing the ligature engraver in the
6921 @internalsref{Voice} context to get the desired notation style from
6924 The following table shows the code fragments that produce the
6925 ligatures in the above neumes table. The letter in the first column
6926 in each line of the below table indicates to which ligature in the
6927 above table it refers. The second column gives the name of the
6928 ligature. The third column shows the code fragment that produces this
6929 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6931 @multitable @columnfractions .1 .4 .5
6945 Punctum Inclinatum @tab
6946 @code{\[ \inclinatum b \]}
6950 Punctum Auctum Ascendens @tab
6951 @code{\[ \auctum \ascendens b \]}
6955 Punctum Auctum Descendens @tab
6956 @code{\[ \auctum \descendens b \]}
6960 Punctum Inclinatum Auctum @tab
6961 @code{\[ \inclinatum \auctum b \]}
6965 Punctum Inclinatum Parvum @tab
6966 @code{\[ \inclinatum \deminutum b \]}
6971 @code{\[ \virga b \]}
6976 @code{\[ \stropha b \]}
6981 @code{\[ \stropha \auctum b \]}
6986 @code{\[ \oriscus b \]}
6990 Clivis vel Flexa @tab
6991 @code{\[ b \flexa g \]}
6995 Clivis Aucta Descendens @tab
6996 @code{\[ b \flexa \auctum \descendens g \]}
7000 Clivis Aucta Ascendens @tab
7001 @code{\[ b \flexa \auctum \ascendens g \]}
7006 @code{\[ b \flexa \deminutum g \]}
7010 Podatus vel Pes @tab
7011 @code{\[ g \pes b \]}
7015 Pes Auctus Descendens @tab
7016 @code{\[ g \pes \auctum \descendens b \]}
7020 Pes Auctus Ascendens @tab
7021 @code{\[ g \pes \auctum \ascendens b \]}
7026 @code{\[ g \pes \deminutum b \]}
7031 @code{\[ \oriscus g \pes \virga b \]}
7035 Pes Quassus Auctus Descendens @tab
7036 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7041 @code{\[ \quilisma g \pes b \]}
7045 Quilisma Pes Auctus Descendens @tab
7046 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7050 Pes Initio Debilis @tab
7051 @code{\[ \deminutum g \pes b \]}
7055 Pes Auctus Descendens Initio Debilis @tab
7056 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7061 @code{\[ a \pes b \flexa g \]}
7065 Torculus Auctus Descendens @tab
7066 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7070 Torculus Deminutus @tab
7071 @code{\[ a \pes b \flexa \deminutum g \]}
7075 Torculus Initio Debilis @tab
7076 @code{\[ \deminutum a \pes b \flexa g \]}
7080 Torculus Auctus Descendens Initio Debilis @tab
7081 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7085 Torculus Deminutus Initio Debilis @tab
7086 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7091 @code{\[ a \flexa g \pes b \]}
7095 Porrectus Auctus Descendens @tab
7096 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7100 Porrectus Deminutus @tab
7101 @code{\[ a \flexa g \pes \deminutum b \]}
7106 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7110 Climacus Auctus @tab
7111 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7115 Climacus Deminutus @tab
7116 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7121 @code{\[ g \pes a \virga b \]}
7125 Scandicus Auctus Descendens @tab
7126 @code{\[ g \pes a \pes \auctum \descendens b \]}
7130 Scandicus Deminutus @tab
7131 @code{\[ g \pes a \pes \deminutum b \]}
7136 @code{\[ g \oriscus a \pes \virga b \]}
7140 Salicus Auctus Descendens @tab
7141 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7146 @code{\[ \stropha b \stropha b \stropha a \]}
7152 The following head prefixes are supported:
7154 @cindex @code{\virga}
7156 @cindex @code{\stropha}
7158 @cindex @code{\inclinatum}
7160 @cindex @code{\auctum}
7162 @cindex @code{\descendens}
7164 @cindex @code{\ascendens}
7166 @cindex @code{\oriscus}
7168 @cindex @code{\quilisma}
7170 @cindex @code{\deminutum}
7173 Head prefixes can be accumulated, though restrictions apply. For
7174 example, either @code{\descendens} or @code{\ascendens} can be applied
7175 to a head, but not both to the same head.
7178 @cindex @code{\flexa}
7179 Two adjacent heads can be tied together with the @code{\pes} and
7180 @code{\flexa} infix commands for a rising and falling line of melody,
7185 Trigonus: apply equal spacing, regardless of pitch.
7188 @subsection Figured bass
7190 @cindex Basso continuo
7192 @c TODO: musicological blurb about FB
7196 LilyPond has limited support for figured bass:
7198 @lilypond[verbatim,fragment]
7200 \context Voice \notes { \clef bass dis4 c d ais}
7201 \context FiguredBass
7203 < 6 >4 < 7 >8 < 6+ [_!] >
7209 The support for figured bass consists of two parts: there is an input
7210 mode, introduced by @code{\figures}, where you can enter bass figures
7211 as numbers, and there is a context called @internalsref{FiguredBass} that
7212 takes care of making @internalsref{BassFigure} objects.
7214 In figures input mode, a group of bass figures is delimited by
7215 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7220 \context FiguredBass
7224 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7231 \context FiguredBass
7232 \figures { <4- 6+ 7!> }
7235 Spaces or dashes may be inserted by using @code{_}. Brackets are
7236 introduced with @code{[} and @code{]}:
7242 \context FiguredBass
7243 \figures { < [4 6] 8 [_! 12]> }
7246 Although the support for figured bass may superficially resemble chord
7247 support, it works much simpler. The @code{\figures} mode simply
7248 stores the numbers , and @internalsref{FiguredBass} context prints
7249 them as entered. There is no conversion to pitches, and no
7250 realizations of the bass are played in the MIDI file.
7252 Internally, the code produces markup texts. You can use any of the
7253 markup text properties to override formatting. For example, the
7254 vertical spacing of the figures may be set with @code{baseline-skip}.
7258 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7259 and @internalsref{FiguredBass} context.
7263 Slash notation for alterations is not supported.
7266 @node Vaticana style contexts
7267 @subsection Vaticana style contexts
7269 @cindex VaticanaVoiceContext
7270 @cindex VaticanaStaffContext
7272 The predefined @code{VaticanaVoiceContext} and
7273 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7274 Gregorian Chant in the style of the Editio Vaticana. These contexts
7275 initialize all relevant context properties and grob properties to
7276 proper values. With these contexts, you can immediately go ahead
7277 entering the chant, as the following short excerpt demonstrates:
7279 @lilypond[raggedright,verbatim,noindent]
7280 \include "gregorian-init.ly"
7283 \context VaticanaVoice {
7284 \property Score.BarNumber \set #'transparent = ##t
7286 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7287 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7288 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7291 \context Lyrics \lyrics {
7292 San- ctus, San- ctus, San- ctus
7297 @node Contemporary notation
7298 @section Contemporary notation
7300 In the 20th century, composers have greatly expanded the musical
7301 vocabulary. With this expansion, many innovations in musical notation
7302 have been tried. The book by Stone (1980) gives a comprehensive
7303 overview (see @ref{Literature list}). In general, the use of new,
7304 innovative notation makes a piece harder to understand and perform and
7305 its use should therefore be avoided if possible. For this reason,
7306 support for contemporary notation in LilyPond is limited.
7315 @subsection Clusters
7319 In musical terminology, a @emph{cluster} denotes a range of
7320 simultaneously sounding pitches that may change over time. The set of
7321 available pitches to apply usually depends on the accoustic source.
7322 Thus, in piano music, a cluster typically consists of a continous range
7323 of the semitones as provided by the piano's fixed set of a chromatic
7324 scale. In choral music, each singer of the choir typically may sing an
7325 arbitrary pitch within the cluster's range that is not bound to any
7326 diatonic, chromatic or other scale. In electronic music, a cluster
7327 (theoretically) may even cover a continuous range of pitches, thus
7328 resulting in coloured noise, such as pink noise.
7330 Clusters can be denoted in the context of ordinary staff notation by
7331 engraving simple geometrical shapes that replace ordinary notation of
7332 notes. Ordinary notes as musical events specify starting time and
7333 duration of pitches; however, the duration of a note is expressed by the
7334 shape of the note head rather than by the horizontal graphical extent of
7335 the note symbol. In contrast, the shape of a cluster geometrically
7336 describes the development of a range of pitches (vertical extent) over
7337 time (horizontal extent). Still, the geometrical shape of a cluster
7338 covers the area in wich any single pitch contained in the cluster would
7339 be notated as an ordinary note. From this point of view, it is
7340 reasonable to specify a cluster as the envelope of a set of notes.
7344 A cluster is engraved as the envelope of a set of
7345 cluster-notes. Cluster notes are created by applying the function
7346 @code{notes-to-clusters} to a sequence of chords, e.g.
7348 @lilypond[relative 1,verbatim]
7349 \apply #notes-to-clusters { <c e > <b f'> }
7352 The following example (from
7353 @inputfileref{input/regression,cluster.ly}) shows what the result
7356 @lilypondfile[notexidoc]{cluster.ly}
7358 By default, @internalsref{Cluster_spanner_engraver} is in the
7359 @internalsref{Voice} context. This allows putting ordinary notes and
7360 clusters together in the same staff, even simultaneously. In such a
7361 case no attempt is made to automatically avoid collisions between
7362 ordinary notes and clusters.
7366 Internals: @internalsref{ClusterSpanner},
7367 @internalsref{ClusterSpannerBeacon},
7368 @internalsref{Cluster_spanner_engraver}, and
7369 @internalsref{ClusterNoteEvent}.
7371 Examples: @inputfileref{input/regression,cluster.ly}.
7375 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7376 accurately. Use @code{<g a>8 <e a>8} instead.
7381 @subsection Fermatas
7387 Contemporary music notation frequently uses special fermata symbols to
7388 indicate fermatas of differing lengths.
7392 The following are supported
7394 @lilypond[singleline]
7396 << \addlyrics \notes {
7416 \context Lyrics \lyrics {
7417 "shortfermata" "fermata" "longfermata" "verylongfermata"
7422 See @ref{Articulations} for general instructions how to apply scripts
7423 such as fermatas to a @code{\notes@{@}} block.
7426 @section Tuning output
7428 There are situations where default layout decisions are not
7429 sufficient. In this section we discuss ways to override these
7432 Formatting is internally done by manipulating so called objects
7433 (graphic objects). Each object carries with it a set of properties
7434 (object or layout properties) specific to that object. For example, a
7435 stem object has properties that specify its direction, length and
7438 The most direct way of tuning the output is by altering the values of
7439 these properties. There are two ways of doing that: first, you can
7440 temporarily change the definition of one type of object, thus
7441 affecting a whole set of objects. Second, you can select one specific
7442 object, and set a layout property in that object.
7444 Do not confuse layout properties with translation
7445 properties. Translation properties always use a mixed caps style
7446 naming, and are manipulated using @code{\property}:
7448 \property Context.propertyName = @var{value}
7450 Layout properties are use Scheme style variable naming, i.e. lower
7451 case words separated with dashes. They are symbols, and should always
7452 be quoted using @code{#'}. For example, this could be an imaginary
7453 layout property name:
7455 #'layout-property-name
7460 * Constructing a tweak::
7468 @node Tuning objects
7469 @subsection Tuning objects
7471 @cindex object description
7473 The definition of an object is a list of default object
7474 properties. For example, the definition of the Stem object (available
7475 in @file{scm/define-grobs.scm}), includes the following definitions
7476 for @internalsref{Stem}:
7480 (beamed-lengths . (0.0 2.5 2.0 1.5))
7481 (Y-extent-callback . ,Stem::height)
7486 Adding variables on top of this existing definition overrides the
7487 system default, and alters the resulting appearance of the layout
7493 Changing a variable for only one object is commonly achieved with
7497 \once \property @var{context}.@var{objectname}
7498 \override @var{symbol} = @var{value}
7500 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7501 and @var{objectname} is a string and @var{value} is a Scheme expression.
7502 This command applies a setting only during one moment in the score.
7504 In the following example, only one @internalsref{Stem} object is
7505 changed from its original setting:
7507 @lilypond[verbatim, fragment, relative=1]
7509 \once \property Voice.Stem \set #'thickness = #4
7513 @cindex @code{\once}
7515 For changing more objects, the same command, without @code{\once} can
7518 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7520 This command adds @code{@var{symbol} = @var{value}} to the definition
7521 of @var{objectname} in the context @var{context}, and this definition
7522 stays in place until it is removed.
7524 An existing definition may be removed by the following command:
7527 \property @var{context}.@var{objectname} \revert @var{symbol}
7530 All @code{\override} and @code{\revert} commands should be balanced.
7531 The @code{\set} shorthand performs a revert followed by an override,
7532 and is often more convenient to use
7535 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7539 @lilypond[verbatim,quote]
7540 c'4 \property Voice.Stem \override #'thickness = #4.0
7542 c'4 \property Voice.Stem \revert #'thickness
7546 The following example gives exactly the same result as the previous
7547 one (assuming the system default for stem thickness is 1.3):
7549 @lilypond[verbatim,quote]
7550 c'4 \property Voice.Stem \set #'thickness = #4.0
7552 c'4 \property Voice.Stem \set #'thickness = #1.3
7556 Reverting a setting which was not set in the first place has no
7557 effect. However, if the setting was set as a system default, this may
7558 remove the default value, and this may give surprising results,
7559 including crashes. In other words, @code{\override} and
7560 @code{\revert} must be carefully balanced. The following are examples
7561 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7565 a clumsy but correct form:
7567 \override \revert \override \revert \override \revert
7571 shorter version of the same:
7573 \override \set \set \revert
7577 a short form, using only @code{\set}. This requires you to know the
7580 \set \set \set \set @var{to default value}
7584 if there is no default (i.e. by default, the object property is unset),
7587 \set \set \set \revert
7591 The object description is an Scheme association list. Since a Scheme
7592 list is a singly linked list, we can treat it as a stack, and
7593 @code{\override} and @code{\revert} are push and pop operations. The
7594 association list is stored in a normal context property, hence
7596 \property Voice.NoteHead = #'()
7598 will effectively erase @internalsref{NoteHead}s from the current
7599 @internalsref{Voice}. Typically, this will blank the object. However,
7600 this mechanism should not be used: it may cause crashes or other
7605 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7606 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7607 @internalsref{All-layout-objects}.
7612 The backend is not very strict in type-checking object properties.
7613 Cyclic references in Scheme values for properties cause hangs and/or
7614 crashes. Reverting properties that are system defaults may also lead
7617 A property tweak of modifies a local copy of the object definition.
7618 After such a tweak, the definition is independent of the objects in
7619 enclosing contexts. For example
7622 \property Voice.Stem \set #'neutral-direction = #1
7624 \property Staff.Stem \set #'thickness = #4.0
7629 In this fragment, @code{neutral-direction} is tweaked. As a result,
7630 the current @internalsref{Voice} gets a private version of the
7631 @internalsref{Stem} object. The following tweak modifies the
7632 definition at @internalsref{Staff} level. Since it a different
7633 definition, the thickness of the @code{b'16} is unaffected. For the
7634 third note, a new Voice is created, which inherits the new definition,
7635 including the changed thickness, but excluding the new neutral
7641 * Constructing a tweak::
7647 @node Constructing a tweak
7648 @subsection Constructing a tweak
7651 @cindex internal documentation
7652 @cindex finding graphical objects
7653 @cindex graphical object descriptions
7655 @cindex @code{\override}
7657 @cindex internal documentation
7661 Three pieces of information are required to use @code{\override} and
7662 @code{\set}: the name of the layout object, the context and the name
7663 of the property. We demonstrate how to glean this information from
7664 the notation manual and the generated documentation.
7666 The generated documentation is a set of HTML pages which should be
7667 included if you installed a binary distribution, typically in
7668 @file{/usr/share/doc/lilypond}. They are also available on the web:
7669 go to the @uref{http://lilypond.org,LilyPond website}, click
7670 ``Documentation'', select the correct version, and click then
7671 ``Program reference.'' It is advisable to bookmark the local HTML
7672 files. They will load faster than the ones on the web. If you use the
7673 version from the web, you must check whether the documentation matches
7674 the program version: it is generated from the definitions that the
7675 program uses, and therefore it is strongly tied to the LilyPond
7679 @c [TODO: revise for new site.]
7681 Suppose we want to move the fingering indication in the fragment below:
7683 @lilypond[relative=2,verbatim]
7689 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7690 instructions}), you will notice that there is written:
7695 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7702 In other words, the fingerings once entered, are internally stored as
7703 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7704 layout object is created for every @code{FingerEvent}.
7706 The Fingering object has a number of different functions, and each of
7707 those is captured in an interface. The interfaces are listed under
7708 @internalsref{Fingering} in the program reference.
7712 The @code{Fingering} object has a fixed size
7713 (@internalsref{item-interface}), the symbol is a piece of text
7714 (@internalsref{text-interface}), whose font can be set
7715 (@internalsref{font-interface}). It is centered horizontally
7716 (@internalsref{self-alignment-interface}), it is placed next to other
7717 objects (@internalsref{side-position-interface}) vertically, and its
7718 placement is coordinated with other scripts
7719 (@internalsref{text-script-interface}). It also has the standard
7720 @internalsref{grob-interface} (grob stands for Graphical object)
7722 @cindex graphical object
7723 @cindex layout object
7724 @cindex object, layout
7725 with all the variables that come with
7726 it. Finally, it denotes a fingering instruction, so it has
7727 @internalsref{finger-interface}.
7729 For the vertical placement, we have to look under
7730 @code{side-position-interface}:
7732 @code{side-position-interface}
7734 Position a victim object (this one) next to other objects (the
7735 support). In this case, the property @code{direction} signifies where to put the
7736 victim object relative to the support (left or right, up or down?)
7741 below this description, the variable @code{padding} is described as
7745 (dimension, in staff space)
7747 add this much extra space between objects that are next to each
7748 other. Default value: @code{0.6}
7752 By increasing the value of @code{padding}, we can move away the
7753 fingering. The following command inserts 3 staff spaces of white
7754 between the note and the fingering:
7756 \once \property Voice.Fingering \set #'padding = #3
7759 Inserting this command before the Fingering object is created,
7760 i.e. before @code{c2}, yields the following result:
7762 @lilypond[relative=2,fragment,verbatim]
7763 \once \property Voice.Fingering
7770 The context name @code{Voice} in the example above can be determined
7771 as follows. In the documentation for @internalsref{Fingering}, it says
7773 Fingering grobs are created by: @internalsref{Fingering_engraver}
7776 Clicking @code{Fingering_engraver} shows the documentation of
7777 the module responsible for interpreting the fingering instructions and
7778 translating them to a @code{Fingering} object. Such a module is called
7779 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7782 Fingering_engraver is part of contexts: Voice
7784 so tuning the settings for Fingering should be done with
7786 \property Voice.Fingering \set @dots{}
7789 Of course, the tweak may also done in a larger context than
7790 @code{Voice}, for example, @internalsref{Staff} or
7791 @internalsref{Score}.
7795 Internals: the program reference also contains alphabetical lists of
7796 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7797 @internalsref{Music-expressions}, so you can also find which objects
7798 to tweak by browsing the internals document.
7802 @subsection Applyoutput
7804 The most versatile way of tuning an object is @code{\applyoutput}. Its
7807 \applyoutput @var{proc}
7811 where @var{proc} is a Scheme function, taking three arguments.
7813 When interpreted, the function @var{proc} is called for every layout
7814 object found in the context, with the following arguments:
7816 @item the layout object itself,
7817 @item the context where the layout object was created, and
7818 @item the context where @code{\applyoutput} is processed.
7822 In addition, the cause of the layout object, i.e. the music
7823 expression or object that was responsible for creating it, is in the
7824 object property @code{cause}. For example, for a note head, this is a
7825 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7826 this is a @internalsref{NoteHead} object.
7828 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7831 (define (blanker grob grob-origin context)
7832 (if (and (memq (ly:get-grob-property grob 'interfaces)
7833 note-head-interface)
7834 (eq? (ly:get-grob-property grob 'staff-position) 0))
7836 (ly:set-grob-property! grob 'transparent #t)))
7841 @node Font selection
7842 @subsection Font selection
7844 The most common thing to change about the appearance of fonts is their
7845 size. The font size of any context can be easily changed by setting
7846 the @code{fontSize} property for that context. Its value is a number:
7847 negative numbers make the font smaller, positive numbers larger. An
7848 example is given below:
7850 @lilypond[fragment,relative=1,verbatim,quote]
7851 c4 c4 \property Voice.fontSize = #-1
7854 This command will set @code{font-size} (see below), and does
7855 not change the size of variable symbols, such as beams or slurs.
7857 One of the uses of @code{fontSize} is to get smaller symbols for cue
7858 notes. An elaborate example of those is in
7859 @inputfileref{input/test,cue-notes.ly}.
7861 @cindex magnification
7864 The font used for printing a object can be selected by setting
7865 @code{font-name}, e.g.
7867 \property Staff.TimeSignature
7868 \set #'font-name = #"cmr17"
7872 Any font can be used, as long as it is available to @TeX{}. Possible
7873 fonts include foreign fonts or fonts that do not belong to the
7874 Computer Modern font family. The size of fonts selected in this way
7875 can be changed with the @code{font-magnification} property. For
7876 example, @code{2.0} blows up all letters by a factor 2 in both
7880 @cindex font magnification
7882 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7883 can also be adjusted with a more fine-grained mechanism. By setting
7884 the object properties described below, you can select a different font;
7885 all three mechanisms work for every object that supports
7886 @code{font-interface}:
7891 is a symbol indicating the general class of the typeface. Supported are
7892 @code{roman} (Computer Modern), @code{braces} (for piano staff
7893 braces), @code{music} (the standard music font, including ancient
7894 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7897 is a symbol indicating the shape of the font, there are typically several
7898 font shapes available for each font family. Choices are @code{italic},
7899 @code{caps} and @code{upright}.
7902 is a symbol indicating the series of the font. There are typically several
7903 font series for each font family and shape. Choices are @code{medium}
7908 For any of these properties, the value @code{*} (i.e. the symbol
7909 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7910 to override default setting, which are always present. For example:
7912 \property Lyrics . LyricText \override #'font-series = #'bold
7913 \property Lyrics . LyricText \override #'font-family = #'typewriter
7914 \property Lyrics . LyricText \override #'font-shape = #'*
7917 @cindex @code{font-style}
7919 The font size is set by modifying the @code{font-size} property. Its
7920 value is a number indicating the size relative to the standard size.
7921 Each step up is an increase of approximately 12% of the font size. Six
7922 steps is exactly a factor two. The Scheme function @code{magstep}
7923 converts a @code{font-size} number to a scaling factor.
7925 LilyPond has fonts in different design sizes: the music fonts for
7926 smaller sizes are chubbier, while the text fonts are relatively wider.
7927 Font size changes are achieved by scaling the design size that is
7928 closest to the desired size.
7930 The @code{font-size} mechanism does not work for fonts selected
7931 through @code{font-name}. These may be scaled with
7932 @code{font-magnification}.
7936 The following commands set @code{fontSize} for the current voice.
7938 @cindex @code{\tiny}
7940 @cindex @code{\small}
7942 @cindex @code{\normalsize}
7947 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
7952 There is no style sheet provided for other fonts besides the @TeX{}
7955 @cindex font selection
7956 @cindex font magnification
7957 @cindex @code{font-interface}
7961 @subsection Text markup
7966 @cindex typeset text
7968 LilyPond has an internal mechanism to typeset texts. You can access it
7969 with the keyword @code{\markup}. Within markup mode, you can enter texts
7970 similar to lyrics: simply enter them, surrounded by spaces:
7973 @lilypond[verbatim,fragment,relative=1]
7974 c1^\markup { hello }
7975 c1_\markup { hi there }
7976 c1^\markup { hi \bold there, is \italic anyone home? }
7979 @cindex font switching
7981 The markup in the example demonstrates font switching commands. The
7982 command @code{\bold} and @code{\italic} only apply to the first
7983 following word; enclose a set of texts with braces to apply a command
7986 \markup @{ \bold @{ hi there @} @}
7990 For clarity, you can also do this for single arguments, e.g.
7992 \markup @{ is \italic @{ anyone @} home @}
7995 @cindex font size, texts
7997 The following size commands set absolute sizes:
7999 @cindex @code{\teeny}
8000 @cindex @code{\tiny}
8001 @cindex @code{\small}
8002 @cindex @code{\large}
8003 @cindex @code{\huge}
8013 You can also make letter larger or smaller relative to their neighbors,
8014 with the commands @code{\larger} and @code{\smaller}.
8018 @cindex font style, for texts
8019 @cindex @code{\bold}
8020 @cindex @code{\dynamic}
8021 @cindex @code{\number}
8022 @cindex @code{\italic}
8024 The following font change commands are defined:
8027 changes to the font used in dynamic signs. This font does not
8028 contain all characters of the alphabet, so when producing ``piu f'',
8029 the ``piu'' should be done in a different font.
8033 changes to the font used in time signatures. It only contains
8034 numbers and a few punctuation marks.
8036 changes @code{font-shape} to @code{italic}.
8038 changes @code{font-series} to @code{bold}.
8041 @cindex raising text
8042 @cindex lowering text
8044 @cindex translating text
8047 @cindex @code{\super}
8049 Raising and lowering texts can be done with @code{\super} and
8052 @lilypond[verbatim,fragment,relative=1]
8053 c1^\markup { E "=" mc \super "2" }
8056 @cindex @code{\raise}
8058 If you want to give an explicit amount for lowering or raising, use
8059 @code{\raise}. This command takes a Scheme valued first argument, and
8060 a markup object as second argument:
8062 @lilypond[verbatim,fragment,relative=1,quote]
8063 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8065 The argument to @code{\raise} is the vertical displacement amount,
8066 measured in (global) staff spaces. @code{\raise} and @code{\super}
8067 raise objects in relation to their surrounding markups. They cannot be
8068 used to move a single text up or down, when it is above or below a
8069 note, since the mechanism that positions it next to the note cancels
8070 any vertical shift. For vertical positioning, use the @code{padding}
8071 and/or @code{extra-offset} properties.
8073 Other commands taking single arguments include
8076 @item \bracket, \hbracket
8077 Bracket the argument markup with normal and horizontal brackets
8081 @cindex @code{\musicglyph}
8082 This is converted to a musical symbol, e.g. @code{\musicglyph
8083 #"accidentals-0"} will select the natural sign from the music font.
8084 See @ref{The Feta font} for a complete listing of the possible glyphs.
8086 This produces a single character, e.g. @code{\char #65} produces the
8089 @item \note @var{log} @var{dots} @var{dir}
8090 @cindex @code{\note}
8092 This produces a note with a stem pointing in @var{dir} direction, with
8093 duration log @var{log} and @var{dots} augmentation dots. The duration
8094 log is the negative 2-logarithm of the duration denominator. For
8095 example, a quarter note has log 2, an eighth note 3 and a breve has
8098 @item \hspace #@var{amount}
8099 @cindex @code{\hspace}
8100 This produces a invisible object taking horizontal space.
8102 \markup @{ A \hspace #2.0 B @}
8104 will put extra space between A and B, on top of the space that is
8105 normally inserted before elements on a line.
8107 @item \fontsize #@var{size}
8108 @cindex @code{\fontsize}
8109 This sets the relative font size, eg.
8111 A \fontsize #2 @{ B C @} D
8115 This will enlarge the B and the C by two steps.
8116 @item \translate #(cons @var{x} @var{y})
8118 This translates an object. Its first argument is a cons of numbers
8120 A \translate #(cons 2 -3) @{ B C @} D
8122 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8123 surroundings. This command cannot be used to move isolated scripts
8124 vertically, for the same reason that @code{\raise} cannot be used for
8127 @item \magnify #@var{mag}
8128 @cindex @code{\magnify}
8129 This sets the font magnification for the its argument. In the following
8130 example, the middle A will be 10% larger:
8132 A \magnify #1.1 @{ A @} A
8136 @item \override #(@var{key} . @var{value})
8137 @cindex @code{\override}
8138 This overrides a formatting property for its argument. The argument
8139 should be a key/value pair, e.g.
8141 m \override #'(font-family . math) m m
8145 In markup mode you can compose expressions, similar to mathematical
8146 expressions, XML documents and music expressions. The braces group
8147 notes into horizontal lines. Other types of lists also exist: you can
8148 stack expressions grouped with @code{<}, and @code{>} vertically with
8149 the command @code{\column}. Similarly, @code{\center} aligns texts by
8152 @lilypond[verbatim,fragment,relative=1]
8153 c1^\markup { \column < a bbbb c > }
8154 c1^\markup { \center < a bbbb c > }
8155 c1^\markup { \line < a b c > }
8158 Markups can be stored in variables, and these variables
8159 may be attached to notes, like
8161 allegro = \markup { \bold \large { Allegro } }
8162 \notes { a^\allegro b c d }
8165 The markup mechanism is extensible. Refer to
8166 @file{scm/new-markup.scm} for more information.
8171 Internals: @internalsref{Markup-functions},
8173 Init files: @file{scm/new-markup.scm}.
8180 Text layout is ultimately done by @TeX{}, which does kerning of
8181 letters. LilyPond does not account for kerning, so texts will be
8182 spaced slightly too wide.
8184 Syntax errors for markup mode are confusing.
8186 Markup texts cannot be used in the titling of the @code{\header}
8187 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8194 @section Global layout
8196 The global layout determined by three factors: the page layout, the
8197 line breaks and the spacing. These all influence each other. The
8198 choice of spacing determines how densely each system of music is set,
8199 which influences where line breaks breaks are chosen, and thus
8200 ultimately how many pages a piece of music takes. This section
8201 explains how to tune the algorithm for spacing.
8203 Globally spoken, this procedure happens in three steps: first,
8204 flexible distances (``springs'') are chosen, based on durations. All
8205 possible line breaking combination are tried, and the one with the
8206 best results---a layout that has uniform density and requires as
8207 little stretching or cramping as possible---is chosen. When the score
8208 is processed by @TeX{}, each page is filled with systems, and page breaks
8209 are chosen whenever the page gets full.
8214 * Vertical spacing::
8215 * Horizontal spacing::
8222 @node Vertical spacing
8223 @subsection Vertical spacing
8225 @cindex vertical spacing
8226 @cindex distance between staves
8227 @cindex staff distance
8228 @cindex between staves, distance
8229 @cindex staffs per page
8230 @cindex space between staves
8232 The height of each system is determined automatically by LilyPond, to
8233 keep systems from bumping into each other, some minimum distances are
8234 set. By changing these, you can put staves closer together, and thus
8235 put more systems onto one page.
8237 Normally staves are stacked vertically. To make
8238 staves maintain a distance, their vertical size is padded. This is
8239 done with the property @code{minimumVerticalExtent}. It takes a pair
8240 of numbers, so if you want to make it smaller from its, then you could
8243 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8245 This sets the vertical size of the current staff to 4 staff spaces on
8246 either side of the center staff line. The argument of
8247 @code{minimumVerticalExtent} is interpreted as an interval, where the
8248 center line is the 0, so the first number is generally negative. The
8249 staff can be made larger at the bottom by setting it to @code{(-6
8252 The piano staves are handled a little differently: to make cross-staff
8253 beaming work correctly, it is necessary that the distance between staves
8254 is fixed beforehand. This is also done with a
8255 @internalsref{VerticalAlignment} object, created in
8256 @internalsref{PianoStaff}. In this object the distance between the
8257 staves is fixed by setting @code{forced-distance}. If you want to
8258 override this, use a @code{\translator} block as follows:
8262 VerticalAlignment \override #'forced-distance = #9
8265 This would bring the staves together at a distance of 9 staff spaces,
8266 measured from the center line of each staff.
8270 Internals: Vertical alignment of staves is handled by the
8271 @internalsref{VerticalAlignment} object.
8275 @node Horizontal spacing
8276 @subsection Horizontal Spacing
8278 The spacing engine translates differences in durations into
8279 stretchable distances (``springs'') of differing lengths. Longer
8280 durations get more space, shorter durations get less. The shortest
8281 durations get a fixed amount of space (which is controlled by
8282 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8283 /The longer the duration, the more space it gets: doubling a
8284 duration adds a fixed amount (this amount is controlled by
8285 @code{spacing-increment}) of space to the note.
8287 For example, the following piece contains lots of half, quarter and
8288 8th notes, the eighth note is followed by 1 note head width (NHW).
8289 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8290 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8294 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8295 width of a note head, and @code{shortest-duration-space} is set to
8296 2.0, meaning that the shortest note gets 2 NHW (2 times
8297 @code{shortest-duration-space}) of space. For normal notes, this space
8298 is always counted from the left edge of the symbol, so the shortest
8299 notes are generally followed by one NHW of space.
8301 If one would follow the above procedure exactly, then adding a single
8302 32th note to a score that uses 8th and 16th notes, would widen up the
8303 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8304 thus adding 1 NHW to every note. To prevent this, the
8305 shortest duration for spacing is not the shortest note in the score,
8306 but the most commonly found shortest note. Notes that are even
8307 shorter this are followed by a space that is proportional to their
8308 duration relative to the common shortest note. So if we were to add
8309 only a few 16th notes to the example above, they would be followed by
8312 @lilypond[fragment, verbatim, relative=2]
8313 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8316 The most common shortest duration is determined as follows: in every
8317 measure, the shortest duration is determined. The most common short
8318 duration, is taken as the basis for the spacing, with the stipulation
8319 that this shortest duration should always be equal to or shorter than
8320 1/8th note. The shortest duration is printed when you run lilypond
8321 with @code{--verbose}. These durations may also be customized. If you
8322 set the @code{common-shortest-duration} in
8323 @internalsref{SpacingSpanner}, then this sets the base duration for
8324 spacing. The maximum duration for this base (normally 1/8th), is set
8325 through @code{base-shortest-duration}.
8327 @cindex @code{common-shortest-duration}
8328 @cindex @code{base-shortest-duration}
8329 @cindex @code{stem-spacing-correction}
8330 @cindex @code{spacing}
8332 In the introduction it was explained that stem directions influence
8333 spacing. This is controlled with @code{stem-spacing-correction}
8334 property in @internalsref{NoteSpacing}, which are generated for every
8335 @internalsref{Voice} context. The @code{StaffSpacing} object
8336 (generated at @internalsref{Staff} context) contains the same property
8337 for controlling the stem/barline spacing. The following example
8338 shows these corrections, once with default settings, and once with
8339 exaggerated corrections:
8345 \property Staff.NoteSpacing \override #'stem-spacing-correction
8347 \property Staff.StaffSpacing \override #'stem-spacing-correction
8352 \paper { raggedright = ##t } }
8355 @cindex SpacingSpanner, overriding properties
8357 Properties of the @internalsref{SpacingSpanner} must be overridden
8358 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8359 created before any @code{\property} statements are interpreted.
8361 \paper @{ \translator @{
8363 SpacingSpanner \override #'spacing-increment = #3.0
8370 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8371 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8372 @internalsref{SeparatingGroupSpanner}.
8376 Spacing is determined on a score wide basis. If you have a score that
8377 changes its character (measured in durations) halfway during the
8378 score, the part containing the longer durations will be spaced too
8381 There is no convenient mechanism to manually override spacing.
8386 @subsection Font size
8387 @cindex font size, setting
8388 @cindex staff size, setting
8389 @cindex @code{paper} file
8391 The Feta font provides musical symbols at seven different sizes.
8392 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8393 26 point. The point size of a font is the height of the corresponding
8394 staff (excluding line thicknesses).
8396 Definitions for these sizes are the files @file{paperSZ.ly}, where
8397 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8398 of these files, the variables @code{paperEleven},
8399 @code{paperThirteen}, @code{paperSixteen},
8400 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8401 are defined respectively. The default @code{\paper} block is also
8402 set. These files should be imported at toplevel, i.e.
8404 \include "paper26.ly"
8408 The default font size settings for each staff heights are generated
8409 from the 20pt style sheet. For more details, see the file
8410 @file{scm/font.scm}.
8414 @subsection Line breaking
8417 @cindex breaking lines
8419 Line breaks are normally computed automatically. They are chosen such
8420 that lines look neither cramped nor loose, and that consecutive lines
8421 have similar density.
8423 Occasionally you might want to override the automatic breaks; you can
8424 do this by specifying @code{\break}. This will force a line break at
8425 this point. Line breaks can only occur at places where there are bar
8426 lines. If you want to have a line break where there is no bar line,
8427 you can force an invisible bar line by entering @code{\bar
8428 ""}. Similarly, @code{\noBreak} forbids a line break at a
8432 @cindex regular line breaks
8433 @cindex four bar music.
8435 For linebreaks at regular intervals use @code{\break} separated by
8436 skips and repeated with @code{\repeat}:
8438 << \repeat unfold 7 @{ s1 * 4 \break @}
8439 @emph{the real music}
8444 This makes the following 28 measures (assuming 4/4 time) be broken every
8449 Internals: @internalsref{BreakEvent}.
8453 @subsection Page layout
8456 @cindex breaking pages
8458 @cindex @code{indent}
8459 @cindex @code{linewidth}
8461 The most basic settings influencing the spacing are @code{indent} and
8462 @code{linewidth}. They are set in the @code{\paper} block. They
8463 control the indentation of the first line of music, and the lengths of
8466 If @code{raggedright} is set to true in the @code{\paper}
8467 block, then the lines are justified at their natural length. This
8468 useful for short fragments, and for checking how tight the natural
8472 @cindex vertical spacing
8474 The page layout process happens outside the LilyPond formatting
8475 engine: variables controlling page layout are passed to the output,
8476 and are further interpreted by @code{lilypond} wrapper program. It
8477 responds to the following variables in the @code{\paper} block. The
8478 variable @code{textheight} sets the total height of the music on each
8479 page. The spacing between systems is controlled with
8480 @code{interscoreline}, its default is 16pt. The distance between the
8481 score lines will stretch in order to fill the full page
8482 @code{interscorelinefill} is set to a positive number. In that case
8483 @code{interscoreline} specifies the minimum spacing.
8485 @cindex @code{textheight}
8486 @cindex @code{interscoreline}
8487 @cindex @code{interscorelinefill}
8489 If the variable @code{lastpagefill} is defined,
8490 @c fixme: this should only be done if lastpagefill == #t
8491 systems are evenly distributed vertically on the last page. This
8492 might produce ugly results in case there are not enough systems on the
8493 last page. The @command{lilypond-book} command ignores
8494 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8497 @cindex @code{lastpagefill}
8499 Page breaks are normally computed by @TeX{}, so they are not under
8500 direct control of LilyPond. However, you can insert a commands into
8501 the @file{.tex} output to instruct @TeX{} where to break pages. This
8502 is done by setting the @code{between-systems-strings} on the
8503 @internalsref{NonMusicalPaperColumn} where the system is broken.
8504 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8505 The predefined command @code{\newpage} also does this.
8509 @cindex @code{papersize}
8511 To change the paper size, you must first set the @code{papersize} paper
8512 variable variable as in the example below. Set it to
8513 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8514 specification, you must set the font as described above. If you want
8515 the default font, then use the 20 point font.
8518 \paper@{ papersize = "a4" @}
8519 \include "paper16.ly"
8522 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8523 will set the paper variables @code{hsize} and @code{vsize} (used by
8524 @code{lilypond-book} and @code{lilypond}).
8529 @cindex @code{\newpage}
8535 In this manual @ref{Invoking lilypond}
8537 Examples: @inputfileref{input/regression,between-systems.ly}
8539 Internals: @internalsref{NonMusicalPaperColumn}.
8543 LilyPond has no concept of page layout, which makes it difficult to
8544 reliably choose page breaks in longer pieces.
8553 Entered music can also be converted to MIDI output. The performance
8554 is good enough for proof-hearing the music for errors.
8556 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8557 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8558 marks translate to a fixed fraction of the available MIDI volume
8559 range, crescendi and decrescendi make the volume vary linearly between
8560 their two extremities. The fractions can be adjusted by
8561 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8562 For each type of MIDI instrument, a volume range can be defined. This
8563 gives a basic equalizer control, which can enhance the quality of
8564 the MIDI output remarkably. The equalizer can be controlled by
8565 setting @code{instrumentEqualizer}.
8569 Many musically interesting effects, such as swing, articulation,
8570 slurring, etc., are not translated to MIDI.
8575 * MIDI instrument names::
8580 @subsection MIDI block
8584 The MIDI block is analogous to the paper block, but it is somewhat
8585 simpler. The @code{\midi} block can contain:
8589 @item a @code{\tempo} definition, and
8590 @item context definitions.
8593 Assignments in the @code{\midi} block are not allowed.
8595 A number followed by a period is interpreted as a real number, so
8596 for setting the tempo for dotted notes, an extra space should be
8597 inserted, for example:
8600 \midi @{ \tempo 4 . = 120 @}
8604 @cindex context definition
8606 Context definitions follow precisely the same syntax as within the
8607 \paper block. Translation modules for sound are called performers.
8608 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8611 @node MIDI instrument names
8612 @subsection MIDI instrument names
8614 @cindex instrument names
8615 @cindex @code{Staff.midiInstrument}
8617 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8618 property. The instrument name should be chosen from the list in
8619 @ref{MIDI instruments}.
8623 If the selected string does not exactly match, then the default is
8624 used, which is the Grand Piano.